Once again Soderbergh seems to be very amused with himself. This is immaculately constructed but it's also a pretty airless spy riff; sorta funny, a little sexy, but not really all that funny or sexy. Works on paper but since there's no reason to invest in the marriage and the spy narrative is underwhelming by design, it just felt like another Sodey exercise, and I might be getting a little bored with those.

Mostly an agonizingly dull TAKEN knockoff, but some of you might think that's worth it for the very amusingly bonkers last 20 minutes.

I was hoping to never have to sit through some corny Terry Gilliam-ass alleged satire like this ever again so I'm extra disappointed to see Bong picking up that particular football. Profoundly irritating.

Good close quarters fight choreo, very well cut. Relatively pretty funny especially compared to other recent similar stuff (I'm looking at you KILLERS GAME). Marko Zaror fights Josh Hartnett.

Very methodical, very German, ultimately a bit to its detriment. The shifting perspectives clash a little with the spareness of the narrative so the emotional landing doesn't really stick. That said there's a formal economy here that along with some truly terrific camerawork makes this feel a lot more exciting and novel than its mostly generic framework would lead you to expect. Good movie.

Honestly the perspective and its presentation is all that sets this apart from something Koepp picked out of his recycle bin, but it's hard to be mad about that.

Watched this and the SNL music one pretty close together. Questlove very apparently has this ability to embed genuine nuance -- sometimes pretty stealthily -- into what presents initially as conventional music doc formal structure. This one in particular might seem remedial to someone who knows a lot more about music (I know almost nothing) than myself but I also suspect that it's so engrossing that those folks don't really care.

"God hath given you one face, and you make yourself another.” or "Give o'er the play!"

Achingly modern, entirely silly, a very pure work of ingenuity and intuition. The movie MEGALOPOLIS wanted to be. Should have been like 30 hours long.

PS: if anyone has a link to watch the full performance please let me know.

Their best film yet, a laser-focused audiovisual fetish board Franju Franco Bava Techniscope Eurospy movie, pretty much made exclusively for me.

Yeah no this just really sucks.

Ross's image-making here seems to me to be deliberately turning this away from being a more "universal" story of abuse and into being a specific one of Black trauma -- physical, psychic, and political. The semiotics are unimpeachable, but I'd also be lying if I said I didn't find the POV thing distancing and distracting.