I enjoy hating on Baz Luhrmann’s editing
Re-watching this made me remember why I wanted to study film.
Not only is it one of the best British crime thrillers of all time, it also illustrates how underrated Bob Hoskins is as an actor. Without going into any spoilers the final scene of The Long Good Friday is one of my personal favourite sequences that I’d love to analyse fully one day. A two minute close-up on Hoskins’ face with absolutely no dialogue speaks louder then any other finale I’ve watched.
How can a film be so ethereal yet so unholy at the same time?
The sheer beauty of Midsommar is insane.
Ari Aster knows exactly what he’s doing with those damn tapestries - that’s some symbolism baby.
Love a good forced perspective, noticed that Aster does it a lot in Hereditary too.
He has this ability to make buildings look TERRIFYING and it’s damn effective.
Also can we talk about how emotionally mature Midsommar is on the subject of grief?…