There's something deeply unsatisfying about the final "number," perhaps because Kurosawa is forced to put a button on a film about uncertainty, and the close-ups on her face feel pithy in light of really signifying self-delusion and a half-finished story (universally), but To the Ends of the Earth may be the most fitting vessel for Kurosawa's sneakily killer Rabelaisian instincts. Perfect combination of the sweet and the rude. The world is both more terrifying and less terrifying than you think it is.
A sequelboot under disguise, convictionless in a myriad of ways. This film was not created organically but solved like an equation, with its most effective visual ideas disappointingly only adapting to the modern CreepyPasta template of a dapper floating silhouette. A great special episode of "NYPD Blue." I feel bad for Nia DaCosta, whose time in the committee film grist mill buries her social images (definitely this lacks the fantasy of Peele's films) in cliches and bad dramaturgy. Performances are…
As a series of disparate musings on industrial decay, structural rot, civic mismanagement, teenage agency, death, loss, family, all these as self-fulfilling prophecy, and a genre morality ideated through finessed genre tropes and personal philosophy, this is very disparate, but so much as to be the survey and the total, untempered internalization of the filmmaker's carefully bred artistic personality (that is, "aesthetic personality") that it is. Hooper has always been something of a "shaggy dog" filmmaker, even when putting forth…
"It's much more complex than it seems. I tried to establish some kind of motif that carries throughout the show - sometimes that's actually more important than what you're actually showing. This has a lot to do with lights and shadows: it takes place in a single night, from dusk to dawn. And all the characters bring with them some sort of history, they're not just cardboard characters walking into a slaughterhouse." - Tobe Hooper
I'm no longer convinced of…