Evan Patrick Adams

Evan Patrick Adams Patron

Filmmaker @ FSU MFA Film. Journaling & processing film here.

Favorite films

  • The Sacrifice
  • Dekalog
  • Paris, Texas
  • Mulholland Drive

Recent activity

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  • Grey Gardens

  • The World

    ★★★

  • The Canyons

  • Days of Heaven

    ★★★★½

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  • The Killer

    The Killer

    ★★★★

    “The Killer” is a wry provocation that intentionally tries to trick us as consumers to absorb it as pure entertainment. This is Fincher offering a tonal experiment that elevates the influence of “Le Samouraï” and his previous meticulously crafted thrillers into a proverb about existing in a world that orbits around data-driven consumerism and ubiquitous surveillance. While this is still a thriller and still meticulously crafted; like Hitchcock, Fincher is using entertainment to meditate on the emotional state of the…

  • Poor Things

    Poor Things

    ★★★★½

    The more I think about it, the more I like “Poor Things”. Lanthimos’s knack for dry and surreal style in dialogue and performance bleed into a vast and luscious visual world here. This is a showcase of design and world building. In other films, Lanthimos is surreal situationally, yet still grounded in a someone comparable reality. Here everything is elevated with fun thought-provoking eye candy.

    Referentially, this is a clear rebranding and reimagining of “Frankenstein” with an even more feminine…

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  • Grey Gardens

    Grey Gardens

    When it comes to capturing “reality” with the camera to show how life can be stranger than fiction, “Grey Gardens” takes a monumental role. The documentary can take on many different narrative structures; when it comes to filmmaking, the person behind the camera must have an agenda to capture a subject and allow it to live in order to express a larger ruth. The Maysles never forget their agenda and their complicity in using the Beales here. The overall structure…

  • The World

    The World

    ★★★

    Jia Zhangke is a unique Chinese filmmaker who managed to make a highly political international film here with the approval of the Chinese government. That alone deserves recognition. Yet, when it comes down to the film itself, “The World” ends up becoming more of a trial of patience rather than a simmering mediation on globalized capitalism. While the underlying themes of such definitely do exist, they exist in convoluted fragments that every so often present themselves as people wander across…

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  • Barbie

    Barbie

    ★★½

    While stylistically and visually fun, “Barbie” attempts to feed on the nostalgia of the masses in a dangerous way - fueling mass conformity to like a film that boils complex existential ideas about gender and individualism into grossly pithy, binary, and superficially shallow politics. The film ends up feeling like existentialism for Tik-Tok-ers with redundant ideas that feel like 2016 leftovers. At its best, the film lays down predictably fine jokes that make quirky college educated middle-class people who hate…

  • The French Dispatch

    The French Dispatch

    ★★½

    Wes Anderson’s films always take you on a ride with deck of stock characters and the branded heightened style, above average written dialogue, visual gags, and masterfully constructed set pieces.

    What I’ve always liked about his films is that the ride lands you on a catharsis at the end. You realize you care about the characters and the world you’re in. So, when that world experiences a dramatic turn, you feel something debatably profound with the main characters you’ve followed…