It's cool that despite being so heavily grounded in Japanese culture and etiquette, Tokyo Story's themes of neglect from children, grief, compassion (or lack thereof) etc remain universally relatable. Perhaps some of the dialogue and the performances are a bit stilted but again, cultural difference innit? Makes it more difficult to recommend to certain people but if you take that on board then it's easy to overlook and get absorbed in the emotion. Ozu portrays the isolation and desire for…
Carried by Jim Carrey of course, and if it wasn't so harmless and inoffensive then I'd probably be more bothered by how cliched it is. Still, I'd still rather watch this on repeat than play the first Sonic game again because everything after Green Hill Zone fucking suuuuucks.
Me after watching Enter the Void: "Man, it'd be great if Gaspar Noe could make a film with these peak levels of audio/visual intensity but could also sustain that energy for its entire duration."
Me after watching Climax: "Ayyyyyyyyyy."
A celebration of the liberating power of dance, delivered the way only Gaspar Noe could. Setting the stage with a spectacularly choreographed long take of the entire 20-strong cast dancing together like absolute maniacs, Noe immediately gets the adrenaline pumping while…
[Seems like there was no embargo for the Sydney screening so here are some quick structure-less thoughts!!]
As with Unbreakable before it, I appreciate how Shyamalan somehow maintains a deliberate grasp on the tones he wants to convey despite the film taking inherently silly comic book tropes and using them as one of the serious thematic focal points. Glass is far more of a tonal wildcard than Unbreakable was though. I presume a lot of people are going to read…