Extremely discerning and hard to please
My boyfriend: Vito Corleone respects and protects his family above all. To him the patrilineal is sacred. Whereas Michael Corleone progressively and callously erodes the family line and ends up a shadow of his father; his own son destroyed, the dynasty ended.
Me: Robert De Niro is hotter than Al Pacino.
I felt compelled to watch this after A Rainy Day in New York had left me with such a bad feeling. I figured it would at least give me a better screen version of New York today. I was surprised to find myself on the verge of tears more than once. Bill Murray’s ravaged face when he tries to explain the affair that broke up his marriage to his daughter, Laura; seeing all his bravado and charm melt away, leaving…
Formally this is certainly accomplished. It makes great use of its spaces, particularly the elegantly minimalistic home that the poor family scurry around in. The choreography in these sequences is a dizzying flurry of activity, both lithe and blunt (a body is noiselessly kicked at the top of the stairs but lands with a sickening crunch below). But these images are so rigidly contrived to conform to the film’s message that they don’t ever feel revelatory, they feel hollow.
I was really blown away by this film. Especially since it feels doubtful we’ll get one like it in American cinema again.
There are few elements of contemporary American culture this film doesn’t at least gesture towards; influencer economy, the mainstreaming of porn, tech oligarchy, movie star malaise, activist subcultures, police brutality, drugs, the 24 hour news cycle, militarization, spring break culture, energy scarcity… all are inextricably interconnected in a conspiracy everyone is in on. Many of these gestures are…