A third attempt, but it’s too tiresome and life’s too short for even a gym viewing. A shame, because some of the one-liners are phenomenal and genuinely unexpected, but their consistently bookended by tedious profanity-as-joke and completely nonsensical (not to say absurd) character work and non-sequitor. It feels like every time the little bit of goodwill the movie slowly and precariously cultivates in the first half hour is completely squandered with Adam Scott’s introduction, a scene completely without humor that…
Maybe it was astronomic expectations the first time that had me giving this such tempered praise, but an impromptu rewatch tonight revealed it is a total behemoth, as dense with thrilling and hysterical setpieces as it is with strange, unsettling, heart-wrenching thematic and formal power. Between this and The Trial of Tim Heidecker this has truly been the decade of Abso Lutely bringing Kiarostami and Herzog into the dopey sadsack absurdist stratosphere.
They made Youtube Poop into Cinema. That’s it. That’s the review.
But more earnestly this is a delight. Totally rich and uproarious riff on San Francisco, trash movies and television, Chuck Norris as a Bressonian model (Guy’s words not mine lol), and memory. And yeah, Vertigo, which it sounds like I can recall only slightly less than Maddin and his collaborators when they made this.
Opening night of this year’s Three Rivers Film Festival
Simultaneously one of his most mature and most infantile...steeped in a sorrowful nostalgia but incapable of letting things lie, instead begging, almost pathetically, for the incessant march of history to have gone down a different path. I thought a lot of Roma—similarly this is a memory play that carefully and immaculately recreates a moment, but unlike Cuaron’s movie, this refuses to accept history as a river which either drags or drowns us, instead choosing to reroute the river with dynamite. Love it!!