so fucking acidic and despairing, man. a film about a couple who can't stop hurting each other, but because they belong nowhere else (in post-war japan all the 'homes' have too many ghosts) they keep ending up back in one another's toxic orbit, trying to resuscitate something once special that's long been poisoned and drained of life. no wonder it reportedly fucked ozu up for months.
the breakdown of marriage and identity subtly and compassionately portrayed. the metamorphosis into a survival film as it burrows into his increasingly surreal, unmoored perspective, thinking through the practical minutiae of his situation and the severe consequences of each trivial action. then finally the existential epiphany, probably the closest western genre cinema gets to Woman in the Dunes. i was convinced arnold wouldn't fully commit to any of these ideas and he kept proving me wrong. maybe the greatest b-picture.
This review may contain spoilers. I can handle the truth.
affleck has the gall to begin argo by drawing attention to the victimisation of the iranian people in the time preceding the iran hostage crisis--sporting a pile of bodies and multiple shots of starving and tortured iranians, no less-- only to segue into a rote (albeit effective) suspenseful patriotic crowdpleaser in the apollo 13 mould--one which insists americans deserve more credit for their ability to use lies to clean up their own messes. not a pinch of irony to be…
there's a moment midway through harry potter and the deathly hallows: part 1 (hereafter harry potter 7a) when harry and hermione return to the place of harry's birth, and in reply to hermione's suggestion that they should've come disguised, harry says "no. this is where i was born. i'm not returning as someone else". it's one of about a thousand statements in this series of films which rings completely hollow and yet has to be said anyway, if only to…