Despite its American exceptionalism which arises in the last third, The Beast From 20,000 Fathoms is an enjoyable enough monster film progenitor alongside King Kong. Nuclear fears culminate into a half-baked product to be improved by Godzilla, yet what is here is brief and thorough in building up to an entertaining sequence of dinosaur chaos animated by Ray Harryhausen.
Sometimes, with the conglomerate pushing mainstream and corporate-driven entertainment lacking in any credibility, it is easy to forget the ability of art to craft from the most absurd, weird, and laughable material artistic works which inspire more than they have any right to. In this regard, Everything Everywhere All at Once succeeds—far beyond the directors' previous collaboration—by pushing the limits of its premise to the nth degree without losing its heart, soul, or even marketing capabilities as a work which…
Lips wiped by a murderer's fingertips; thus, a face cleansed by a divine figure—Bogart. Cinematography by Raoul Coutard. High angle shot followed by close-up on poster: "Live dangerously until the end." Conclusion: immortality.
Godard's debut is an immaculate conception formed from a treatment by François Truffaut and Claude Chabrol; two more men framed by fame flamed of French ingenuity. Jazz surrounds a world—Martial Solal's design—encroached by a viewer unknown. Rivette is dead; or dead to us. Michel or Bogart or…