Letterboxd — Your life in film

While I may only be two films deep in an expansive career, it’s clear as day that Otto Preminger was a filmmaker years ahead of his time. His framing and use of space took full advantage of what the wide screen format had to offer and that other filmmakers weren’t able to fully realize quite yet. I still don’t believe the black and white sequences in this film are from 1958. While Anatomy displayed his ability to use these framing…

Absolute hypnosis. The rhythm of the line deliveries in every scene is almost magical. Too many examples to choose from—seriously, I could literally pick any moment—but there's an interaction in the final 15 minutes where something the audience already knows is revealed to everyone else in the courtroom and it still manages to come off just as shocking to us as it does to those in the film. That moment works because the nanoseconds in between every word in this…

Feeling pretty blown away by this. Satoshi Kon’s work is some of the most terrifying to me because of how he effortlessly creates a space in your head. ‘Internal’ is probably the best word to describe it and while that may seem intriguing, any of his films would suggest the opposite. With ‘Perfect Blue’ and ‘Paprika’ he accomplishes so much with so little, taking high-concept ideas and boiling them down to their most electrifying parts. That said, you can imagine…

On my hands and knees BEGGING Bong to make a film with a jazzy score like this again.

Sadly this is definitely the weakest I’ve seen from him. These ideas he throws around in each scene are interesting to watch but they also don’t feel like they’re doing anything some of the time. One of the best things about a Bong Joon-ho film is that you know none of that time will be wasted. But this could have been cut…