I usually scoff when people try to claim movies nowadays aren’t as good as they used to be, brushing off such impossibly broad nostalgia-fueled generalizations.
However, if they started framing their arguments around today’s lack of wailing synths and Tangerine Dream scored soundtracks, then maybe I’d start to agree with them.
Rip James Caan. End of review
A beautiful, intimate, heart-wrenching film.
This is the raw telling of the immigrant's story. The margins for success are slim, and everything is earned. Prejudices are ever-present, while sacrifices are required on a daily basis. All of this is only exacerbated by the realities of rural living and survival.
However, it would be inappropriate, and limiting, to simply label Minari as a classic tale of newcomers making it in America. For, first and foremost, it is a movie of family,…
You don’t get to see De Niro running along the rooftops, but this is still a fascinating look at Coppola’s set and cast of extras. The 16mm film and lack of audio really transports you back and makes it seem as if it might actually be from the early 20th century.
A bit too much of the mystery unravels in retrospect for my liking, though it’s still intricately crafted and entertaining as hell. Give me Benoit Blanc on a train next, everyone loves a good train whodunit.
A startlingly prophetic vision from the singular mind of Satoshi Kon. Here he is in complete control of his craft, putting the animated medium to full use in order to convey the nightmarish fraying of one’s psyche. Perfect Blue’s horror is so deeply rooted in what would become daily realities of the 21st century, that it’s a bit unnerving/surreal knowing that this predates even my earliest memories.
I honestly can’t recall the last time a mystery gripped me as intensely…
