I continuously used him as a human shield and then I threw him down the escalator.
I really like anthologies and kinetic stuff.
Criterion Challenge Film 45: Ingmar Bergman
God is an idol carved from fear
How can a 97 minute movie cover everything? Hubris and sacrifice, conflict and forgiveness, the folly of zealotry and the despair of aimlessness. The heights of humanity and the simple fact that, no matter where you go, your ass is always just behind you. Is this what it was like to watch Shakespeare when every word was understood, every reference immediately taken to heart?
The plot is…
There was an old article I read detailing the follies of early narrative cinema. I'm not sure of the title or author (you'll have to excuse me, I'm pretty sure I was a teenager at the time) but one of the central messages really stuck with me:
In early cinema, cinematography didn't really exist. The closest storytelling performance medium was the theater. As such, many movies were filmed as if they were a play, and the camera was just the…
What an astounding day for works of passion.
This is a movie about vision and spectacle, not story. If you know the major plot points of Alice in Wonderland, you know what will happen here. The film makes no attempt to use the familiar story to make a grand statement, or twist the bare bones in a new or unusual way. What it does, however, is pour a decade's worth of art direction into a grimy Henry Selick/Marcel Duchamp collab. It never outstays its welcome.
I don't want to think about the implications of taxidermy animals liking the taste of sawdust.
The first 60% of this movie is a wrenching story of a family falling apart. There are no ghosties or ghoulies. Instead, there's a human pantheon of loss and disconnection. But, if you look carefully in the background, there is another story happening.
Most of the time that would amount to a cheap genre switch. Here, the stories are not only parallel but truly one and the same. A family can be individually broken and collectively scarred and still leave…
If I were to go for a degree in film studies, I'd write my thesis on the inverse relationship between expository dialogue and movie quality. I've certainly gathered enough evidence.
There were really two movies here, despite there being approximately 100 plots and subplots. The first movie is the boring one where two characters stand, sit, or lay four feet apart and trade boring, flat rehashes of what the audience already knows. These scenes contain several attempts to give the…