Rewatched in the wake of Parasite, and I'm pleased to say some of my initial objections have fallen away. It's interesting, looking back, that my misgivings about the ending mirror some of the rare negative takes on Bong's Oscar-winner, namely that it allows for individual victories but no systemic change. I think what's changed for me is that since I first watched Okja I've seen Parasite and Snowpiercer, both of which make the director's very modern moral stance brutally clear:…
"When the film focuses on Roland, it feels like the work of a man struggling to escape the influence of his peers, complete with big, take-me-seriously chunks of Beethoven’s 7th stopping and starting clumsily on the soundtrack in a way perhaps only Godard can get away with. When Lola focuses on Lola, on the other hand, you see the path ahead with dazzling clarity."
Read more on The Geek Show, as well as my thoughts on The Umbrellas of Cherbourg,…
Too often, when we wonder who the Greatest Living Englishman is, we forget that Nick Park asked Dreamworks for thirty million dollars to make an internationally-released feature-length film about marrow-growing contests in Lancashire and they said yes.
This review may contain spoilers. I can handle the truth.
From 'Rick Dalton: American Hamlet' by Silas Haslam, first published in the January 1987 edition of Playboy and collected in Eminent Nixonians:
"What turned public opinion against Dalton, in the end, was his star role in LA Vengeance, the tawdry 1974 thriller where he recreated, Audie Murphy-style, his greatest personal act of heroism. It could have tarnished more than one star had Sharon Tate agreed to star as herself. As it was, the success of her role as Nancy in…