The Green Knight

The Green Knight ★★★★★

A24 Ranked

Not even going to attempt to write a proper review for this until I see it again at least once or twice because there’s so much to unpack visually, subextually/thematically, and symbolically, and even all of the superlatives in the world most certainly wouldn’t do it justice, but I’m at an utter loss for words. So rich in its grandeur, scale, and scope — never once remotely feeling hindered by potential budgetary restraints — to where it puts just about every single tentpole to shame, yet also is still intimate and personal like everything else David Lowery has done. Even as someone who very much loves Lowery as a filmmaker, I did not think he’d outdo A GHOST STORY so soon, yet here we are. And it’s quite fitting to mention that film as it and The Green Knight feel spiritually related, or at least I think they do? Not only are both films meditative in their approaches to how their respective narratives unfold, but both touch upon themes such as purpose and time, and have a very mythic quality to them — which is very much appropriate for The Green Knight in particular as it’s inspired by an Arthurian legend — yet also feel very timeless in the best ways. Speaking of mythic, words cannot describe how magnificent Andrew Droz Palermo’s otherworldly work on this is, further proving that shooting on digital instead of film can still look just as great as the latter, if not better, when you have the right people involved and they know what they’re doing. And while Dev Patel and Alicia Vikander have both proven to be capable actors in the past, they’re especially phenomenal in this, even making you realize in retrospect how much they’ve been underutilized throughout the majority of their careers. It’s so nice to see both actors in roles that allow them to truly shine, let alone in a film that is up to par with their performances. Remarkable scoring by Daniel Hart per usual and beautifully edited by Lowery as well. 

Utterly sublime, and the kind of ambitious, artful, personal, and surreal masterpiece that major studios want to fool audiences into believing they’re regularly producing now when they’re actually not. Comfortably the best film of the year so far. Run to the nearest cinema by you that is showing this to see it ASAP, like…today.

David Lowery forever.

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