An ostensibly stupidโข movie with Pop Rocks for brains, made by one of *the* most preternaturally talented American Genre filmmakers of the last 40 years at the absolute zenith of his formal proficiency and audacity. Galling and retrograde in many ways, resplendent, breathtaking, and soulful in as many others. What if someone polished what seemed like a turd vigorously enough and with enough skill that you genuinely began to suspect that you were actually mistaken to identify it as aโฆ
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Pulse 2001
โWhat got you into the internet?โ / โNothing in particular.โ / โWanted to connect with other people?โ / โMaybe. I donโt know. Everyone else is into it.โ
Whatever our previous connection with isolation and the fixation and/or avoidance of death was, digital and online spaces, plunging further and further into ubiquity, irreversibly changed it. Exploded it. Proliferated it into every bedroom, every moment of silence, every relationship, turned it into this heaving, pulsing, interminably presiding common social debt. Kiyoshi Kurosawaโsโฆ
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The Green Knight 2021
This is not really a review.
What do yall think about theaters having certain showings in "Taser Rooms", where everyone attending voluntarily signs waivers and agrees to watch the movie in otherwise normal theater recliners that are fitted with decibal sensors which trigger electric shocks via the seats if talking is either too loud, too long, or too frequent?
If I were a billionaire, I would greenlight this plan with my own theater chain, be hailed as a fascist andโฆ
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Late Spring 1949
A film about transition, but furthermore, a film that embodies transition.
There is first a movie of soft humor, ostensibly low stakes, populated with ceaseless smiles, and a movie where time (and the camera) seems to move leisurely and slowly, if at all.
And then there gradually emerges a movie laden with the silent and universal fear of loneliness, where some of the smiles can't help but give way -- not in rejection of their former joy but in evolutionโฆ
