Playful introduction in the form of a slow mo underwater image of a bullied girl tripped into the water that anticipates the terrified rictus expressions to come. Underwater maze survival follows but the blended family introduction is simple and endearing. Culminates in surprisingly powerful close ups and the ambiguous staredown between survivor and high school rival as the power differential is soulfully reversed by an ordeal that renders certain kinds of petty nonsense truly meaningless,
Really appreciated the unpredictable trajectory that through its own surface immediacies undercuts the serial killer /psychological format by interrogating interstellar itself as a distraction from boredom. The threat announces itself by immediately manifesting the abnormal instead of the “so normal that actually evil” cliche the protagonist detective buys into and someone who takes advantage of empty spaces within everyone waiting to be filled.
Stillness amidst passing umbrellas, the eye contact head dip from the Japanese businessman begins the long form momentum like a switch.
Action can fluidly slip into diagrams and and computer satellite imagery, the inverted colors of the plane crash before the dip into its realistic colors is a punctuation in its overall new way of seeing. Gunfights are decidedly post Matrix in motion control and tempo but taken to an extent that it's practically musical choreography, blocks of mass movement…
The psychedelia overture really trains the viewer to another level of aesthetic and auditory focus which serves what follows. Whether it's the natural pastoral, gloomy crowded streets, or otherworldly chamber, throughout minimal elements point toward aesthetics of sensation.
Pinpoint of light emerges from surrounding darkness, metronomic pops are bracketed by sharp silences (and synthesized thriller "girl" "danger" stabs).
The female alien devouring male prey/victims story is narratively decontextualized and distanced to achieve an immediacy of recognition. The pin-up movie star…