“Just as the internet unleashed the Slenderman, it is culpable in bringing forth another seductive monster who uses this technology to warp minds and sow division…”
“Zierra builds several excellent sequences detailing Vitali’s sponge-like thirst for film production knowledge and the benefits it yielded (and continues to yield), including a virtually perfect and encyclopedic recall regarding Kubrick’s exacting color timing specifications.”
“As much as ‘Hoop Dreams’ concerns the sports-centric plight of William and Arthur, it is perhaps even more significantly an illustrative case study of what perpetually imperils men (and women) of a certain social, economic and racial constitution.”
“Given what we now know about Weinstein’s welding of harassment, assault and power to control the women in his professional orbit, it’s uncanny that a seemingly frivolous film about a girls boarding school could share such parallels with the #MeToo movement.”
“I kept imagining an alternate, 84-minute version of the movie made by Chazelle in his early 20s for 60,000 dollars, and decided it would almost certainly be more interesting and entertaining than the 2018 number that cost more than 60 million bucks.”
Ella Kemp Interviews ‘The New Man’ Filmmakers/Subjects Devorah Baum and Josh Appignanesi
“Despite its salacious subject matter — sexuality, infidelity and voyeurism — the movie contains shockingly few sex scenes, but still remains erotically charged nearly 30 years later.”
“Goddard delineates his film from its influences by focusing almost exclusively on character. Rather than a story filled with twists and turns and manipulation of the audience, ‘Bad Times at the El Royale’ presents each character’s story as a solo vignette, before tying it into the overarching drama.”
“The quickening tempo of non-diegetic, alienating sounds should not be simply viewed as part of a film score, but as an access point into the fear-induced perspectives of the victims within this film world.”
“Movies aren’t proverbs — their morals are questionable, their questions are impossible to answer. This is the case for good films, at least.”
