Under the Skin (Glazer, 2013)
The director himself opined that he thought the second half of the film was about "the drift towards moral intuition [and ...] the stuff that makes us human."
The director himself opined that he thought the second half of the film was about "the drift towards moral intuition [and ...] the stuff that makes us human."
After the first seven minutes, I was worried, but then I realized the first seven minutes were actually a preview for a Metallica concert film.
When we stop asking our films to save the lost while entertaining the justified and just let them do one or the other, I expect we'll all be a lot happier.
One of the more interesting moments in The Bourne Identity comes about a quarter of the way through the film. Franka Potente plays Marie Kreutz, a woman who has agreed to drive a stranger to Paris in exchange for $10,000
Given that admission, there's no real upside to admitting that Taxi Driver doesn't float my boat.
Making a horror movie must be a little like writing a sonnet. The form is so familiar that even non-fans have been exposed to a lot of them. The (relative) simplicity of the form in conjunction with that exposure makes it attractive to creators: I can do that! It also makes it a challenge for creators and consumers alike: We've seen that!
About thirty-five to forty minutes into The Great Gatsby, I started wondering if I was going crazy, or if the film did have more cuts than usual.
I did not intentionally watch Iceberg Slim on the week in which a man of one color would be found not guilty of murdering a teenager of another color, sparking another of the seemingly endless waves of grating, chattering babble about race in this country. I'm glad I did, though, because it was a reminder (if I needed one), that nothing is as subjective in this world as what people of different backgrounds consider "normal."
I can't say I wasn't warned.
I haven't been this depressed after a movie since An Inconvenient Truth.