Iñárritu turned this into Birdman and no one can convince me otherwise.
Sub-standard Christmas movie that alternates between the North Pole and Phoenix, Arizona. Bill Hader and Shirley Maclaine are fun, and the colors are gloriously exaggerated, but this is mostly embarrassing. Best part is how Christmas films are *still* stuck with the subplot of technology taking over old-time traditions.
Possibly the hottest cast in cinema history, chilled to the bone by Gus Van Sant's direction. Free to meander as it pleases, Drugstore Cowboy still offers up an intensity of living life on the edge, on the border between addiction and process. How these characters operate is just as interesting as who they are as people, and it's often the tension that drives their lifestyle as a replacement for personality. Their habit finds root in the aimlessness of their environment.
What I love about Marriage Story:
To begin, it's a movie about the pain within all people. What partners, in the midst of desolation, will do to protect their own self-interest. How their love is systematically broken down and fractured in the pursuit of monetary/property gain, control over their children, and the cold, ruthless separation of a friendship. Their anguish is lesser at the beginning, but in the midst of lawyers and outside opinions, it expands fruitlessly as they…
David Lowery has found multiple avenues to explore the enormity of time. Whether it's in the independent mold of something like A Ghost Story or the big-budget exercises of Pete's Dragon - there's a clear through-line of time being the representative pain of those still with us, and the mystery that binds the line between the tangible and ethereal. What Pioneer visualizes is how even a short film offers the focus of the world beyond, in addition to Lowery's…
Ultimately very satisfying because the cast is a bunch of frat bros. It takes awhile to get going, but what's fascinating is the utter contempt it has for its characters, and how we resonate with said characters affects the ruthlessness of the eventual splatter. A slasher film built to thrill, but this is also interested in scaring those who scare others in reality day-to-day. It's after the victims.
An often repeated composition in Mike Flanagan's Doctor Sleep adaptation is the chilling image of a person greeting the decaying, cackling 'room 237' spirit from Kubrick's film in a bathroom far away from the Overlook Hotel, shutting the door behind them in an effort to confront the evil head-on. Whereas Kubrick's film often revealed ghosts as totems of existential memory and the pains of being alive ("great party, isn't it?"), it is the reconciliation between King's overt mythology and…