Uncut Gems (2019) – Shit and Colonoscopies

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”

Lost in Translation (2003)

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.

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It Comes At Night (2017)

If I had one bone to pick with Trey Edward Shults it is that he delivered the almost perfect cinematic undertaking only to abruptly break pattern when it behooved sensibility not to; right near the end. How can you write about a horror film with palpable scares and an unresolved diversion without outright denouncing it, because this is precisely the feeling this chamber piece had left me with? Continue reading “It Comes At Night (2017)”