"We have a dog named Chocolate. Chocolate always talks to him because she knows how he feels. Shall we rent her to you?"
Because apparently we live in a time when all imagined dystopias are going to blossom, Werner Herzog reveals the Bladerunner prequel that Japan is already starring in.
A scripted documentary, based on a story Herzog heard about from another filmmaker, dramatized with nonprofessionals, filmed in super raw dv doc style, and well . .starring the actual entrepreneur…
'We cannot know his legendary head
with eyes like ripening fruit. And yet his torso
is still suffused with brilliance from inside,
like a lamp, in which his gaze, now turned to low,
gleams in all its power. Otherwise
the curved breast could not dazzle you so, nor could
a smile run through the placid hips and thighs
to that dark center where procreation flared.
Otherwise this stone would seem defaced
beneath the translucent cascade of the shoulders
and would…
Presents itself as just subjective opinion, and almost trivial, while it's actually pretty essential viewing after only a third of the way through it. Do it today. It's so unassuming and friendly you almost miss the serious insight it's providing. Will inspire watchlists around the world.
The bafflingly superb Schumacher piece that pulls an inverse melodrama cord, by putting the only adults, and heroes, in a calm charming center. Surrounded both by batshit 80s ensemble family circuses, and some of the most stunning mise en scene and design.
1. There's a loving and kidding tribute to The Godfather's melodrama origins right at the beginning. I think normally this would easily come off as broad slapstick, but the scene is so rich, so warm, and sets up…
Inexplicably depressed Nationalist propaganda film. About open carry. Ford trucks. And actually gettin the feels about yer dead Mexican/Indian sidekick. There are no villains in the story. Only heroes and bystanders (women) cuz Texas.
If ever there was a case for story being inconsequential to how good a film is (a case I make always), it's this story. Written by Taylor Sheridan . . . who also wrote Sicario and won awards for it.
HoHi's screenplay begs for another go-round…
An experiment in filming, where the conceit is the content. This is a 12 year+ chronicle of an american working class family post 9/11. All the usual Linklater elements are strong here. Dumbed down philosophical angst, the shorthand of cliques, walking scenes and talking scenes and walking and talking scenes. Sudden domestic danger to liven the pace. Amateur actors left to tread water in long, long sunny takes to slow it back down.
It's on 35mm with colors bursting like…
