Burning hunger for life, flesh, and power. This is what Lee Chang-dong's new film is about, subtly. As it's a very subtle film entirely. For the first 90 minutes I was unsure what I was watching. A character study? A mystery? Commentary on the class system in South Korea? It's not til I was able to reflect after the experience that I understood this film is about hunger. Its a great film too. One with captivating visuals, outstanding performances, and a burning curiosity that kept me watching even when I didn't understand. In that sense I think it's a very approachable film. Those who love mystery will find themselves obsessing over the little details, which do add up. Though the mystery of it all I believe is for consumption, while the true intention lies in it's characters and the way they live their lives.
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"All I know is your carriage awaits and my maid is on her way up with something called a pineapple." I was pleasantly surprised by this fascinating time-piece based on true events of those living under the royal roof of Queen Anne. From absurdist director Yorgos Lanthimos, who delivers a more digestible experience than usual, digging deep into the back-stabbing politics and eroticism surrounding a sickly Queen Anne, played by an extraordinary Olivia Coleman. Emma Stone and Rachel Weisz are equally deserving of recognition as their characters Abigail and Sarah pit against another's wit in a battle for power over their Queen. The film managed to engage me immediately with it's vivid presentation of just how terrible and weird this time could be, developing it's plot smoothly with a satirical but often harsh perspective. It's weirdly funny, thought-provoking, obviously absurd, and worthy of it's title as one of 2018's best films. Billy was tough, which is why he survived the turmoil experienced in Thailand's notorious jail. That struggle is depicted here in a visceral way incarnating it's audience placing them in a real setting with real prisoners. This is brave work done cinematically and personally through the autobiography of Billy Moore himself. I was also very impressed with the cinematography. There's one long boxing match that's all captured in one take. My only complaint is the ending felt incomplete. It was touching and I appreciated the moment but it's something to note. I found this on my way through A24's phenomenal filmography. Highly recommend. Director Luca Guadagnino's version of Dario Argento's classic horror film Suspiria is an intoxicating experience that is not perfect but harrowing and worthwhile. I rewatched this the day after my first viewing, which was originally interrupted by my anxiety created by this genuinely disturbing screenplay. Luca's direction is immersive and the camera-work groundbreaking. I also appreciated it's accuracy as a time-piece, which created a nerving sense of realism. The plot is full of depth, where the original lacked but made up for in it's cinematography. It's hard to call this a remake because it goes much further with the plot than its predecessor. Dakota Johnson was a perfect choice for her role but Tilda Swinton takes the gold with her three separate and equally exciting performances. This is relentless cinema. Watching Luca's vision play out uninterrupted produces an experience that's not always satisfying but when it is - it's impossible to take your eyes off the screen, even when what you're watching is horrifying. I would now call Barry Jenkins one of the most influential directors of our time. Beale Street - Jenkin's follow-up to Moonlight - is at it's heart a beautiful story about love and connection shared between two human beings. The mood and texture of this slowly paced romance is intoxicating from the start. My soul was entirely accepting of the punishment waiting around the corner of these dirty Harlem streets. Despite the despair of Tish and Alonzo's situation, Jenkins control of color and contrast presents a 1970's New York so beautifully. This is not a work inspired by anger or hatred but of admiration for a time despite the utterly unacceptable injustice of Alonzo's time in captivity. Mandy is a visceral revenge story about a kind man, who experiences an LSD mixture so potent it turns him into a f******* savage. Hunting down members of a demonic biker gang in a forest cursed by evil. Panos Cosmatos creates a image so wildly original it cannot be missed by any fans of fantasy or Nick Cage. Thuglife. The Hate U Give Little Infants *ucks Everybody. The title of the movie and the situation Star finds herself in both carry the weight of this effective coming-of-age drama. Great performances and work all around. I was engaged the whole time. There is more heart here than straight politics. The films poor marketing doesn't do the screenplay justice. This is the first of it's kind. Beautiful Boy is a visceral experience with its focal point being the deprivation caused by crystal meth addiction. Its important to understand that going into this dark and emotional journey. Spending two hours living through the story of father and son David and Nic Sheff is a harrowing experience. Thank you Steve Carell and Timothee Chalamet for giving this your all, despite the film making being flawed with bad narration and editing. Halloween (2018) is guilty and gory entertainment. Engaging it's audience with hardcore nostalgia from the first scene until the last, working as a direct sequel to Halloween (1978). Directly forty years after it's predecessor on Halloween night- shit manages to get crazy, again. Except this time it's a blood-soaked war between Michael Myers and Laurie Strode. If you don't take it too seriously, it can be a an exceptionally fun ride. |
AuthorTheFilmInformer is a collection of movie reviews ranging from the 1950's classics to 2021 releases. Written and organized for easy viewing by Joshua Dzindzio. Also, please visit The Film Informer on YouTube for video reviews and Oscar news. Categories
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