Dreamy enough that I didn’t know what to say about it then, and now, months later, it lingers more as hypnagogic memory than story, as such.
This is not to say there isn’t a narrative. Things happen for a reason, and the plot pulls together fairly tightly, in a way that reminds of Atom Egoyan’s Exotica, with both’s focus on trauma and the slightest first steps toward recovery, even after angry relapse(s).
There are, I’m sure, fascinating discussions and dissections…
Previous entry which I still mostly agree with.
Watched back-to-back with director's commentary for the second (and third) go.
It's incredible how much the actors bring to this, particularly in the Brian Tyree Henry and Aaron Taylor-Johnson relationship, which not only shouldn't work at all, but shouldn't get within 1000 miles of gaining any emotional currency whatsoever[1].
And therein lies the mystery of David Leitch, who is a stuntman/action pro who can communicate with (and get excellent performances out of)…
Over the last few of decades of film, it has often been the case that a director will take a person with whom he is in love and create a movie that is a cinematic monument to how beautiful that person was at that time.
Examples include Woody Allen creating Annie Hall for Diane Keaton, Luc Besson creating The Messenger for Milla Jovovich, and Quentin Tarantino making the Kill Bill movies with Uma Thurman.
But not a single one of…
Another movie that I regret not watching previously. To be fair, it has a mixed critical reputation, but there are a couple of things going on with that, I think.
The first is that this is a technically limited film. The squishy wiggly sound-effects go a long way, but the decision to keep undercutting the sound design by showing a mass of shiny plastic that rarely moves even by the standards of yesteryear presents a real problem for anybody looking…
