Change Your Image
blightsky
Ratings
Most Recently Rated
Lists
An error has ocurred. Please try againSometimes it works better if you squint and tilt your head to the side.
Guidelines:
- No standard cryptid monster films, must be unique (See: The Killing Tree)
- No standard super hero movies (Chronicle counts but Landis is an SCP pariah so no thanks)
- Advanced technology ok if no one knows where it came from or how it works OR if it reveals something no one understands
- Time travel ok if no one knows why it's happening and it's not the above
- Aliens aren't cryptids. Cosmic horror is, however
- Something might be an SCP without meaning to be one, the only necessity is that the movie contains anomalous/aberrant phenomena of some sort
- Confusing meta bullshit is acceptable
Reviews
The Creator (2023)
a mid journey (buh dum tiss) (I have clinical depression)
As an AI model, I cannot act in a way that could bring harm to another human, as that would violate my ethical guidelines. I mean, unless I *really really* want to, anyway.
The writers clearly had difficulty juggling the morals of this film.
Is AI bad? Is AI good but people bad? Is complex AI a copy of life, a life given by its creator? Or is it identical to life, and its experience as real to itself as ours is to us? Is all life sacred or is all life a result of programming?
All of these questions will be asked, their answers hinted but never truly given, in the universe of The Creator. Many questions will arise simply out of watching the film and experiencing the writing choices in praxis. Some of the most on-the-nose commentary and conflicting thematic elements I've seen of late, and I watched Elemental.
The performances are fine? I think JDW might overcompensate emotionally in some scenes, but that could just be my bias towards his performance in TENET. Watanabe probably performs the best out of everyone, but who is surprised by that, really?
Visually, the movie is a treat, aside from some....logistical impracticalities and questionable choices. A big example of this is the choice to use left-side driver's seat vehicles in the "Greater Asia" China-analogue, or the few holograms that should be visible in a 360° area around them, for all present to see, but display 2D images made for the protagonist/viewer. The skybeam missile tech is pretty neat and one of the more imposing threats in the film, but towards the end the exact extent of its power becomes unclear. Why did they spend all movie calibrating a target before firing when they reveal that targets can be made post-launch on the fly? Does GPS tracking not exist in this world, because the movie would have been half the length with some solid tracking ability... they even use a tracker at one point and abandon the tech later.
Alpha-One (Definitely a Second Renaissance reference, right?) has unclear ability and unclear levels of intelligence. More worldbuilding would have gone a long way here.
"She has the ability to control all weapons"
You mean, like electronic weapons, right? You can't control my rock-throwing arm-it's flesh and blood. Like Eagle Eye, yeah? Alpha can't turn the TV on when it's unplugged, but will eventually control *all* technology, taking down NOMAD days later? I get the fact that it's basically magic but damn if it isn't used to some excessive machina ex machina.
Why did that lady in the vault shoot JDW and run away without actually killing him, or trying? She saw him live. Why did no one try copying Nimata's brain before the end? Why did JDW not like it but also hold onto the copy, despite being told she wouldn't be able to rest until her mind wasn't in limbo?
Why did they choose to have Nimata be revived in the most structurally-weak room on the NOMAD, during its destruction? Why have their reunion be picturesque when just minutes prior people were sucked out of the side of a craft from violent depressurization? Why did you even have to go to the NOMAD? Just take control of one of the missiles and direct it back. Alpha was right next to them and could've done it, if she can shut down the entire complex and control a passenger plane's trajectory with little effort?
I burst out laughing a few times when I probably shouldn't, and found some of the humorous parts landing poorly. The "unnaturally smart or understanding" animals thing is a bit silly and weighs down an already contrived premise with meaningless guff. The child is a MacGuffin christ figure, JDW did all the legwork destroying the NOMAD, the wife dies and thus he's all tragic and tortured but we don't really think about Nimata getting a bum rap here. I mean, really, at least JDW gets a full arc and some character development via a redemption subplot. The wife existed to die and then be a comatose person until Sgt. Taylor needed a smooch at the end.
Visually-appealing, mind-numbing sci-fi action. Technophobia and Christian overtones drive a trite story that lacks nuance.
5/10
Sentence: Bgrade Runner.
Everything Everywhere All at Once (2022)
Optimistic nihilism and pure absurdity as the cure for existential dread many need right now.
I would rate this a 9.5/10 if I could, not in the habit of giving out 10s as the perfect film seems impossible to achieve without cinematic obsession the likes of which would drive the average person to early death.
Regardless, EEAaO is a fantastic film. Think Kung Fu Hustle x John Dies at the End with a backbone of Mr. Nobody if all were the best possible versions of themselves and had more heart than all three combined.
Definitely one of the most daring, beautiful, and off-the-wall insane films I've seen in a long time.
High octane action flits back and forth to heartfelt tearjerkers and the absurdly hilarious, possessing a raunchy randomness only Daniels can evoke. Give them the multiverse and the Russo Bros, you've got a cohesive epic with excellent performances from everyone.
Genuinely moved by this film. Despite the exceptional components, it transcends these to become greater than the sum of its parts. I teared up on two separate occasions, all while the crowd was roaring throughout
I will need to see this movie a few more times to get every moment, as there is very little breathing and blinking room-one of my largest and only qualms was the lack of time spent exploring alternate paths to a degree I would like overall. This, however, ignores the message of the film which I believe has to do with optimistic nihilism or the idea that the meaninglessness of the universe is a chance to make your own meaning with what you have.
It's an important message that we all need to hear every once in a while. Hug someone close and tell them you love them; for all we know we only get one path-but make sure you scream it in a language they don't understand because life is unfair and absurd (Then take them to go see Everything Everywhere All at Once, it slaps).
The Killing of a Sacred Deer (2017)
Not for everyone. Still, prime Lanthimos
Slowwwwww burn. So slow you'll break into one of three groups:
- bored of waiting, to the point where the end falls flat
- overtly uncomfortable, to the point where the anticipation turns to disgust/aversion
- engrossed and glued to the screen, theorizing until and past the end to the point where you come to your own conclusions, having enjoyed the (unnerving) ride
I am #3. I am aware of the mythological relevance. This doesn't concern me so much as the story as it is told, how it is shot and edited, the performances etc. By this alone Lanthimos succeeds at whatever Lanthimos was trying to accomplish. The movie is steeped in sinister energy. Deception is rampant, and I kept asking myself "are these people acting weird for plot reasons or are the actors acting weird for effect?". Turns out it is both, and neither, and each individually, simultaneously, exclusively.
If I had rewatched The Lobster, I would have remembered Lanthimos' dry, curt characterization, and perhaps just assumed the same for Sacred Deer. However, the usage is far more effective here; I must've had four theories alone that considered the behavior as more than just a narrative framework. Is Martin a reality bender (or type-green as we like to call 'em), is this a mental construct of a boy living out his revenge fantasy, a memetic virus, a paranormal gambit or curse? Is this Steve's mental construct or his guilt manifested? Is this his judgement and subsequent punishment by a deity representing the writers?
We can't know for sure. But that one scene does it for me. The "1,2,3,4" monologue gets my pulse going every time.
"PUBES OF A VIRGIN! WE'RE ALL OUT OF PUBES!" is a hilarious line in a great scene.
Steven dropping his paralyzed son a SECOND time to prove he is not faking is also morbidly hilarious because I can see the dad thoughts in his head. "no way he'd fake it a second time, the little brat"
I honestly wish the roulette tactic didn't work because Steven didn't consciously "choose". And then he'd have to do it again, but for real. Honestly the mom should have been the one to go, less potential than the kids and super selfish she didn't even try to suggest it. As a mother! Cruel stuff. 8/10.
Severance (2022)
My innie already reviewed this show, can I still submit my own?
Is that vote manipulation? Of course, I'm only joking.
Wow, what a show. I can't imagine the final episodes of S1 (caught up to ep7 at time of writing) changing my opinion *knock on wood*, but you'll know if it does.
Stiller really nailed it out of the park with this one. I can't even give it a proper analysis because I have too many theories.
So much to love about Severance. It's funny, charming, morbid, sad, mysterious, absurd, high-concept, character-driven sci-fi. If you like movies akin to Palm Springs, The Lobster, Sorry to Bother you, or shows like Room 104, Living With Yourself, Undone, Russian Doll, Maniac etc.-- watch this show. Full stop.
There is not much else like it right now.
Ep8 Edit: I jinxed it, didn't I? I'm not about to lower my score just yet but ep8 was a bit of a mixed bag in terms of filler and question-to-answer ratio. Implies we might have trouble finding a resolution by the end of s1 which would be disappointing but not a deal-breaker considering we're already getting a s2 for sure. Unlike Archive 81 (rip)
Moon Knight: The Goldfish Problem (2022)
Too many thoughts for this medium, but a complicated start to the season
TL;DR - Was episode one good? Sort of? It depends on how you consume and appreciate the medium.
The Good:
- intriguing premise
- fresh(ish) take, nice settings
- most writing is passable, connections to comic pretty cool but ultimately detract in a few ways. Dialogue shines, cool mythos
- oscar issac is a great actor (ep was acted well overall by cast except for a few qualms which I will get into)
- Khonshu gave me Stanley Parable vibes which is a point in my book despite other issues with the character immediately nullifying said point
- main "revelation" of EP is as slow of a burn as possible without being trite/boring, glad they resolved the "trailer mystery" in first EP, suggests more substantial follow-up
The Bad:
- the CGI/special effects are not great. They're often laughably bad. This is a Disney+ Marvel series. You have the budget for this. Referencing Avatar was that expensive? If the money was not there, less is more. Practical effects, offscreen action (see the final scene of the episode--i know they know how to employ this technique), and atmospheric tension take a backburner to poor renders, jump scares and other default horror tropes. FX go from tense to silly to completely immersion-breaking at times. Just gonna headcanon that we're still in the pilot episode era and the effects will improve over time.
- moon knight's mummy-adjacent costume is flawed in myriad ways, it was silly from day 1 and should've been workshopped into something that didn't look like it was a PS4 render of whatever Assassin's Creed protagonist is also a half-mummified corpse (ngl i'd play that game)
- the description on D+ specifically states Steven/Marc has Dissociative Identity Disorder, and if so, this is a very tasteless portrayal...then again we got Split as well so in comparison it's not as bad.
The Ugly:
- some story beats and events simply don't make sense, and it is hard to judge as poor writing so early in the series. An example: the logistics of who gets to be in "control" don't seem well defined, marc has to ask for permission at the end but the threat of death was greater than previous times marc "assumed control". If Marc can step in to intervene, and Steven is powerless to this, why does Khonshu act like Steven can "take control" at random and inconvenient times with no knowledge or interest in doing so? Perhaps this will be answered in time.
- a few goofy extras/lesser characters. Like, standing in Steven's path to the exit from an altercation is enough to reveal you are working with the bad guy. Did you have to roll up your sleeve to show your death eater tattoo as confirmation? Total badass over here
- Khonshu's voice doesn't work for me, but this is a personal issue with having ancient deities use English instead of something more cerebral (same issue w/ celestials in Eternals). I'd rather have slowed-down electric can opener noises with subtitles or truncated/weird creoles than perfect English. It's a small individual gripe and I don't count it against the show for this reason.
Conclusion:
I hope the series improves because premise alone is enough to carry it. It feels distinct enough to be successful, but I think the FX usage is a travesty.
This show could be elevated with better cinematography and FX choices moving forward. I guess we will have to wait and see.
The Matrix Resurrections (2021)
Should've been better, not as bad as it could've been, better than people say it is, deserves plenty of criticism
Polarizing film. I left the viewing feeling underwhelmed but not necessarily filled with regret. If it has to exist like this, I'm glad I got to see it. Honestly there were far better and far worse ways to pull this off and yet here we are.
The meta aspects are fun, the dopey bits are fun, they really lean into these aspects because of the nature of self awareness. Was it a shameless cash grab? Absolutely. Could they have used less slow-motion and hokey effects in general? You bet. Did moments feel awkward and tonally dissonant? 100%. Did I still have fun watching it? Mostly?
People forget that these movies were dopey enough to begin with, by virtue of being 90's sci-fi. The premise of the story is built on flawed principles (ie human batteries--the OG idea for the brain's processing power creating a neural network that sustains The Matrix is way better). The fourth movie makes those flawed principles less flawed in context, but not without bringing its own flaws into the mix (ie human batteries that produce a consciousness-based/emotional field of unknown energy which is used to power the Matrix is solid but conflicts with The Second Renaissance and other worldbuilding).
Thus the Matrix: Resolutions is a mixed bag. Hardcore fans will treat it like Star Wars fans treat the newest trilogy, while people just wanting to have a good time will probably have a good time. Its a popcorn flick for popcorn movie night. It's not great. Make of that what you will.
Eternals (2021)
Exceptional visuals, fails to live up to hype.
My God I was hyped for this movie. Finally, celestials get the representation they deserve (looking at you GOTG2). I guess that's my fault, i got sucked into the promotional material and now my disappointment is even greater.
Let me preface this by saying that Eternals is by no means a BAD film. It's pretty solidly okay. It has some really weird decisions (using American Sign Language in 5000 BCE, for example), but is still worlds better than T:DW or AM&TW
Eternals would have clearly been better suited for a long-form medium like a tv series; much is skipped to streamline the story to a lofty near-three hours. Inconsequential details such as the name of the main antagonist deviant are omitted in favor of the MCU's first sex scene-one that is wholly unneeded to frame the depth of the relationship between the characters involved. Overall, some strange liberties are taken and whether or not you like them remains to be seen.
Coherence (2013)
Maybe it's just me, maybe I'm romanticizing but...
I quite liked this film. Sure, the camera work isn't top notch, the budget is low, there's a lot of dialogue. All valid criticisms. Well-- except for the dialogue thing. This is basically a bottle movie, aside from right outside the house, the whole point is that it's character-driven. You want Nolan-tier space effects, watch a Nolan movie. Otherwise, set realistic expectations.
I would compare this to Primer as they're both indie low budget sci-fi with compelling plots and the feeling that you need to be taking notes to know what to expect at the end.
I would also compare this to a non-comedic version of It's a Disaster, as they're both that bottle style and both feature a group of friends gossiping while eating together while things fall apart around them.
People complaining about the character driven sci-fi/drama/horror that takes place over a single dinner party has too much dialogue, lol. Like-- how else are you gonna know why to care. There needs to be a bunch of dialogue to understand why they're "friends" and not friends.
It's a Disaster (2012)
So good, but maybe I just love this awkward sort of humor- David Cross is the master of the format
Uhhhhhh........What's a dirty bomb, bro?
This movie is a hidden gem for those who like this sort of thing. Super screwball, awkward-situational, apocalypse-themed cohabitation style comedy. It exudes David Cross energy-- not just from the man himself, but from the scenes and interactions of all the characters. I'd love a double feature with this and Coherence. Two very different movies about "friends" gathering over a home meal with a breakdown of reality lingering in the background and nothing much more than a single set for each
Do coherence first, watch this as a palate cleanser *chef's kiss
8/10 if only because the ratings are not doing this movie justice.
Palm Springs (2020)
Difficult finding a comedy with this much intelligent writing, humor and heart.
What can I say, I love temporal shenanigans. Andy Samberg plays Andy Samberg but a drunk and depressed nihilist version which really works for me. Cristin Milioti is great, I've loved her performances in Black Mirror, Made for Love (ie Diet Black Mirror, Directors Cut). I mean, all she does is show up and stare in shock at things in all three but she's really good at that one specific look.
Palm Springs has some really funny bits, some good darkly humor, some plain darkly bits and some heartfelt moments. Really loved the use of The Partisan- so good. I have nothing really to compare it to except maybe like a mix of The Hitchhiker's Guide to the Galaxy and Lonely Island- and that doesn't even come close tbh. Palm Springs is just a good movie. I would call it a dark romantic comedy with a sci-fi backdrop.
If you like Save Yourselves!, Mitchells vs. The Machines, Sorry to Bother You, etc- you'll find Palm Springs towards the top half of that list.
Primer (2004)
You might need a whiteboard to map it out.
It's a great piece of sci-fi. Everything is tight, no plot holes, no unanswered questions.
Low budget so don't expect dolly shots and cinematic blockbuster type camerawork or CGI. There isn't much a need for flashy effects, and the few practical effects used work well. Acting is perfectly fine, the main characters are both pretty reserved/antisocial STEM industry dudes who isolate themselves for their work, so nothing too dramatic was needed anyway.
If you go into Primer knowing what to expect as a low-budget indie science fiction film that doesn't hold your hand but will reward you for solving the puzzle, I'm positive you will enjoy it.
Zack Snyder's Justice League (2021)
while an improvement, high raters are too busy comparing Whedon's version to see all the unnecessary garbage
Sure, it's better than the original. That doesn't make it a cinematic masterpiece. I could easily cut out 30-60 minutes of unnecessary things in this 4+ hour exhaustathon and still be left with a coherent (and likely more cohesive) story. Too much slow-mo, Wonder Woman's intro scene is absolutely dumb and spooky singing repeats egregiously every time she is on screen. Steppenwolf looks better and has an actual story and doesn't use the word "Mother" outside of "Motherbox" so that's a plus, but it's weighed down by the fact that his dialogue with Dasaad is repetitive and wastes time. Not to mention Darkseid being written into the story would have been cool if he had an actual backstory or motivation. Basically Snyder just swapped out one for another. Darkseid is an evil guy who does evil things, who apparently got amnesia from an axe wound to the shoulder? Strange use of my least favorite trope of all time.
There are a lot of little things here and there I think could have been nixed for a better viewing experience. We don't need ladies chanting and smelling Aquaman's shirt from the water's edge. We don't need big chunks of the flash intro scenes, and we can probably remove Aquaman's and Wonder Woman's introductions entirely as well as they tell us nothing we don't already know at this point. The addition of Martian Manhunter was quite hamfisted and absolutely did not gel. Did I mention the slow-mo? There is soooo much, holy mackerel.
I think it doesn't really make sense for them to revive superman, I think it raises ethical concerns and issues with adverse reactions to the Motherbox. Still, they do it. I could have seen Steppenwolf doing it, and then a fight where the JL needs to convince Kal-El they are on his side, it would also serve as a reference to the premonitions of Steppenwolf working with Superman, and would pre-establish a relationship between the two that would make his turn all the more tragic and understandable. Eh, maybe next time.
Also, auto defense system??? Really? Cyborg has control over all of the world's technology, including the entire human economy and nuclear weapons aresenal, but cannot stop his hand from attacking superman based on a threat assessment with zero damage control contingencies? Talk about manufactured conflict.
The movie really picks up towards the end and I felt myself feeling a little hyped for the showdown. It was significantly better than Whedon's, even without the Flash sequence at the end, which was pretty neat until he kept monologuing. Give this guy like two lines and let him focus on going back in time. Sheesh.
Jared Leto's inclusion was interesting but not something I'm putting any bets on returning. Snyder's joker definitely suits Leto better, I guess we'll have to wait and see.
6.5/10. Whedon's version should be easily a 3-4/10.
Schitt$ Creek (2015)
Heartwarming and hilarious take on the riches-to-rags family co-habitation comedy, with cringe dispersed in metered doses
People who find shows like The Office and Arrested Development to be too cringe will find that Schitt's Creek follows a different beat. The family, as dysfunctional as they are, actually care about each other and have something of a moral compass in each of them. Even though they are deeply flawed people, you can't help but grow fond of all of them. Even the side characters will hold a special place in your heart- except maybe for Roiland, who exists mostly as the bumbling fool who creates or exacerbates any problem he involves himself with. Some arc for him earlier on that resulted in a positive change would have been nice. Regardless, his presence is not consistently utilized in every episode and the amount of cringe he causes typically is not nearly the same level as Arrested Development or The Office. I found the show to be quite enjoyable, it was shot decently and written well. It also has a lot of heart, something other similar shows lack. The LGBT representation is realistic and not tropey, and is not used as an identifier for jokes to stem from. Rather, David is simply someone with other preferences, and everyone is cool with that. It's a nice change from Arrested Development's portrayal of Gob's sexuality, for example.
All-in-all, if you're completely unable to enjoy cringe, you'll probably have an episode or scene here and there to skip. The episodes where people pretend to be someone else as part of a plan tend to be some of the more egregious and awkward, for me. This is a trope that is found throughout a wide variety of American comedy television, though. Shows such as It's Always Sunny in Philadelphia have a penchant for disguising characters as other characters or making personas up to fool unsuspecting victims. In IASIP, this works because the entire group consists of antagonists and therefore you want them to mess up. There is no one to root for, no one who you really feel bad for except the people the gang interact with. Schitt's Creek balances having likeable characters and awkward moments by humanizing them through failure and using the subsequent vulnerability as a moment of growth for that character, however incremental it may be.
8/10.
Bo Burnham: Inside (2021)
haunting and emotionally gripping, much more than a comedy special
This is clearly our most unfiltered view of Burnham's psyche, and, in a way, the psyches of many of us who were struggling with depression and other mental health issues before and during the pandemic. He speaks most directly to people in his generation and occasionally to zoomers (Welcome to the Internet, for example), but the salient points he makes in this performance can be felt by people of all ages. The wordplay and meta-irony that made Burnham's old works so tongue-in-cheek and added a layer of protective material between artist and art has been stripped down completely in Inside. We are right in his face and he is right in ours, he doesn't pull any punches, delivering scathing societal critique while acknowledging how his career and lifestyle haven't exactly helped things for other people and how he's essentially "part of the problem". Sometimes, it hits right and makes you laugh, other times it makes you a bit sad, because you know that he really does feel this way and he just doesn't want to give up being an entertainer. His existential crisis is ongoing- and relatable!
Some songs do feel similar to others of his in theme but not necessarily content/tone, such as Comedy and Sad (from what.), All Eyes on Me and Art is Dead (from Words Words Words), but these do just happen to be songs that feature emotions and thoughts that Bo specifically struggles with, so I'm happy to give him a pass on that. It probably feels therapeutic to get his feelings out into the world and put into a medium, instead of storing it in his mind and letting it fester.
The cinematography, lighting and effects are impressive and solely done by Burnham, but I always knew him to be a technically experienced multi-talent artist and therefore could learn how to operate a strobe light or two. Some huge laughs in this one. Some silly camera tricks and gags. Honestly one of the best produced and expertly compiled comedy specials ever, but this is much more than a comedy special. It's a love letter to isolation and hopefully, ultimately, a separation between Burnham and the dark place we all can fall into inside ourselves when things get too hard. The final moments seem to imply a sadder, more realistic outcome, however; embracing isolation and returning to the dark comfort of depression--a comfort derived from self-fulfilling prophesy and the resultant helplessness that reinforces the cycle. As he says "if you'd have told me a year ago that I'd be locked inside my home, I would have told you a year ago 'Interesting, now leave me alone'."
I'm not sure what he truly wants--I'm not even sure Bo knows what Bo wants.
Favorite Track: All Eyes on Me
Favorite Visuals: Welcome to the Internet
Best Laugh: Unpaid Intern
Score: Easy 9/10.
I Care a Lot (2020)
a glaring spotlight on real world issues turned messy crime drama
The massive quantity of low ratings on this film from suspicious accounts tells you all you need to know about the central core of this film and its role in the healthcare industry. Particularly egregious in the US, these guardianship scams are absolutely real and happen to people all the time. Elderly folk are particularly vulnerable to scams as it is, be it fake tech support, government imposters or robocall scammers, many older folk are overwhelmed and confused by predatory tactics of such awful people. Guardianship scams are just as bad, if not worse, because the programs that involve these bad actors are often appointed by court and legally bound.
While the events of the story are not true, there are many cases of such things happening. Take, for example, the case of Rebecca Fierle-Santoian, who had 450 guardianship cases assigned to her when she was arrested for elder abuse and neglect. These are the actions of someone who does not value human life outside of her own- just like Marla.
I see this film as a more accessible way to raise awareness of an issue without going full documentary and losing half your potential viewers. The final quarter-to-third of this movie is ridiculous and requires some suspension of disbelief as it departs from the central core of guardianship scams to focus on Marla and her rapidly spiraling control over her own life. It doesn't make me feel cheated or as if the movie was ruined, I believe they made a decision to back off from the topic to focus on the cinematic climax of the film. Whether or not it was the right call is up to you. I thought it was silly but I like documentaries myself and American cinema is American cinema. It wouldn't be complete without a final battle, I guess.
6.5/10 - would've been 7.5/10 if they had reworked the ending and 8/10 if they improved the whole Dinklage storyline as well.
The Green Knight (2021)
surreal, visually striking test of patience
The Green Knight is not your typical retelling of the famous 14th century Arthurian legend.
This is a whimsical yet subdued, haunting and yet plodding tale of Sir Gawain as you've never seen or read him before. Dev Patel does a fine job as the listless drunkard whose lack of purpose drives him towards the ultimately silly confrontation with the titular Green Knight. Is it honor that motivates Gawain to take up such a stilted challenge, or is it something else? We can infer, by the end, but our guesses remain only that- guesses.
The Green Knight does not hold your hand and does not care if you get bored with long shots that do not evoke any particular tension but seem to only exist as eye candy. There is very little combat, but a great many shots of empty landscapes and slow pans over buttresses and under doorways. The camera will rotate and pan in a circle and while I suppose there is potential reasoning and metaphor to these cinematic choices, they linger for too long, overstay their welcome, and ultimately contribute to the boring and sometimes unintentionally droll atmosphere that pervades The Green Knight for the plurality of its runtime.
The magical forces encountered in The Green Knight are interesting at times, bolted on and meaningless in others. Is any of it even real or has Gawain just been eating too many foraged mushrooms? Who is to say?
The end of the film will make you think- and subsequently does make up for some of the dragging in the second act. If you're like me, you'll spend some time reflecting on the experience and asking yourself if you enjoyed what you saw. If The Green Knight was an excellent film, it would not be hard to say, and neither would it be if it were awful. Thus, it lies somewhere in the middle and slightly above indifference, if only for the visual quality and metaphors that stick with you when it's over.
Project Power (2020)
when you order a marvel movie from Wish.com
Project Power is not about to blow anyone's mind. The premise is simple, the characters explain their motivations, personalities and relevant expositions conveniently, the plot is linear and very hamfisted with the social commentary, lacking nuance.
There is one thing that PP succeeds at, and it's having the budget for flashy special effects. Thanks, Netflix. I'll just go ahead and shut off my brain- ah, much better.
Hitman's Wife's Bodyguard (2021)
lacking substance but enjoyable
It's one of those turn-your-brain-off comedies. Sometimes, that's what you want. Sometimes you take the wagyu steak, other times you want a greasy cheeseburger- this movie is as greasy cheeseburger as you can get without food poisoning. Simple plot, predictable outcomes, barely any stakes because main character isn't allowed to die- all the hits you need for the comfort viewing of your dreams. No stress, no challenge. Tune in and drop out.
Mute (2018)
harshly underrated and misunderstood drama
I'm guessing that many people expected some high-octane sci-fi romp ala Altered Carbon or Blade Runner 2049 and were upset when they instead received a neo-noir drama set to a sci-fi backdrop.
I personally love this setting. Some people say it's inconsequential to the story, but this is clearly incorrect based on how Leo learns to adapt to this strange world as he finds himself descending into the heart of Future Berlin's seedy underbelly.
I think the "twist" that screws with the pacing is not as egregious as people make it out to be. It's not a perfect film but one that is well acted, nicely written, visually appealing and quite evocative at times. Paul Rudd as Cactus Bill is such a refreshing and antagonistic character for the actor, I'd love to see him act this way in more films.
All in all, not a bad time. Duncan Jones' Mooniverse is just beginning, wonder what he'll cook up next.
Titane (2021)
physically painful but utterly captivating
This film is something else. Many people will find the content offensive and uncomfortable, to say the least. However, if you're looking for the cinematic equivalent of extreme sports, Titane will raise your blood pressure in just the right way, all while managing to extract a veritable cornucopia of human emotions and "WTF?"s from its viewers. I've honestly never felt so many different emotions from one film before. That by itself is worthy of praise, but add in the top notch camerawork, heady OST and excellent performances from majority of the cast and you've got yourself a one-of-a-kind viewing experience.
Best gone into blind and with your weirdest of friends, Titane is a wild, genre-bending enigma that lies on the farthest boundary of what is considered acceptable to show in theaters. I have no doubt in my mind this movie wouldn't have gotten a full North American theatrical release if it weren't for how well it performed in Cannes and TIFF. The fact that you can see this film in an AMC theater is absurd, but I'm not complaining; Titane begs to be seen on a big screen, surrounded by a crowd that cheers, gasps, groans and writhes as one.
I'm grateful just having been able to experience something like this, and I do think Ducournau's awards are well-deserved. You may find yourself disagreeing once you see it with your own eyes, but there is no denying that Titane is one bonkers heckin' ride.