alex garland has made three movies about women in a row and i can't help but find it weird that his entire conception of womanhood is just about being abused and traumatized. annihilation pivots on a scene where a character lists the various traumatic histories of each of the five leads. in this film, jessie buckley's harper isn't even a character at all. her entire persona comes through implication, the idea that we're supposed to side with her because of…
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Annihilation 2018
was hoping to get something new out of this bc i remember a lot of its images fondly, but the stuff that sticks with you only sticks out because of how dully expository the rest of the film is. i remember thinking in 2018 that garland should just be a director and not a screenwriter. seeing the film again now, and watching how incurious his camera actually is, i wonder if in fact maybe he should just be a concept artist.
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The Lighthouse 2019
idiots will call this a staggering retelling of the myth of prometheus through the eyes of the american laborer, the fire of the gods becoming success under capitalism, an unattainable fiction that drives men to maddened violence in their pursuit
geniuses will understand that this is a movie about getting drunk and almost kissing ur homie and then getting even drunker and tenderly holding each other as you drift off to sleep
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Dear Evan Hansen 2021
probably the most remarkable thing about this film is that you really never get used to the fact that he looks like that. even in the late moments of this 137 minute film i was still jolted by occasional cuts to ben platt's puffy, doughy visage, newly horrified by his inland empire-esque facial contortions and body language that has been seen in cinema only once before: in f.w. murnau's expressionist classic nosferatu. his exaggerated hunch, hysterically twitchy hands, and latex-smooth…
