Winchester is just as basic thematically, wasting, and even contradicting, its interesting ideas rooted in grief and regret. Rough resolutions posing as cleansing poetic justice are missing rhyme and reason.
It should be emphasized that the elements corralled together are strong in their own rights, and if Kurosawa could have shored up the dragging run time necessary to cover his juxtapositions, Before We Vanish could have been a much more promising endeavor.
National Lampoon was in no way politically correct, and this film uses that fact to call attention to the legitimate problems with the magazine at the time and the people writing it, making them the butt of many a joke for being out of touch even then.
Woven together as they are, without contextualization or a more dramatic arc, what’s left is only a somewhat interesting story about a somewhat interesting man that fizzles out with a somewhat of a whimper.
In their second feature after the wonderful Turbo Kid, filmmaking collective RKSS (Anouk Whissell, François Simard and Yoann-Karl Whissell) take us back to the ‘80s and hits our nostalgia bone hard with Summer of ’84, an homage to genre films from the best decade.
While lacking in much substance, Like Me acts as a visually arresting social commentary, which is not about a hypothetical dystopian future but instead about a future we’re already living in that, for better or worse, is something we need to accept.
Just recently I stated that, when it comes to films featuring cinematography from Sean Price Williams, it would be nearly impossible for me to view the overall project as anything less than worthwhile based on this simple fact alone.
Cohen and West take a non-linear approach to telling RBG’s life story, interspersing both old and new interviews and testimonies with file footage and home videos, and they punctuate major milestones in her life with benchmark cases and political movements.
It’s a polarizing film that some like myself will love and find to be brilliantly funny and others will just find it too weird and annoying to get on board with. Whichever side you land on, An Evening With Beverly Luff Linn is a movie you won’t forget experiencing anytime soon.
Perhaps, the most hindering aspect of the film would be its structure, which is comprised of six separate storylines, shuffled throughout the film with occasional overlap and interaction, and (to a certain extent) the characters who inhabit that structure.
Either from the often strikingly intimate handheld shots or his script, which bleeds unfiltered affection for his characters and the night-soaked streets of Berkeley, Quest is uncomplicated humanism that plays equally to the people at the front row as well as those at the back of theater.