Part of it is so low-key and tense (but in a way where it feels like if it were on mute nothing would appear to be happening) and then the other part of it has these special effects that are fairly corny? So while the whole “indie guy makes a more mainstream movie” thing generates some interest, the idea of what constitutes a mainstream movie at this point in time (while also being a throwback in some ways to eighties Spielberg, or riding an It Follows/Stranger Things wave) means being forgettable. The first half of this movie, spent speeding down streets at night, while some weird things happen, involving government agencies and a cult, is considerably better than the payoff, which is the child (a kid from Room and later, Good Boys) is an angel and is going to ascend to heaven.
#Lil dicky professional rapper soundcloud series#
Film comedies are meant to work in a theater because of the contagious properties of laughter, and when you lose that you end up with a thing that, even if I don’t want to subject it to “Hm, this seems kinda racist” thinkpieces that are the worst-case scenario, everything about the movie seems like the best case scenario is a reaction of “I see what you did there.”įits into the tradition of not-a-superhero-movie-but-basically tradition of Scanners and The Fury, but while those are basically the X-Men, this kid, kept from the sunlight because his dad think it will hurt him but really it’s good for him, is basically The Ray, of the 1990s Christopher Priest series I didn’t read consistently but liked a few issues of. That’s not to say I laughed at this thing, but I sort of observed it and its intentions - it never really wants you to be comfortable enough to laugh, and while the posture it takes to its black leads is sympathetic there’s still a feeling of anthropological indifference as part of its satirical thrust. Chris Morris comes from TV, of course, so I should know what I’m in for, and British comedy of a subversively-intentioned sort puts it in the wheelhouse of things I pay attention to anyway. One of these actresses led the walkout when the French film industry gave Roman Polanski an award.īeginning with like a series of “establishing shots” of Miami that eventually get to college kids partying is such a terrible way to begin a movie, really signals a degree of indifference to the language of film in favor of a a product of constant churn of content that “television” once served as shorthand for.
This is also a lot better than Blue Is The Warmest Color, where the only thing I remember is the long and graphic sex scene. I watched this director’s other movie, Girlhood, but don’t remember it, and this is a lot better. the power of music, the incommunicable aspects of subjective experience. Lots of great stuff, real delight taken in faces, the ability to change another’s expression by making them laugh. The painter is initially working on the portrait secretly, the film’s attention is tuned to the two leads’ furtive glances and studies of one another, the gaze intensely felt, but returned and mutual. This is a lesbian love story between a woman betrothed to be married to a man she’s never met and the painter who is making her portrait for the approval of said man. Well-shot enough I felt I was in good hands from the very first minutes, which feel vaguely reminiscent of The Piano (which I don’t remember super-well), this movie ends up also have a very intense relationship with music as well. I’m going to consider this a 2020 movie as that’s when its wide release was in the States also, this movie’s great and if considered a 2020 movie is easily the frontrunner for best of the year.