Really fucking good in all the right ways. Ostlund navigates this slowly deteriorating relationship in a fascinating manner, providing glimpses of marital disharmony through tantalising close ups and fleeting long takes that always last slightly too long to make you feel uncomfortable (in a good way). His use of music and dark humour here is really good - definitely adds to the overall uneasy atmosphere - and, of course, the acting is great. The climactic axis of the film coming…
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Once Upon a Time… in Hollywood 2019
First revisit in over 2 years. A puzzling film that I’ve grown to appreciate more this time around. Stand by my assertion that this is, ultimately, a flick where not much happens, but it’s hard to deny its lone strength within the context of Tarantino’s already-impressive oeuvre.
The central characters here are perhaps Tarantino’s most authentic — I say that in the sense that they don’t all feel like disconnected renderings of Tarantino’s own persona, and instead carry their own…
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Guardians of the Galaxy Vol. 3 2023
This is close to the pinnacle of the Marvel brand, all things considered. Sophisticated, well thought out, and (most importantly) done with great care and love for the characters. This really is a perfect way to conclude this trilogy, despite the continuous needle drops and on-the-nose big character moments where their arcs are triumphantly completed (I mean, I did secretly love them). In itself it’s a little messy — I think they could’ve handled Warlock’s introduction into the MCU a…
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Air 2023
Considering the inevitably of its ending (spoiler alert: Jordan does sign for Nike), Affleck does a really good job at building the stakes here. Across the board the ensemble is really good and everyone pulls their weight. Bateman has perhaps never been better, and Davis, Damon, and Affleck himself are at the top of their games. In itself, Air is a fairly simple concept, but it’s executed really well, with an air-tight script and a solid directorial vision that steers…
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Interstellar 2014
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…
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