The real supervillain is the panopticon of militant centrism.
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In Hell Everybody Loves Popcorn: The Making of 31 2016
*I saw the 130-minute cut. I can't find the 4-hour cut available on U.S. iTunes
The most interesting take-away is Rob Zombie's openness to chaotic process. Working with significant budget and schedule constraints, the writer-director constantly and dramatically adjusts his material to accommodate technical hiccups, actor demands and changes in location. Interviews with cast and crew reveal that Zombie encourages improvisation, but that his convictions are always clear even in the face of such nonstop change.
More than any of…
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mother! 2017
I think we need a term (say, "Bluff Cinema") for films that play at lofty allegory through muddled and opaque execution. A film that's built on this kind of contradiction is infuriating not because it's "challenging" in any meaningful sense, but because it attacks the audience while shielding itself from critique. Defenders can ride on claims that detractors "didn't get it," because the film's delivery is airy and vague enough to validate virtually any reading.
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Kaili Blues 2015
As I was walking out of the theater, I heard a man say to the woman beside him, "Y'know, this was directed by the same guy who made 'Uncle Bowie.'"
