A true believer that cinema peaked when Meryl Streep and Goldie Hawn got into a shovel fight in Death Becomes Her
Walking through the shots of House of Gucci feels like stepping through the hallways of a fever dream. Ridley Scott has crafted an engaging comedic melodrama that reshapes the ancient themes of greed and power with a deliciously barbaric twist, a genre-bending hybrid that is as adventurously distinctive as it is universal. Each moment has such a ludicrous, yet fascinating effect, but the chaos is what makes it so enjoyable.
Lady Gaga chews up, stabs, and spits out the screen.…
So, what exactly is Network? Is it a political satire? Is it a critique on the television industry? Is it a howling protest? Was it a foreshadow for what is to come with the advancement of media? Is it a black comedy? Is it a love letter to professional journalism? Is it an outrageous farce? Is it Sidney Lumet’s way of storytelling? Is it a character study? Is it a drama? Is it a showcase of the hollowness of media?…
Heaven Can Wait is unabashedly warm yet cozily chaotic; it almost has the impression of a fairy tale gone wrong. The uncertainty has such a nice, nourishing quality that it works to the story's advantage to gradually but steadily expand it, making each scene ultimately endearing and occasionally humorous. Even if the style and quality were not the best, it was still largely entertaining.
Sydney Pollack crafts an illuminating combination of emotion and complexity with a dynamic full of heart and a plot full of profoundly intelligent detail that allows us to look into the heart of each character in a primarily comedic yet strangely intimate way. Despite the fact that it is unavoidably humorous, the best parts involve the simple joy of observing the individuals go about their daily lives, the clumsy ways in which they hide their personal and professional ambitions, and the contrasting intricacy and simplicity of human existence. The ensemble just makes every moment that much better.