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  • Those Who Make Revolution Halfway Only Dig Their Own Graves

    Those Who Make Revolution Halfway Only Dig Their Own Graves

    ★★

    A lengthy and fractious political portrait of leftist radicals in Quebec, Those Who Make Revolution... is certainly interesting but it's not particularly good. Its formal tendencies, which run the gamut of Godardian voiceover to Godardian text on screen to theatrical asides, are mostly tiresome - the aspect ratio shifts aren't effective either, they're a superficial signalling of an "experimental" approach.

    The directors situate their characters within a specific political history but then isolate them from that history physically. It's a detached hypothetical straining to be something visceral and affecting. It's an art film about political action instead of a work of political art.

  • 78/52

    78/52

    ★½

    The subject of their intermittently lyrical waxing is the shower sequence in Alfred Hitchcock’s Psycho. Philippe’s film, essentially a DVD extra that has somehow managed an international festival run, is packed to the gills with perspectives; authors, directors, critics, editors, academics, and blood relatives of relevant performers have their say about Marion Crane’s death and the cinematic legacy of the film made famous by it. What they collectively say, though, amounts to very little. The superficiality of almost all analysis…

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  • Interstellar

    Interstellar

    ★★½

    Almost instantly forgettable, Nolan's latest feature might contain some stunning visual sequences but they are squished between mountains of clunky exposition, underwritten characters and cringe-inducing dialogue.

    The film takes 45 minutes to actually get started, the Earth-set first act tethered to a very poorly explained future and weirdly simple plan to save it before we actually get into space. When that happens, we find ourselves at a recurring juxtaposition between some of the best visual depictions of deep space ever…

  • Birdman

    Birdman

    ★★½

    I'm not entirely sure what this film thinks it is, throwing so much shit at the wall and hoping something profound sticks. I do know, though, that without that really good drum score it would have been a whole lot more dull to sit through; we witness the process of the film figuring itself out, messily and unconvincingly over its far too long runtime.

    Norton was great, if you want to tackle self-obsession and ego in art and theatre, make…