for the entirety of my watching haynes’s work, i keep being stupidly surprised by how amazingly shot they are. this might be the best-looking film of this year…
idk man. top to bottom, phenomenal. what an insanely difficult role for melton but how juicy for moore and portman. this feels timeless, one of the most unassuming yet engrossing period pieces even though it’s not necessarily about that.
yeah. 2023. pretty good year
when joe’s with his son on the roof, i thought i might lose it. just…hug him, save him, let him forget.
i think that building one’s entire adolescent personality around something actually does grant you some deeper insight into that thing even into adulthood. which is to say, here, i find the flat narration and jittery, digitally-imperfect camera shakes evidence of fincher doing his best to continue something he did with fight club: draw attention to himself, his place in the greater framework of cinema as product, his audience, the degree to which the Malaise can’t be fought against,…
the saccharine sentimentalism that people accuse spielberg of, even at his worst, always feels like a lazy generalization, especially when watching someone like abrams ACTUALLY commits it. i’m so curious what spielberg himself thinks of the final product as a producer. i think there’s a lot abrams brings as a world builder, a clever narrative technician, a guy who clearly loves to craft a big emotional moment. to that end, i’ve alternately understood and sort of been bewildered by the…