Very funny at times, though its brand of shock comedy reminded me of Frankie Boyle's - hysterical in small doses but quickly wearing thin. That would be forgivable if Three Billboards wasn't completely all over the place on a storytelling level. McDonagh simply has no control over where our sympathies should lie and the hastily written redemption arcs that end the film (mainly brought about by Magic Suicide Notes of Plot Convenience) ring massively false. The final lines suggest McDonagh…
Beautifully observed dream that's best to let wash over you. The images taken in isolation are absolutely stunning and often intensely emotional in their own right. I did struggle with some of the more verbose aspects of the screenplay (to quote letterboxd reviewer Jonathan White, "how can there be subtext when there is no context?"), but when Mirror lets go of dialogue and becomes a blend of poetry both narrated and visual it's a sumptuous vision of motherhood, war and isolation.
Gorgeous, seeped in the most beautiful hues of blue, gold and green that I have as of yet seen. (Sorry, went a bit Dr. Seuss there)
The rare Malick film in which the substance almost, *almost* matches the style. A simple, yet fun and witty study in '50s nihilism and the way our cinematic lexis affects us as human beings. Martin Sheen effortlessly cool and Sissy Spacek portrays innocence, or is that lost innocence, perfectly.
(Must say the effect of True Romance has been hugely diminished now that I'm aware of how much it rips this film off)
When I first saw the Before trilogy shown at the cinema in a triple bill in 2013, Sunset was the one I was affected by the least. Perhaps it was due to it feeling like too much like a middle chapter when shown in that setting. Either way, this viewing cemented it as being equally as good as the other two. It's magical. God bless these films.