Monthly Archives: April 2014

The Lovers on the Bridge (Les amants du Pont Neuf, Carax, 1991)

An exciting depiction of an unusual love forged during the most deranged of times. A man desperately yearns for the love of another, while a woman desperately yearns for someone whom she may depend upon. They meet, each satisfying the … Continue reading

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The King’s Speech (Hooper, 2010)

Due to its distortive tendencies, the use of very wide angle lenses make further visible the disconnection of the king and his people. By stretching the image, Hooper foregrounds a talented Colin Firth, but does so at the cost of … Continue reading

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Elysium (Blomkamp, 2013)

Despite its constant contradictions, both normative and ideological, and despite its generic plot, which forwards the personal while tenuously grasping the universal, Elysium remains an entertaining exercise in modern blockbuster filmmaking. Unfortunately, the excitement and entertainment wrought by Elysium dies … Continue reading

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Million Dollar Baby (Eastwood, 2004)

For all its emotional gestures, I felt nothing while watching this. Through its contrived plot, poor rhythm, and false sentiments, Million Dollar Baby (2004) tries to hit all of the right notes, following some kind of feel-good-yet-still-sappy Hollywood formula. As … Continue reading

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Videodrome (Cronenberg, 1983)

   Cronenberg uses film theory to transform mediate objects into perceivable flesh. From Bergson to Deleuze, the cinema is conscious; it is consciousness reified. Perception of an image is always a subtraction of said image. The visual image is reality … Continue reading

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Captain America: The Winter Soldier (Russo Brothers, 2014)

After a rocky start, Captain America: The Winter Soldier (2014) becomes a tour de force of blockbuster filmmaking. About the time that Fury is chased down by four Hydra men disguised as cops, the film’s well choreographed action sequences and … Continue reading

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Nymphomaniac Volumes I & II (Trier, 2014)

Though split into two volumes, this is truly one cohesive film, with motifs and stylistic choices seamlessly crossing between both efforts. I will, for this reason, not review the films as separate volumes but as a whole. I will mention, … Continue reading

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The Diving Bell and the Butterfly (Schnabel, 2007)

The blink is the cut. A truly subjective experience is rendered by formal experimentation. The lens of the camera is treated as the human eye. Its capacities are limited and faulted as the human eye. The kino-eye, or camera-eye, is … Continue reading

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