So I liked it, a lot. I think it was one of the smartest movies I’ve ever seen in terms of really going at racial logic in the South - all those twisted messed up loopholes of racial identity and property ownership and class and authenticity. And I’m excited that this is where Tarantino is going with his career now, you know? That he writes these - yes, increasingly linear - films that really try to go at the logic that underlay a really fascinating moment in historicity, and he really I think is smart at bringing out aspects of that logic that is still present today. I’m thinking of Colonel Hans Landa, who I maintain is one of the most brilliant characters to emerge in any film because he represents not the frothing evil of Nazi Germany, but the ambivalent evil of the efficient, bureaucratic professional. But I digress. I liked Django Unchained because Tarantino, like in Ingluorious Basterds, was smart for so long before he started shooting and blowing things up. Which I also love. I love to see that kid come out (yes, I know that it’s actually supremely complicated homage, but I see it the way I see it).
Side note: I read someone say that they missed the usual strong female characters that Tarantino has in his movies. I agree.
Forgot to add this to the queue I did a while back. Listen, this was really pretty good. I laughed a lot and then found it hard to want Mila Kunis to take him back. ….I wish I liked “Suit and Tie” more than this movie but I can’t say that’s the truth.
I love my mom a lot, and she loves this movie, so we watched it together on Christmas Day. And it was sweet. It’s nice to see all those talented mature British actors getting together with Anwar from Skins.
All I can say is that I really think Joe Wright is a genius. There is no way to do a Russian novel as a movie. There is no way. There is so much. There is literally continents of characters and emotions and epiphanies and settings. The only way - really, now that I’ve seen it I actually think the only way - is to just acknowledge the fact that there is too, too much, and therefore to find a formal framework in which you can have abrupt and ridiculous transitions between characters and place and setting and mood. It was amazing. It was lush and phenomenal and an amazing achievement. Like, this is why it’s exciting to go see movies, because every once in a while one really tries to do something completely different. (Note: I am not a Film Studies major, so it’s very possible this has been done before, don’t jump on me.)
Actors: this is the most I’ve ever liked Jude Law. Literally Matthew MacFadyen will and should be your favorite part of this movie. And Keira Knightley - I really think she’s one of our best actresses right now, so don’t be hating.
Also Keira Knightley continues to represent for us small-breasted ladies, and she continues to be damn hot doing it.
Wow. Just - wow. Again, I will repeat the feeling of personally identifying with all Katharine Hepburn movies. I will also take this moment to state that I am blown away by James Stewart in this movie. The intensity and urgency of his voice is just an amazing experience. When he sings to her? Amazing. Just - I should watch this like five more times. Katharine Hepburn is luminous and alive and amazing.
Watched this on recommendation from Zadie Smith. May not have paid enough attention to it, but one scene in particular rattled me. I think it might be one of those movies you can’t ever watch with a significant other, because you aren’t going to agree and it’s going to make you angry that you don’t.
Good lord, John Hawkes is incredible in this. And I have to say that this is again a movie that impressed me in terms of its approach to a first person narrative within the form of film. The transitions between the cult and the present-day were seamless and incredible and really somewhat haunting. And Elizabeth Olsen just slays it.
Let me tell you a story. It’s a story about two ladies, a mother and a daughter, who went to NYC together and wanted to see a movie in Times Square because that’s how they roll, and they thought they bought tickets to Skyfall, and then they followed the tickets to the theatre number and found that they had mistakenly been sold tickets to this movie instead. And they were kind of tired and didn’t feel like heading back and the daughter had maybe said that she would see Skyfall with someone else and so they watched Flight.
…….honestly, kind of disappointing. Again, the awesomeness of Bane just seemed misused and wasted. The only person who really brought the movie to life to any degree was Anne Hathaway as Catwoman, which I was not expecting, but which was amazing and impressive. And Joseph Gordon-Levitt, actually, who actually brings the intensity that it always seems like Christian Bale should have but doesn’t in this series.
I think I would best describe this as being sort of a magical movie, really. About how amazing it can be to really get to know someone and actually feel like you are clawing your way out of the veil of loneliness that is so common.
What can I say about this: I can say that Joaquin Phoenix was a frightening sight to behold, a walking live exposed nerve, everything imminent and broken and violent that has ever existed. Philip Seymour Hoffman was a terrifyingly suave counterpart to him, someone whose moments of feigned sincerity are almost as frightening as moments of anger. I don’t know what was happening in this movie, I will be honest. It seemed as though PTA’s approach to trying to discuss what occurs in a cult was to submerge his audience in the same half-awake, half-dreaming state of sensory perception and social interaction, a haze of conviction and doubt and confusion.
Also Amy Adams legitimately scared the bejeesus out of me.