It's not hard to understand why this is Polanski's favorite film... There's so many great things about it. I think it's among the 10 best noirs I've seen.
Great movie, even though I didn't like the abrupt ending.
I actually liked the ending a lot, it gave perfect closure to the heightened melancholy and alienation of the entire film and while it was potentially the saddest scene in the film, it was also the happiest and most touching scene (in that it's the only scene where you can find some degree of happiness). It might have been a little fast but I don't know if there was much more to be said, maybe the two lovers could have had a little more time together
HyperNormalisation - interesting essayish piece of postmodern filmmaking about world leaders shaping narratives and obscuring truth in a world where nothing is real, certain or stable anymore, that can't help but feel a little too short-sighted and one-dimensional in its narrow perspective (even functioning as a meta commentary on itself and further highlighting the film's main thesis of events being simplified, whether Curtis is aware of it or not). Didn't quite love it but glad I saw it nonetheless, feels shorter that its running time might suggest so bonus points for that. 7/10
Finally saw Paterson. Really enjoyed it. It's classic Jarmusch where it's a simple story but the chemistry between the characters and the setting is full of richness. And extra points for the Method Man cameo that made me jump out of my seat. 8.5
Post by mikediastavrone96 on Feb 7, 2017 4:03:33 GMT
Just saw Arrival because I like to be late to parties. I found the first act (maybe half?) to be a little dull, it felt like Villeneuve was intentionally dragging everything out and having the actors sans Adams be as bland as possible because...? I don't know, maybe he just thinks that's what sci-fi is. It was like the film equivalent of a eulogy, what with the music and how miserable and grey everything looked. Just when I was thinking that it's hopeless for me to ever really love a Villeneuve movie, shit gets real and the entire damn world is preparing for Independence Day. Then the movie comes left and right with some clever existential questions, a genuine emotional core, and blows open a huge expansion on its themes of communication. The editing not only became much tighter, but the cross-cutting was well-motivated for narrative and character purposes that the whole film was contingent on. Jeremy Renner's character got more to do and I was starting to really dig him. Forest Whitaker got less screentime so I didn't have to hear his weird accent as much (is it Boston? New York? Some island?). Amy Adams was doing fine up to that point but was now doing some of her best work since The Master (or, for those who don't like her Master performance, Junebug), perfectly capturing the heart and soul of the film's ambitions. In short, I really, really loved the second half of the film.
Not sure what rating I'd give it considering my disjointed thoughts on the film, but it certainly skews more positive. Tentatively, I guess I'll give it an 8 but think on rewatch if I dig the first half more in a better mood and now that I know how it pieces together that it could go up to an 8.5-9.