Current top 4 theme: all time favs.
An essay I wrote on this film last year:
Since its inception, cinema has been not only an artistic form of entertainment, but also an enabler in discovering other countries, cultures, and ideas. For example, as far back as the 1890s, cinema has been used to depict the politics of a country, with Mexican president Porfirio Díaz using propaganda films to ideally chronicle his presidency. Pedro Almodóvar’s 1988 feature, Mujeres al borde de un ataque de nervios (Women on the…
Second watch - up to 5*. Effectively a perfect film in terms of its technical composition: the score, cinematography, acting, writing, and direction are all flawless. But that’s to be expected of this film, and something that I found true if my first viewing.
So what pulls it over the edge? Partly it has to be my greater understanding of film as an art form, as well as extended knowledge on American history thanks to a particularly enlightening module on…
Relentless and gut-punching filmmaking at its finest. Filters through the perspective of one character but finds itself branching out to see the development of many over 3 tumultuous decades. The general progression of both landscape and characterisation is fantastic, and the way it is captured through a bloody and incessant viewpoint is both horrifying and captivating. Violence breeds more violence in the slums of Rio.
This movie kicks ass and has no right being this good. SO nice to have an action blockbuster that doesn’t follow the MCU formula and finds footing as its own film; I’m happy to pass over its slight predictability for the spectacular action sequences and genuinely heartfelt moments - had me and my girlfriend literally jumping out of our seats in the cinema. Desperately in need of more blockbusters in this vein to quench the thirst for brilliant action.
There are singular moments, plotted deftly in the opening act of Interstellar, that mean nothing at the time; merely a motion or an action that can be disregarded straight afterwards. But they’re not completely forgotten.
Chris Nolan throws us into a world with no context. It’s Kubrickian-esque: he presents us with a scenario and we just have to accept everything that is shown to us. It’s like a shadow. He conceals information - letting us ponder on its meaning, speculating its place…