Yes, military propaganda (although given how the original wrote the rulebook on military propaganda in movies to the point where its execution of that is in the literal history books, this criticism can feel a bit tired in this circumstance for Top Gun) – but you can’t help but be swept along in the ride that’s made from people who so deeply love their craft, a commentary on Tom Cruise himself as much as it is the character Maverick, Joseph Kosinski understands what legacy sequels work, and the film manages to drag the most ’80s film to ever ‘80s’d into a new era, with the heart, thrills and entertainment value to boot – making you fall in love with all its characters and the dynamic that is created almost instantly. ![]() Existing both above and beyond our comprehension regardless of whether you’ll vibe with it – you cannot admit anything but Memoria being the most unique movie of the year so far. You’ll need to get on Memoria’s wavelength to fully appreciate it – slow cinema is called such, for a reason – but if you embrace it it’ll stay on your mind long after its gone, a haunted movie full of reflection and rich imagery. In a collaboration with a Tilda Swinton he gives us this lyrical masterpiece, focusing on a Scottish orchid farmer who visits her ill sister in Columbia, experiencing loud bangs at night that prevent her from getting any sleep. ![]() Apichatpong Weerasethakul is probably the most interesting director around right now his rich career of slow cinema ranging from his debut, Mysterious Objects at Noon, to a cult favourite in Uncle Boonme Who Can Recall His Past Lives is richly experimental and completely genre-bendingly unique.
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