His version of the story might not be perfect, might not know at all times exactly what it is it wants to say, but it understands the source material in an intimately intoxicating way other adaptions have sadly lacked. This movie feels like it needed to be made now, maybe even in this very way, this new take on The Great Gatsby a saga of artifice and excess worthy of deeper explorations.
Kiss of the Damned shows that Cassavetes is worth keeping an eye on, her gorily sexual debut a vampiric fairy tale the more I think about it the more in rapture of the film I slowly become.
The magic, mayhem, merriment, madness and mirth perplexingly stripped away, Midnight’s Children is a sometimes fascinating and handsomely mounted curiosity but nothing more, and by the time it was over the only thing I wanted to do was return to the source material and rediscover what all the fuss had been about.
Sightseers shows once again that Wheatley is an inspired talent willing to bend genre to his will, this cult favorite in the making a sick and twisted gem overflowing with gory inspiration that drips from every single one of its razor-sharp comedic claws.
While composed with a meticulous eye for detail, there is still the constant omnipresent sensation that anything can happen at any moment, these characters free to shape themselves as they naturalistically would if Something in the Air was actually taking place for real and not a vibrant figment of the director’s vividly alive imagination.
It’s great, filled with superb set pieces and moments, not the least of which is a dynamic attack on the Stark mansion that had the majority of the preview audience sitting on the edge of their seats holding their breath, and I can’t say I was ever bored by anything that was going on. At the same time, there is an almost television-like efficiency that can grow stale, nothing ever popping out or calling attention to itself in a way I could ever say was entirely memorable.
Ida and Philip’s slow dance towards romantic entanglement is lovingly pure, Bier’s adroitly understated choreography allowing for a level of emotional clarity that’s divine. My heart overflowed in happiness watching Love Is All You Need, the delight I felt as I left the theatre a feeling I hoped would never end.
Watching this movie was a beguiling joy that brought a smile to my face and filled my heart with the kind of rapture that lingered there for hours afterwards. Renoir drips with insight and meaning, its depiction of two famed artists both justly celebrated today as game-changing trendsetters one all involved can be justifiably proud of.
The bottom line is that the director has a lot on his mind and a ton he wants to say, the majority of which I firmly believe deserves to be stated as loudly and as exuberantly as possible. But as good the cast is and as great as many individual moments are none of them are detailed or are as explored as fully as I felt like they needed to be, making [At Any Price] an intriguing oddity difficult to embrace even if in some ways it’s still relatively easy to recommend.