Look, maybe I’m getting older, perhaps this is a pale imitation rewash of the thing I once loved, still love, once dreamed of and try to cling to the dream of as the reality of the modern movie business crashes like a tsunami on the shores of LA, but — call me when Chalamet swings from a motherfuckin plane! I’ll be there opening night!!!
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Watched with Tor in IMAX at AMC Century City, our fourth M:I movie in a…
You know why I quit
playing ballads? I love play-
ing ballads. - Miles
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Masterful, sensual, deep filmmaking. Where Near Dark and From Dusk ‘Till Dawn are stylistic TNT thrill rides, this is a thematic slow burn, light, dark, then light again, the inevitable slaughter played for suspense instead of surprise, much like the inevitable vampiric blood sucking of blues into country into pop, that classical slippery slope America is built on before it all mudslides into a ditch,…
To recreate life
impossible, shadows cast
at the setting sun.
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Captivating acting, ideas, Brechtian contradictions! To show a sex scene after a scene where an actor plays an actor talking about doing sex scenes and still make me believe the reality of the fakery (or is it?) - genius.
I usually love Julianne Moore, but Natalie Portman and Charles Melton stole this one. That scene on the roof - “I don’t know if we’re connecting or I’m making a…
