Yay, a properly great week for cinema for once. Honestly I’ve been thinking on it recently and I think I may have been being a bit stingy on my five star reviews, especially on big budget action joints. I did reviews without ratings for a long time, I think i still prefer that style of writing but there sure do be something to be said for attaching a solid quantifiable opinion on there.
This ain’t that great a review. I don’t have much to say here aside from that City of Ghosts is a brilliant, amazing film and you should totally all see it.
Google seems confused about this film’s title. For the sake of convenience I’m gonna go with the one on my ticket: Scribe. Somewhere else there’s someone believes this film goes by a different name, they call it The Eavesdropper. I’m interested in what these two titles mean, how they assign both action and intent. To transcribe is to be proactive but the action itself carries no inherent moral weight. To eavesdrop is the opposite, you’re doing nothing conceptually it’s a dishonest and bad thing to be doing.
If there were any kids’ movie which may as well have a big sign painted on the front that said essentially ‘NO GIRLS ALLOWED’ it would be this one. Like, there’s one woman in the movie, an adult not one of the kids, and even then she’s treated solely as this disposable love interest type character for another male character to pick up. I mean, I read the books, was probably getting too old for them long before I stopped, I don’t remember that there be any girls of note in them, but seriously, could nothing be done? It ain’t just like all the primaries are dudes, there ain’t a single girl in the film who the credits can be bothered to name.
Seems like Chris Nolan been listening to his critics. They say he struggles to build compelling and emotionally nuanced characters, he goes and creates a film without any. They say that his plots are tightly wound but don’t hold up under scrutiny, Dunkirk is virtually plotless. They say he mixes dialogue waaaaaaaaay too fucking low in the edit and he makes a whole film where his approach actually make sense. If it weren’t for the fact that this a full on onslaught of an action film it’d probably be unrecognisable.
The schedule got pushed back a day this week, unforeseen circumstances plus me being literal trash made it impossible to avoid. I mean, when I saw impossible it’s totally because I left all the work to the last minute and then oh no, my plan of screaming through the week a single step ahead of the curve was foiled. I’ll learn my lesson eventually.
Y’all know going through this I was struggling to put the pieces together. Like, it seems almost impossible. Modern feminist filmmaker making a joint in which a bunch of women are all doting and fighting over this one man. What? Why? Feels like a misstep, I eventually got it though and once I did it became so much simpler.
The Death of Louis XIV promises one thing and slowly, agonisingly delivers upon it. The opening credits play over the king of France being pushed around the palace gardens for the final time, after the title card hits we do not spend even a single second outside his quarters. The king remains in his bed for the next two hours as we witness the slow decline of his health and his ultimate demise. His physicians try their very best to help but it’s the 1600s and well meaning shitheels are still shitheels.
David Lynch is one of those dudes who just seems to be good at everything. Like the dude paints, makes films and music, he writes. Somehow he’s managed to maintain his legitimacy as a visual and video artist even during his experimental periods where he did a syndicated newspaper comic strip or weird aggressive internet flash animations or Rabbits. Folks actually manage to take Rabbits seriously. He’s like this multifaceted supergenius who is all at once the strangest person and the most charming person you’ve ever met.
There ain’t no reason why these fucking chimp movies gotta be so goddamn good. Like this one starts with an on screen text introduction summarising the last two films in the series because even the creators know that they don’t got an A-list property on their hands, they can’t trust their audience to have even seen them all. They wouldn’t be all that expensive but the sheer commitment to the ape bit means that almost all the main characters have to be created with the assistance of some of the most technically accomplished mocap-blend character animation work we got going on nowadays. I don’t know no one who was getting pumped for the next Planet of the Apes feature.