Uncut Gems begins with a colonoscopy and, though artful, ends with an equally intrusive view of a bullet wound. The footage of both events is blended with what the interior of a black opal appears like, its inner luster styled in a pulsating shimmer. The imagery conveys a life succinctly summed up; Continue reading “Uncut Gems (2019) – Shit and Colonoscopies”
For the longest, I had been wary of falling for the hype whenever I would come across the name of Sofia Coppola’s sophomore feature. It being Hollywood, and the plaudits emanating in unison from professional circles, my pupils dilated on cue for possible warning sings; my qualms about such works always revert to whether such films’ success is in part due to the fledgling artist’s standing in the industry’s inner tribe. If this entails missing a few gems along the way then so be it, but with Translation, something had to give, and it took no less an apt opportunity than the coronavirus quarantine to finally give in.
Continue reading “Lost in Translation (2003)”
Dreams do come true after all, and I am not talking about the leap to big city lights from rural obscurity. Liam Hemsworth, few years my junior and twice as good looking no less, got to clap Kate Winslet’s cheeks for the camera, or at least, relished the opportunity to pretend to in an acting role. At a minimum, they did lock lips.
Continue reading “The Dressmaker (2015) – Revenge in Vogue”
One might bear witness to an inadvertent realization strongly emblematic of the movie experience midway through Annihilation, that could otherwise slip undetected.. Continue reading “Annihilation (2018)”
I do not abstain from movie trailers, teasers and other promo junkets, with a pathological aversion without good reason. Continue reading “Hereditary (2018) – Between Hype and Anticipation”
Whenever viewers lament verbal exposition as too on the nose, overly oratory, or detrimental to pacing you’re easily reminded of the alternative; the type which develops through action. Though you’d be wiser than to accept as better exposition anything merely meeting the requirement of being “other.” Continue reading “Dogtooth (2009)”
