Definitely rough around the edges but still a charming movie. Mean Streets exhibits early versions of many themes and stylish elements Scorsese is known for, especially sequences of hedonism set to old-timey music which are always entertaining, or internal struggles with faith and masculinity. There's also the occasional fun nod to the French new wave with some unconventional edits that keeps certain scenes from becoming uninteresting. I really like Harvey Keitel's calm performance, and it's easy to follow the story…
The scares stand the test of time in this unrelenting slasher. TCSM keeps up a terrifying level of intensity for the majority of its runtime, not wasting any time on explaining the bizarre horror that unfolds. It's filmed with what looks like mostly handheld cameras, and Hooper is able to achieve a documentary-style aesthetic, making the terror seem painfully real. Loved it.
Suffocating and constantly in your face, you feel at the centre of every bust up and brawl Howie (Adam Sandler) gets himself into. He is driven and determined but crippled by how dependent he is on his ways. You root for him the whole time; not wanting to see his life completely fall apart but question every single decision he makes.
Everything culminates in an exhilaratingly tense final act that felt like I had held my breath for the whole duration and I was left speechless by the end. My introduction to the Safdie brothers has been strong, can’t wait to check out Good Time next.
Antonioni's moody third incommunicability film brims with unease. So much is conveyed with the characters saying so little. Between Vittoria's wandering and Piero's hyperactive movements, they try to form meaningful connections, or even care about anything at all.
A master of mise-en-scène, Antonioni paints Rome as somewhere detached from our world and understanding. The Rome stock exchange is the chaotic domain of animals, whereas the EUR district is alien and oppressive. DP Gianni Di Venanzo's cinematography with Antonioni is up…