Sweeping and pictorial to the highest degree, there's a heavenly, childlike breeze flowing through each second and frame of the film. Malick's poetry loses a bit of its luxurious bloom whenever the spoken word takes the center stage, but few directors match his sheer skill with cinematic movement and audiovisual eloquence.
"You can't make an omelet without cracking a few eggs. And humanity is just a cracked egg. And the omelet stinks."
A tumbling, lifelike machine that grinds and shambles to the perpetual sound of a cacophonous, human decadence. It's our miserable existence tightly packed into a two hour reel of filthy grain that I just couldn't NOT empathize with. Mike Leigh keeps a very fluid leash throughout the course of the narrative, but never loses control of what on lesser…
A deep sense of longing and unfulfilled love, those were the ramifications from In The Mood For Love that Wong Kar-wai saw fit to salvage and let bloom anew in 2046. A very fitting - and surprisingly inventive - sequel to the 00's classic, in which Tony Leung's Mr. Chow tries to climb his way into the a new future through the slippery slopes of his past. Kar-wai finds a very interesting balance between narrative experimentation and very simple and…
"Some people move on. But not us... Not us."
Hands down, the MCU's magnum opus. A fantastically ambitious and surprisingly tender bowtie to the 21 movie journey that led to it. Excluding Return of the King, I don't think there ever was a movie that so successfully balanced its gargantuan scale with such overflowing rivers of pure and cathartic emotion.
I find it impossible to say anything else without rewatching it one more time, but let me tell you this: come awards season, I'll be on Endgame's corner. This thing deserves a memorial, at least.