Tag Archives: Death

Mundane History (Anocha Suwichakornpong) Review

Though rather unassuming, Mundane History conveys this dreamy energy whose effects are felt for days to come. As the title commits, the narrative events are monotonous. Yet paired with a non-linear timeline, the blatant monotony becomes the driving force of … Continue reading

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Logan: A Tale of Tragedy

Certainly one of the best ‘superhero’ films of all time, Logan separates from the pack through character depth and development akin to a Greek┬átragedy–perhaps of the neo-mythological kind. Logan’s arc, what a multitude of previous franchise installments have presented but … Continue reading

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Distant Voices, Still Lives (Davies, 1988)

This is a different sort of review. I never meant to write a formal piece, but I ended up watching the film an unprecedented three times in three days, and I want to share the experience by posting various informal … Continue reading

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La Haine (Kassovitz, 1995)

La Haine is clearly an important precursor to films like American History X and French Blood (and probably many others). The stark black and white works really well to give the film that gritty feel of urban decay and desolation, … Continue reading

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It’s Such a Beautiful Day (Hertzfeldt, 2012)

Such candid observation and comprehensive inquiry into the bittersweet truths of existence never so potently realized as in this most sophisticated of simple elegies. An animated spiritual equal to the likes of Tarkovsky’s Mirror, Malick’s Tree of Life, and Sokurov’s … Continue reading

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The Revenant (Innaritu, 2015)

Like Birdman before it, this beautifully shot and highly sensationalized film captivates in the moment but disappears into soulless immemory shortly after the curtains close. With each feature film, Innaritu has become more arrogant and mean-spirited, with little love for … Continue reading

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Ken Park (Clark, 2002)

Ken Park is Larry Clark’s most offensive and unnecessary film. It is provocative for the sake of being so, with little urgency in its quad-story structure. Unlike Kids and Bully, the film has no sense of responsibility in truth telling, … Continue reading

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Elegy of a Voyage (Sokurov, 2001)

As with Russian Ark, Sokurov creates an all encompassing atmosphere through narration and open form montage, yielding a sense of presence throughout the film. Open montage, the use of nondescript (yet no less arresting nor beautiful), non representational images, which … Continue reading

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It Follows (Mitchell, 2015)

The camera tracks vacancy, moral discontent, death of the sanctity of sex: the anguish of feeling empty inside. Sex and death and the loss of self. Perspective is found in its finale: succumbing to a moral loss of spirit and … Continue reading

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Rope (Hitchcock, 1948)

Perhaps Hitchcock’s finest moment, a surreal blending of theater and cinema. Sound and image become one. Articulate dialogue keeps the viewer utterly entertained. With scenes such as Brandon playing with the rope once used to kill, a metronomic rhythm increasing … Continue reading

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