i love movies and i try writing about them and sometimes it don't out so good
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Shakedown 1988
totally at odds with itself, like glickenhaus tried to make a collar-down court drama about corrupt cops and a lawyer's plight between upward mobility and his own sense of morality, except his id kept sneaking out in the middle of the night to shoot sam elliot and porno houses. unfortunately, his id only got about twenty percent of the final cut.
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Z 1969
appreciate costa-gavras shifts in tone and technique, establishing human motivation and consequence behind these political actions, before shifting into investigative mode and finally adding some black comedy with a procession of military officers appearing to be indicted, each adorned with more medals than the last. perhaps its to soften the blow of the reveal that justice is simply an idea enforced by whoever takes power, or just to emphasize that buffonish-ness of individuals doesn't undercut the power of reactionary forces.…
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Mobile Suit Gundam III: Encounters in Space 1982
-Why do you fight like this? Why?
You have no one! Nothing to fight for!-What do you mean?
-I can see it. You have no home, no family! No one you love!
-But... But... What difference does that make?
Is it wrong to fight when you've nothing to fight for?-It isn't natural.
-Then why do you fight?
-I fight for the one who saved me.
-Is... is that all?
-It's a truth that people live for!
-But, then,…
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964 Pinocchio 1991
incoherent, most of its dramatic thrust is conjured by its sheer existence. much of its assault is in the observation of its creation. the best scenes are in public. you can see onlookers, not extras, civilians, move out of the way as pinocchio tears down an avenue. a woman vomits and vomits and vomits in a dark tunnel while people pass her by. it's a movie, isn't it? is there better evidence of our alienation, of our lonesomeness? even in the end, with the coming together of Pinocchio and Himiko, there's a sense of rejection in acceptance.
"Tear your face off! Tear your own face off!"
