favourites are always the most recent films i've loved.
aldrich just stomps out into the middle of the new hollywood movement and bangs out a depression-era train-hopping battle-of-wits that plays like a 1930s adaptation of a violent manga. european malaise? landscapes as externalisations of middle class ennui? that sounds cool and all, but hear me out: what about lee marvin swinging an axe at ernest borgnine atop a speeding locomotive?
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…