“Now, repeat after me: ‘Yo!'”
“Yo!”
“Hot damn!”
“Hot damn!”
“What a fabulous window treatment!”
“What a fabulou—”
“That was a trick!”
Back To The Future: ‘Blade Runner 2049’ Just Might Be The Greatest Sequel Ever Made
I hate to react too quickly to any movie, because opinions settle over time. I often see a movie and have a negative reaction, only to find that it sits better over time. Sometimes, I leave a film satisfied, but gradually find reasons to like it less.
But it’s been less than an hour since I walked out of Blade Runner 2049 and I’m already comfortable calling it one of the best science fiction films of all time, and quite possibly the greatest sequel ever made.
Glitter In The Dark (When We Were Young, Episode 25)
“I’ve seen things you people wouldn’t believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhäuser Gate. All those moments will be lost in time. Like tears in rain. Time to die.”
‘Mother’ Lover: Aronofsky’s Defiantly Divisive Antidote To The State Of Cinema In 2017
How to review a movie like Mother?
Honestly, it’s probably best not to try… but here goes.
How I Became The Prince Of A Town Called Bel Air (When We Were Young, Episode 24)
“You’re moving with your auntie and your uncle in Bel-Air.”
Take This Pink Ribbon Off My Eyes (When We Were Young, Episode 23)
“I thought I knew you
I thought I knew you
I thought I knew you…
Oh well.”
Dirt In The Skirt (When We Were Young, Episode 22)
“Are you crying?”
Black & Blue: Justice Takes A Holiday In Bigelow’s Brutal ‘Detroit’
Fifty years is a long time. Unfortunately, it has not been long enough to distance America from the depicted in Kathryn Bigelow’s Detroit. There’s Motown music in the background and the cars look old, but otherwise, you’d be hard-pressed to find a single moment of the movie that doesn’t crackle with contemporary relevance. Bigelow’s direction is as frenetic as it has ever been, one-upping the verisimilitude she showed in The Hurt Locker and Zero Dark Thirty. This has become a popular stylistic choice for hard-hitting stories that straddle the line between drama and thriller, from United 93 to Children Of Men.
Bigelow’s latest film falls into this sub-genre, technically, though I’m not sure either “drama” or “thriller” is the best descriptor. Detroit is a horror movie, tense and relentless and deeply upsetting.
Folie À Boo: A Bleak, Haunting ‘Ghost Story’ Refuses To Go Toward The Light
Every once in a while, a movie comes along that is not really a movie.
Technically, yes, it is a movie, but the experience I have watching it is something different. Upon viewing Lars Von Trier’s Dogville in theaters, I felt like I’d just seen a very intimate and powerful stage production, not a film. Richard Linklater’s Boyhood was a little like that, too — the fact that time really is unfolding over the years for these actors, along with their characters, wipes the usual artifice of cinema away.
A Ghost Story is the latest such film. I liken seeing it to going to an artist’s exhibition — the scenes are like individual pieces. You stop there for a minute or two, think about what you’re seeing, what it makes you feel… and then move on.
