Quicksilver’s rescue scene finds a balance in between freeze-frame and cinematic movement; it allows for filmgoers to pause and reflect on breathtaking images while also offering enough movement to prevent them from disengaging.
Neighbors 2 seems to be interested in more though, building off Neighbors’ subtle critiques of frat culture by offering a more blatant, feminist critique. The movie chooses not to play up stereotypical, fetishizing depictions of college-aged women, and instead skewers it.
Calling Holland and Jackson “nice guys” might be a stretch. They are good guys, sure. Nicer than other guys, definitely. But not nice guys.
When a film chooses quantity over quality, it turns into noise. This film is noisy because it’s trying to accomplish too much.
In a world that constantly shames drug abuse, Being Charlie reminds us that addicts are humans, too, and deserve love and affirmation just as much as anyone else.
Encountering apocalyptic visions like this one and like the one I grew up with in my corner of Protestantism—pre-trip rapture, “everything’s gonna burn,” then God’s replace earth with heaven—make me ever more grateful I learned about other, historic, well-reasoned, and redemptive Christian visions of the end of the world.
To the Russo brothers’ credit, they do a good job keeping all the pieces moving. Captain America: Civil War is terrifically entertaining.
Francofonia is an excellent collage of a film, mixing historical reenactment, documentary presentation, and symbolic reverie. Sokurov’s art-centered perspective on war and history adds a fascinating interpretation to these familiar figures and their motivations.
Even as kings and queens and pawns and pieces are toppled, the kingdom and those who bolster it will always stand. The elite survive. The film’s narrative of human consequence is softened by its musicality, which plays as sincere melodrama.
Even though Collective:Unconscious often wears its conceit on its sleeve, it’s lucid enough to present a true, cohesive thematic vision.