Ryan Gosling’s directorial debut has received a lot of vitriol from critics and bloggers. It’s currently sitting on Rotten Tomatoes with a whopping 29% from critics. When it debuted at Cannes, it was booed. (Also, what is up with Cannes audiences and their predisposition to booing?)
I’ve read review after review lamenting Gosling’s use homage-on-the-verge-of-plagiarism, his lack of distinct style, and his pandering the arthouse crowd. […]
Bergman’s use of deconstruction is an interesting approach to take in filmmaking, and it’s certainly not something that can be easily accomplished without coming off as tacky or overly pretentious. A less attentive director would certainly fail at throwing such an avant-garde aspect into an otherwise typical narrative film, but Bergman is no hack.
This is the first of Jonathan Glazer’s that I’ve had the pleasure of seeing. But after viewing the compelling and powerful Under the Skin, I will definitely be revisiting his other two features. In fact, I went to the DVD rental place down the street, and they had a copy of Birth for only $3.00. Hopefully I’ll be able to watch that and get a review out soon.
– DISCLAIMER – Just a heads up that there will be spoilers in the article. It should be obvious, considering the title, but I will give the disclaimer anyway. I do mention that a main character dies while briefly discussing the films, but I don’t go into much more detail than that. They are still worth watching, even […]
Wes Anderson’s continual and much lauded use of artifice and perfectionistic style is not amiss in his latest film, The Grand Budapest Hotel. I have to admit that Anderson’s whimsical artifice often irritates me, but this particular film’s gimmicks are much easier to digest than Anderson’s other recent release, Moonrise Kingdom.