I TOO DREAM IN COLOUR AND IN RHYME
Far less ambiguous than I'd taken this to be beforehand, this time rather playing almost as empty provocation - and at worst, utterly nihilist. However, even with the perhaps unnecessarily graphic depiction of Alex's own crimes, this thing (which now to me looks like Kubrick's weakest post-1962 feature) still stays interesting in Alex's own symptomatic reflection of total desensitization via his own voracious consumption of spectacle and violent media: conditioned to chase thrills, one naturally begins to do so themselves…
"I got beat up. I'm the victim here."
"Cross the room if you've ever been blamed for something you didn't do."
Many months before the films North American release, I joked that Good Time looked like "a modern-day Phil Karlson picture" so I was doubly pleasantly surprised when I found that this film approximated that feeling. In his annual love-letter to Cannes, Mark Peranson called the film "a kind of Dionysian New York Gesamtkunstwerk....immersion without identification." Where Good Time…