Zhao gets caught in between stepping up in Hollywood and representing a touching national story here that lands her in an awkward dramatic place, but in the process, I'm kinda still glad this won Best Picture. It's got heart for days, and even if that's clumsy and uneven and bit overtly saccharine at points, everything here works in its own way, even if it never gels together into a cohesive whole. McDormand is very good, I just don't think the…
The type of explanation-free horror that functions so well despite the lack of internal logic fuelling the scares, and I think it's only because Cronenberg felt all of this pouring out of him. Like a Jordan Peele movie, the weird shit is earned, coming from a place of proper subtextual darkness and truth, so by the time you realise why you haven't seen Samantha Eggar stand up, you have no choice but to buy it. One that really creeps up on you, quite impressive.
Me: Do you like Mary Harron’s adaptation of Bret Easton Ellis’ American Psycho?
Snooty Film Analyst: It’s OK.
Me: The later scenes are a little too abstract for my tastes, but when Bateman’s monologuing carries on throughout all 102 minutes, I think it really comes into its own, commercially and artistically. The whole film has a clear, crisp look, and an old sheen of consummate professionalism that really gives Andrzej Sekula’s cinematography a big boost. Mary Harron's been compared to…