Wannabe No Waver | Wet Streets Cinema Enthusiast
William Friedkin always seemed to steady his work through adaptations of plays, his singular no-bullshit style the perfect sensibility to know the exact right amount of filmmaking to add to the source material, without taking away from the highly curated minimalism that is inherent in most great plays. Totally lost as a young filmmaker, coming off making a (bad) Sonny and Cher movie, it was an adaptation of Harold Pinter's The Birthday Party where William Friedkin found his cinematic voice.…
Big Friday night alone, I flip to channel 848 thinking it's Fear and Loathing in Las Vegas already in progress, a perfect movie to throw on in the background while doing other things (just as Terry Gilliam intended). Was very confused for ten to fifteen seconds as I (slower than should have) processed that it was not Court TV's Johnny Depp playing Hunter S. Thompson on my television screen. This was Fear and Loathing in Aspen, apparently, a dramatization of…
It's just the dumbest irony that Cassavetes worked his way up from nothing, scraping whatever acting money he could find, even mortgaged his home, to make personal film after personal film that when looked at as one giant statement ultimately reaches the artistic conclusion that the only thing that matters in the end; is love. Only for that to repeatedly inspire a fucking clown parade of legacy kid dipshits to make movies that consist entirely of couples arguing as a shortcut to being taken serious.
Adult son David Fincher needs help from his dad to craft a cinematic love letter to the Luigi of Citizen Kane, Herman J. Mankieiecz (Oldman), or Mank, as he referred to no less than 700 times in this lifeless cosplay of The Golden Age of Hollywood. The biggest problem with this sort of retro filmmaking is it never truly feels like the era it’s imitating, so you have the biggest stylistic decision destined to fail as the movie will seem…