My rating system:
⭐⭐⭐⭐⭐ = 5 stars
⭐⭐⭐⭐ = 4 stars
⭐⭐⭐ = 3 stars
⭐⭐ = 2 stars
⭐ = 1 star
At the very least I can say that this film has been bouncing around my mind constantly since I watched it, so it's valid in that sense. But I think I'm so curious about this film because I'm trying to come to terms with the fact that this is what all the fuss is about? I've just about put my feelings to rest that this is just a deeply narcissistic, unfunny project that is pretty much the definition of 'surface-level…
One of the mightiest and most humble pieces of cinema ever made. This film is straight-up too big for me to formulate any sort of review so here are a couple of my notes while I watched it.
- To boil down how this films really feels, it's the most overwhelming sense of absence imaginable. Someone literally took The Turin Horse and made it a thing.
- 9 hours may seem like an utterly ridiculous runtime, but given the things…
Feel kind of bad for Justin Kurzel and co for making the definitive Macbeth but Visually Interesting™️ adaptation and now Joel Coen comes and wipes the floor with it. Can't say much of this adaptation feels like it breathes much new life to the words, the performances are dope but what would you expect. Its predictably close to the play from there onwards where you'd expect Coen to pull something out the bag. Visually though, this is arresting stuff. All…
Always put this off because I assumed Klaus Kinski was the lead, but luckily enough he actually has a pretty small role in this. Everyone's here for the soundtrack which is stupidly good for a film this average and is pretty much the main reason to stay. The first half an hour is pretty good and has some good laughs to spare, but even at sub-80 minutes this outstays its welcome and is dissapointingly rapey even for this sort of B movie fare (and for a Kinski film). But that soundtrack, talk about overqualified for the job.
What a shame that Christopher Nolan has finally taken his obsession with time too far to the point where it's just a gimmick to base this spineless set piece vehicle around. He can't hide this shoddy basis for his films as anything other than a director trademark that he feels obligated to do anymore.
The main problem is that people really will give Nolan as much money as he wants to do whatever he wants. Sure, he's proven…
Utterly transporting, a statement in gentle filmmaking. To me this is proof that beneath every great surrealist is a talented formalist. Surrealism for surrealism's sake is very easy to see through, when you see actually good surrealism it can feel just as perplexing but it lands precisely because the filmmaker knows the groundwork and can make that decision properly.
It's so hard not to watch The Straight Story and view it through the lens of David Lynch's career, but let's…