Jean-Luc Godard once said that film is truth twenty-four times a second. Brian De Palma countered that film is lies twenty-four times a second. You can see this philosophy already at play in this early documentary from De Palma about MoMA's Responsive Eye exhibition from 1965. De Palma's interest seems primarily to be in the ways that Op Art tricks the eye and befuddles our senses, and he uses a variety of camera moves to simulate the experience for the…
Basically a $200-million Troma movie. Can only hope that Warner Bros snaps up Troma Entertainment so that all their IP can be added to the DC Universe. Who wouldn't want to see Harley Quinn going toe-to-toe with the Toxic Avenger? And count me in for King Shark vs. The Surf Nazis.
The polarized reception of this movie is pretty fascinating. I’ve seen some friends lauding it as an urgent, necessary indictment of our times and others lambasting it as a piece of garbage with no artistic merit and nothing of substance to say. For several reasons, this is a purposefully hard film to pin down, which might account for why it’s getting such a polarized reaction. Please forgive me, therefore, as I dust off my Ph.D. diploma and throw some theory…
This review may contain spoilers. I can handle the truth.
Like Heaven Knows What, this is riveting, immersive filmmaking. The gritty influence of Cassavetes is still very strong here, but it also transforms itself into a dark, phantasmagorical comedy — something akin to After Hours.
I found the structure of the film to be particularly interesting. We open on Nick (Ben Safdie) meeting with a psychiatrist. He clearly has a mental disability of some kind. Then his brother Connie (Robert Pattinson) pulls him out of the session and the next…