“Kurt Russell discovers boobs and feelings.” - Minick
Some of the coolest looking nonsense I’ve ever seen, wish I had caught it on 35 at Metrograph
I feel like Michael Mann is among a select few directors who are able to tell incredibly intimate human dramas perfectly infused with some of the absolute slickest action set pieces ever put together. Everyone’s at the top of their game and sexy as hell, unequivocally one of the best American films ever made.
Denzel Washington does more with his eyes or mouth alone than most actors are capable of with their entire bodies. Completely dialed the fuck in camerawork all around, I’m absolutely obsessed with the hazy greenish color grading of Scott’s movies, paired with an onslaught of whip pans zooms and double exposures. Real professionals only.
I’m pretty sure this is a masterpiece but for whatever reason it didn’t fully gel with me, maybe my catholic level guilty conscience couldn’t handle the perverse intimacies. Absolutely visually stunning though, incredible work with soft focus and meshes of golden angelic light and dark murky corridors. Interesting to imagine Campion directing Morvern Callar and Ramsay directing this.
Every guy you meet is just as likely to be the love of your life as he is to murder you, something I will likely never be forced to understand, which might explain why this hasn’t clicked for me yet.
Escape sequence goes ridiculously hard, Sarah Greenwood’s production design is off the charts, from the nightmare concrete architecture of the prison tunnels to the derelict Grimm Fairy tale amusement park. The Chemical Brothers’ score is astounding. Tom Hollander goes from one of the most dialed in seemingly perpetually on edge performance as Mr. Collins in Pride & Prejudice to one of the most slimy, lazily cocky pieces of shit ever put to film. Reminds me of the bug eyed shirtless guy with the red mohawk guy in Southland Tales, you know the one. I want to see Saoirse Ronan in a NWR movie.
This review may contain spoilers. I can handle the truth.
The Matrix: Resurrections continues to feel more and more like a miracle.
I was inclined to say that this gets points over Scream 4 because it actually features series staple “Red Right Hand” but this movie is definitely worse. The scene in which the song plays is also somehow better in the trailer because it doesn’t have the jump scare sound effect which gives it a much more visceral quality, which in turn could’ve played into it’s supposed lampooning of…
I’ve been working on production materials, behind the scenes making-ofs, interviews, etc. for this movie for the past few months; I pretty much know this movie back to front, and yet there I was crying and blubbering through the opening and finale sequences. A joyously collaborative treatise on the power of human kindness.