“While ‘High Flying Bird’ may seem uneven at first glance, one has to appreciate that Soderbergh directly addresses controversial societal topics that always touch a nerve in America.”
“Many can relate to the time-sucking dread of endlessly scrolling through options in search of something to watch, which has become the digital-era equivalent of scouring video store shelves for some tasty new treat or previously overlooked gem.”
“Its vibrating self-awareness, unwieldy traveling circus vibe and mind-bending movie-within-a-movie duality allow Welles to simultaneously mock and indulge in the critically celebrated, sexually-charged, Antonioni-style, European art film.”
“‘Velvet Buzzsaw’ is nicer to look at than a urinal signed ‘R. Mutt,’ but like Duchamp’s ‘Fountain,’ I won’t be rushing to see it again anytime soon.”
“How many movies have been lost or nearly lost to circumstances before a public release can provide closure for the anxious and expectant filmmaker?”
“The future of horror isn’t female, it’s the present. And it’s about bloody time.”
“The vibrant and explosive opening credits sequence sets the tone for an action-packed story that truly feels real and allows women to feel empowered.”
“To use a gaming term, it’s got replay value, but it might leave those looking for a cohesive, more-traditional narrative choosing a different path.”
“In a way, the Coens complete the arc of the film, tying it together cohesively, by suggesting that the arc is random, sometimes cruel, and sometimes meaningless.”
Zach Vasquez Interviews ‘Cam’ Filmmakers Isa Mazzei and Daniel Goldhaber
