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Everything posted by KK

  1. Lots of talk about the clothes he wears. Very little about his music.
  2. Indeed. I have no attachment to the source material, but looks very "meh" to me.
  3. Parasite It's not what I expected from the trailer. The whole thing leans more on the cartoonish side of things, and like most of Bong Joon-Ho's work, has all the subtlety of a sledgehammer. But it is ridiculously entertaining, brimming with wit in every frame and its strong performances. The film really cracks open after the first hour, where Joon-Ho's trademark tonal shifts works to its favour. And with all the buzz it's been receiving lately, it's also a film that'll probably get drowned in its own hype and over-analyzed by armchair critics across the web (something that the film itself pokes fun at). If you don't let that noise balloon your expectations too high, it's a pretty fun ride.
  4. Every word on the score here is 100% accurate. Saw the film a long time ago. Don't remember much about it. I recall being fond of the book as a kid though.
  5. It's lovely. But by-and-large it's probably the least substantial of the Malick scores (barring the Townshend efforts), which all explored their sonic realms with more ambition and vigour. This whole thing hinges on this one all-too-brief idea, while the rest relies on familiar film music clichés. In that sense, it pales in comparison to the likes of Snow Falling On Cedars. It's nice, but safe. Perhaps the OST will offer more for its case.
  6. KK


    Well, I think everyone feels this way. The thing is, this additional "episode" says nothing the show hasn't already. From top to bottom, it's almost exactly what's implied and comes to the imagination from the closing frames of BB. It just does it with Gilligan's usual class and finesse. So by virtue of its existence, it's solely for the fans, cameos and all. Like a DVD extra. Not much real merit otherwise. And as Lee said, I'm also a little weary of the "small universe syndrome" and obsession with self-reference that has started plaguing the BB universe since the last season of BCS. Though I didn't think that was much of a problem here. I, for one, am glad that Gilligan is finally moving towards something new.
  7. HFR is awful. It only really works for massive nature vista shots, or to compliment CGI sequences. It should stick to nature documentaries.
  8. You know I can't go back when I know it bugs you so much, right?
  9. The Lighthouse Eggers delivers a feverish nightmare that once again explores characters crippled by isolation and madness, this time eschewing New Hampshire for a distinct coastal flavour. But of course, everything is dialled up to the max. Drawing on The VVitch thematically, but heightening everything stylistically, Eggers masterfully lets the chaos unfold on screen. And it looks quite beautiful too. And while I think it's all too self-aware to have the real self-existential dread and terror of Aster's films, its impeccable craftsmanship is perhaps more impressive. Eggers is clearly less interested in the genre he has to sell, and more in the story he's trying to tell.
  10. Yea, he's been nailing some great projects from the get-go. Kid has a great agent.
  11. Has she not been nominated for an Oscar yet? Huh.
  12. The Age of Innocence "The real thing was never said or done or even thought, but only represented by a set of arbitrary signs." I think that line just about sums up Scorsese's own venture into Merchant-Ivory domain. On the veneer, a lavishly produced period drama, but underneath, as insidious and sensuous as anything Scorsese's done. The film oozes the ache and longing as Day-Lewis strokes his London books with his face, or when he slowly removes Pfeiffer's glove in the carriage, all under tempered Edwardian manners. For a man fascinated by unspoken traditions and families carrying lineage, this portrait of upper society New York fits very aptly in his canon. Often under-looked, this is the Scorsese that appreciates the nuance of the human condition. A Scorsese we would only really see again in Silence after this.
  13. I recall that, and a descending figure that made me think of a "classicized" Kung Fu Panda. That, and some more Gorecki and Pärt. All quite lovely in film.
  14. Maybe what I find so frustrating about it is that there are effective vignettes and seeds of great ideas that only vaguely reach for each other structurally or thematically. And I'm all for world-building, but not at the expense of a film's identity crisis. I'm not sure if it's trying to tell a larger narrative conceptually, or if its doing the whole "anthology format" set in LA thing...neither of which it does with much conviction. As it is, it's a bit of a loose assembly line of some well-designed scenes delivered from the writer's room with a big budget devoted exclusively reimagining a certain kind of LA fantasy.
  15. Yea..."half-assed" sounds about right when it comes to the film's thematic ambitions. The whole thing works better as a glorified commercial for 60s LA.
  16. I really liked what I heard in film. Looking forward to hearing it on its own.
  17. Couldn't be bothered much by any of it to be honest. Will check it out to see if it's a decent ride, and definitely onboard for Williams' score, but otherwise, crazy fan theory or not...I'm just generally too franchised out to give a damn.
  18. Yea...also checked this out over the weekend. It's pretty bad. Tries to outdo The Big Short in style, but ends up being a verbose, anemic, unfocused lecture on corporate scamming...just no good. You nailed it. It's a fucked up film. Most people are wooed by the cult horror imagery (which is all done very well of course)...but it's the way it deals with the protagonist's trauma, in its operatic aesthetics, delivery and execution that got to me very deeply. It's a relationship drama, gone horribly wrong, and Aster clearly knows how to twist the knife.
  19. I like The VVitch as an effective period piece, though I thought it was a bit overrated. This one looks fantastic though.
  20. Couldn't get in at TIFF. But it opens nearby here next week. Looking forward to it!
  21. KK


    Robert Forster's scene at the vacuum store is the best part of the whole thing. Other than that, not entirely sure why this movie exists. But it's fine. Any excuse to put Aaron Paul on screen more is fine by me.
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