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Sorry to Bother You (2018)
Oddball Ciritque
To me, this feels like, in a way, a modern day Taxi Driver. Whereas Taxi Driver was a critique of the effect and alienation a capitalistic society has on the working class man. This film takes the same critique but places the focus on the modern black man of similar social status, further, it takes a dark comedic viewpoint rather than a noir due to the popularity.
This critique, though focuses more on how the effect of alienation takes place through the societal pressure on a black man to make money to survive, while fitting amongst his colleagues. Our main character Cassius (Cash) does just this throughout the plot. And materialism along with consumerism takes hold of him, turning him against his peers.
The cinematography of this piece was well done, and the soundtrack was fitting with the themes. The roles were filled very well. And the comedy hit for the entirety of the movie.
Taxi Driver (1976)
Perfect Doomer Symbol
Taxi Driver, a Scorsese critique-piece, is easily among the greatest cinema. Everything, from the casting, to the roles, the soundtrack, and the underlying principles, and much more, epitomizes what a movie should endeavor to be.
This movie, so plainly a Marxian critique of capitalist free society that I won't even bother to explain the intricacies of the self-alienation and the commoditization of the working class that are clearly exemplified in this piece. Although if this weren't a review and, rather, were a critical analysis I'd love to do just that. This is, though, in fact a review.
De Niro, in one of his first breakthrough movies, played a masterful character in Travis Bickle, who can be called circumstantially an antihero (typically one of the favorite tropes of many; especially men). The rest of the cast, though they don't especially shine, were wonderfully able to portray each and every one of their characters incredibly.
If one movie could be perfect, this one is surely in the running.
My Suicide (2009)
Unfettered Potential
This film had so much potential for me specifically. It could have been the perfection of the black pill, and I'm surprised this isn't more ingrained in "doomer" culture. But it was never really meant to be that, which is obvious from the beginning of the movie, where Archie decides to be public about his convictions, something who truly wants to commit wouldn't do. He was searching for attention and a way out, despite what he says in the movie, but he does recognize his hypocrisy that I can relate to.
Corey, a character introduced later is the true synthesis of the feeling of suicidal thought. He doesn't truly reach out as with Archie, or even Sierra who reaches out to Archie. He simply felt how he felt and acted upon that in full selfishness and guilt for those who may have cared about him.
Overall, the movie is does an incredible job at exhibiting the experience of a lost teenager; someone who wants help and doesn't know how to seek it amongst a world that doesn't really care-and they themselves don't understand why they feel this way. They act out and rebel, they feign an apathetic stance, when, in reality, they are searching for someone to bring them into the light. The intense constantly transitioning and quick scenes helps to evoke the feeling of someone in this situation. The clips throughout make this feel like the Plunderphonics of film, and it was done really well, the soundtrack fits perfectly to what the piece wanted to be perceived as and altered as needed.
Marriage Story (2019)
One of many likely true stories
A soft, emotional and sentimental film on the absurdities and hardships of divorce (specifically with a child, though not exclusively). The two leads, Johansson and Driver, acted their part wonderfully, as their characters did theirs. The supporting roles were well-played; to make you angry at the indifference of people that are encountered in such trying times was their goal, and they accomplished it well.
The film is the perfect glimpse into the imperfect, into what separation, love, and selfishness can do to two people. The utter helplessness of each side to reconcile properly, without both seeming the epitome of selfish was a feeling apparent throughout the movie. The ending I was not satisfied with, otherwise I would've rated higher, as a man's life was almost completely taken from him, and a silly little gesture is an annoying affect after all that had happened. However, it was a great piece overall, and should make you sympathize with both sides in some way.
The Royal Tenenbaums (2001)
What Could Have Been
"The Royal Tenenbaums" had an incredible amount of potential, and unlike the reviews would have you believe, it did not realize this potential. The large cast of stars that seemed like they would mesh into an incredible film, were largely lost on this Anderson piece.
Like most of the characters, the film was disoriented, it didn't know what it wanted to be; being not so properly coined as a "dark comedy". Neither the comedy nor the darkness was made apparent through the entire run, presumably due to the fact that it tried hard, and failed, to be both. This desire resulted in a mediocre combination of the two that wasn't funny or very dark. We can largely blame this on the writing of the film, rather than the actors, as they all played their role very well; some of the roles, however weren't written very well (namely Paltrow's Margot). Hackman and Stiller's characters, though, I believe were the best written characters due to their development (which is only apparent near the end of the film). Luke Wilson's character could have certainly been written better, and played more off of his depression and isolation, which would have lead to a better dark aspect; Owen's character was a lost cause.
Overall, I enjoyed the shooting style, bits & pieces of the comedy, and the soundtrack was wonderfully put together. This film was wildly overrated and I expected more from what I heard prior to watching.
Passage de Venus (1874)
A Marvel
Although I would argue "Man Walking Around the Corner" as the first film, in a sort of semi-modern sense (also arguable considering the medium it was shot on), IMDB classifies "Passage de Venus" as such. The series of photos shot by Pierre Jules César Janssen of the beginning of the transit of Venus across the Sun is something to behold within the context of the time. Surely an observation of this sort in the quality that this film is in, would be largely overlooked in the modern world, but is clearly the opposite for the time it was shot. And I believe many people nowadays, even, would be surprised at the level of mechanics that was available during the 1870s; a mere 10 years after the American Civil War.
No matter which film is classified as the first, the concept owes itself to all those who worked to pioneer it and those who helped support it in its infant stages, such as Janssen, Muybridge, Le Prince, and as much as I hate to say it Edison. I like to imagine what these progenitors of modern film would think of what their invention has become, and I like to imagine they'd be elated at the beauty.