Chiwetel Ejiofor is fantastic (and shockingly beleaguered-looking), and I am 100% in favor of Joshua Marston's hushed, commentary-free approach to watching his characters behave in moments of crisis, now and always. But the script gets stuck in a rut and stays there for a hell of a long time, and the famous people in the supporting cast are more of a distraction than a benefit, as good as they are in their parts (Lakeith Stanfield can stay, though).
Unbearably drowsy; the ludicrous plot and Malin Akerman's quite unhinged villain performance both suggest a way for it to be salvaged as camp, but it's actually rather boringly straitlaced. Even Dwayne Johnson has dialed down his charisma.
Meanwhile, if these are the best CGI gorillas we are able to get in the Year of Our Lord 2018, it's probably time to pack up popcorn cinema and give, I dunno, like, cinéma vérité a go as the dominant Hollywood aesthetic.
There could be no sadder farce that's still so breathtakingly hilarious. Anderson's immaculate, hermetically sealed dollhouse aesthetic is both perfected and exploded from within, in telling the woozily nostalgic tale of two men in two eras both trying and failing to create their own sealed dollhouses in the face of the implacable march of the 20th Century. It is a tribute to the desire to conserve beautiful things as much as it's a warning about the impossibility of freezing time,…
It is, when you get right down to it, basically just re-doing the Kuleshov experiments, but in a way that mostly points out how pretty much every movie in the last 95 has basically just been re-doing the Kuleshov experiments. In fact, for a film that re-makes the plot of one classic masterpiece (Vertigo) by stealing clips from a few dozen other movies, it's amazing how fresh and one-of-a-kind this feels. An experiment in film language, film viewership, and film…