A dot matrix printer shrieks like a digital siren call from a 21st century techno-crypt. Alice stumbles through this blasted land until she's swept up in the action, which suddenly becomes unceasingly frantic, the cuts slamming and rapid fire, the image a mainline of searing, rupturing CGI FX, blood splatter, fire, wreckage. While it cannot muster the grandiose elegance of a thing like Mad Max: Fury Road, it channels its scrappier energy to the utmost effect. It explodes with incredible vengeance. The most utterly scorched assault on late capitalism of all these weird abominations, it's... awesome.
I remember when the sequel to Prometheus was going to be named Paradise, Shaw's voiceover fresh in my mind: "...I am still searching." It was one of those sort of lines Damon Lindelof seems to really like writing. "Big things have small beginnings," etc. Nice and tidy, with implications of scope, even optimism, something one might expect more from Star Trek. Still, I found the idea of leaving this outpost where "only death" remained to seek out the Engineer homeworld…
Demonlover 2, indeed. There was certainly a sense that Assayas owed to Verhoeven in terms of aesthetics and provocation — hentai and CGI porn essentially mimicking RoboCop's cuts to absurd commercials, or its frankness toward sexual taboo, among other things. This returns here via video game cutscenes, perhaps as a discreet reminder of the director we're dealing with — one who has been largely absent for more than 15 years, save for 2006's Black Book — cutting into a film…
This review may contain spoilers. I can handle the truth.
A few years ago, my girlfriend (henceforth "G") and I lived in a pretty nice area close to downtown Portland, Oregon, and we got out a lot more. Because of jobs we found and because it was kind of expensive, we moved further out, and since then we've mostly been homebodies, going to work and coming home to watch movies and occasionally go out to a movie in the neighborhood or to see a band maybe a bit further into…