Works as a sort of sibling film to Ghost in a way. But this time, Ito is less interested in how spaces seem to us to physically reproduce their inhabitants, and more in how that physicality is limited and decays over time. Ito’s document of father-son bonding is deliberately obscure; an approximation of unattainable tactility. Nostalgic but revealingly bittersweet.
Leave it to Rob Zombie to give us a manic, gory cop revenge movie that treats its protagonist like the serial killer he’s built to be. If 1000 Corpses is a deep-dive into America’s working class fetishization in spite of the actual American dream of wealth, Rejects shows us the violent resolution of this hypocrisy. The colorful, dizzying escape of the circus ends with a step back into a harsh reality.
The family at the center of these films live in a world seemingly of…
This review may contain spoilers. I can handle the truth.
Alex Garland didn’t care to write characters, so should I care enough to write a review? Either way:
I’m tempted to say that it really shows that this is based on a novel, but in actuality, this feels more like an essay based on the SparkNotes; a thematic mission statement stretched out over two hours of rigidly functional dialogue and clumsy visual symbolism. Garland’s script is less harmful in the things it has to say about loss of identity than…