what's poppin, what's the deal?
There are some definite oddities here, resulting from both the textural elements affixed to an on-rails revenge narrative and all the over-determinative story elements trying to interpose a good/evil existential question between the two stages of character transformation that already existed at the basic level. If I like one thing about villain origin stories it's that it mostly shifts the traditional Hollywood narrative away from transcending the good/evil opposition represented by an external figure (a villain) and toward the plot…
there HAS to be an alternate ending that was cut from the film where it turns out Nicolas Cage was also animatronic. nevertheless, a movie about rituals -- both Cage and the collection of twisted puppets speak their minimal motivations through childlike phrases (nonverbal phrases, in Cage's case) reflecting the internal motivation of the narrative which pushes through spatial aesthetics first and foremost.
Maci, a hired escort: It's kinda weird having cameras around, right?
Nathan Fielder: We could turn them off if you want.
M: laughs Could we?
NF: Do you want to?
M: Does that defeat the purpose?
NF: What's the purpose?
M: You're filming something. It's kinda the purpose, right?
NF: We do have this drone. It'd be cool to get a drone shot, maybe.
Nathan Fielder's just fucking brilliant TV show has always been built around the similitudes between…
There are a few things you will see many crime thrillers have in common. Among them are the ominous aerial shots, night-vision photography, and scenes operating with only a single limited light source. Denis Villeneuve no doubt uses all three of these, but it is the subtle impressionist inflections he adds to them which sets this film far apart. I am going to focus on his aerial shots for two reasons: One, they especially stand out for their exceptional ability…