Solid work from my main man Ferrara--mellow vibes, but with some weird interludes and a requisite dash of skeeze. Good performance by Dafoe. Without hammering the theme on the head, a very solid portrayal of recovery--the division of an old life and a new life, of a routine and orientation grounded in healing and positivity, but with the mostly-restrained but enduring clamor of toxic, destructive, self-negating insticts in the background. Also a testament to staying horny.
The Norwegian black metal scene was my entry point into metal, starting in high school, when my pal Metal James introduced me to Emperor's PROMETHEUS: THE DISCIPLINE OF FIRE AND DEMISE. Fucking ripper. Still bump it. I worked backward from there in years to follow, to earlier Emperor records like NIGHTSIDE ECLIPSE and ANTHEMS, and through the other bands like Immortal, Darkthrone, Gorgoroth, etc. (Never got crazy into Mayhem, though I get the importance.) Another pal obtained the Michael Moynihan…
This review may contain spoilers. I can handle the truth.
UG’s forcefulness and palpable desperation makes an impression, but the more I think about it, the more unsatisfied it leaves me. To a degree, this is a matter of duration—it’s somewhat overwrought and definitely overlong, and the bombast, so striking at first, becomes repetitive and flattens. To a degree, it’s a matter of structure—one hopes for a character arc, but instead see a downward spiral spinning itself to its inevitable conclusion. (I’m not complaining about a lack of optimism or…
Absolute total patronizing tripe. In a way, it's a masterwork of execrable filmmaking--structured top to bottom like a montage, excluding no cliche, no contrivance, no canned beat, no sentimental cheap shot, no low hanging fruit. It is draped in aspirational signifiers of wokeness while being, in fact, quite racist (the heavily accented and utterly buffoonish Pakistani father is played for laughs again and again). There are scenes so awkward that I was too embarrassed to watch and literally closed my…