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  • Limbo

    Limbo

    ★★★★

    This is really something. The high contrast black-and-white gives the film, at times, an almost avant-garde quality with the city and particular settings assuming a revolting, unfamiliar, even alien character. Cheang demonstrates a stunning level of control, in a way that here really signals that he would be most likely set to be To's heir-apparent if it weren't for a Hong Kong film such as this being an essential anomaly rather than the more common prestige film it would once…

  • Sherlock Holmes: A Game of Shadows

    Sherlock Holmes: A Game of Shadows

    ★★★★½

    The Dynamics of an Asteroid

    A film of slowly accumulating minute collisions and collateral damage, ever gathering size, scale and speed. Ritchie has always worn the machinery of his cinema, and these Holmes pictures, fairly plain but here the use of montage becomes explosive; with Holmes' deterministic and omniscient capacity here associated with a mechanised drift toward calamity. It makes for interesting reflection on the cinema-machine, its assembled nature and how it is used here to map the anatomy of…

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  • Zack Snyder's Justice League

    Zack Snyder's Justice League

    ★★★★

    Tarnished visions, lost films and abandoned or otherwise destroyed cuts are not unusual occurrences in the history of cinema. Erich von Stroheim’s Greed, Sergei Eisenstein’s ¡Que viva México! and Ivan the Terrible, Part III, or almost any project of Orson Welles’ following The Magnificent Ambersons speak to the consequences that might await filmmakers whose ambitions stray to close to the sun or come up against the wariness of studios and producers who see a bottom line threatened by artistic largesse.…

  • Justice League

    Justice League

    ★½

    The existence of Justice League, in the form that the world has seen it, cannot be understood without the reaction to Batman v Superman (BvS) as context. At the heart of this reaction lies Armond White’s basically correct diagnoisis that the “culture has lost appreciation for the true aesthetics of cinema”. He further develops his point by arguing that this is a condition that has been preyed upon by artless studios to the point that those to whom a film…