Watching too many films for my own good in an attempt to get a reliable overview of the field. Love to find rare, great gems.
By turns dreamlike and playlike and conventionally filmic, viewers may find Joe Wright's Anna Karenina confusing at times. Once used to the slightly disorientating style though, they'll discover a beautifully transferred literary classic that despite being heavily abridged, still manages to say a lot about love and disgrace as experienced by members of the Russian aristocracy in the 1800s.
Based on a story by George Lucas, Radioland Murders is a whimsical Altman-esque whodunit-comedy. Impeccably edited, it often moves at breakneck speed and got a fantastic, attention-grabbing audiovisual rhythm. Its story though, isn't nearly as memorable and the jokes are only so-so.
Wes Anderson's films are known primarily as Wes Anderson films, which is not very surprising seeing as he has developed his very own style, consisting of symmetrical colorful photography/art direction infused with sweet sounding pop songs, a combination that it takes mere seconds to recognize as distinctly andersonsonian. When looking back it's clear though that it was Anderson and Owen Wilson as a pair that had something really special going in the late 90s and early 00s. It was their…
What begins as a classic fairy tale with rivalry between noble, overly sensitive ballerina and a free-spirited dancing partner, guilt-inducing mother and a character that resembles an evil queen with cruel intentions (Cassel's dirty minded instructor), derails via the more mature themes of personality disorder, sexuality and mutation, slowly and steadily into a beautifully controlled, complex mess. Neither Portman nor Aronofsky has ever been better.