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There’s a scene in the middle of Everything Everywhere All At Once where a police officer repeatedly tells a character that she “can’t”. The officer is then questioned as to whether his use of this word is sincere or not, whether those in power have convinced themselves that their doctrine of “I’m not allowing this” is absolutely objective. He soon finds out he is dead wrong.
The Daniels are blessed as filmmakers in two ways - their ability to transpose…
The double stitch gag might be the best in the whole of the Coen’s filmography. I just want to take a moment to acknowledge Paul Newman’s entire performance in this film - the quintessential evil businessman, still looking sharp as ever in his pinstripe suit and able to mine comedy from a character that, in any other film, wouldn’t be allowed or able to be this funny.
A poisonous film, a creeping, slow acting venom which gets heavier and more painful without its victim even realising.
Filled with potent visuals and brazen images, those who give themselves over to the film's doom-laden rhythms will be completely transfixed. Very clearly not made for those of a nervous (or irritable) disposition, Hagazussa feels like more of an exorcism that it does a film. I cannot wait to see it again.
Comparisons will be made to The Witch but this…
Everything I dread when I hear the words "social-realism" condensed into ten minutes.
Andrea Arnold's first short, Milk, was smart, cinematic and intrigued by itself - it wanted to interrogate its characters and build empathy naturally without sacrificing its grief-stricken tone. Dog, on the other hand, is tacky, poorly acted and so on-the-nose that it breaks down almost immediately. It is so easy to feel sorry for Leah after she goes through a traumatising episode involving a stray dog; but…