Search Results
7/25/2025, 9:42:44 PM
>>213085555
checkem
>According to Scorsese, Aster “dives right into the side of American life that many people can’t bear to look at or even acknowledge — no one wants to listen to anyone else, which is frightening.” Such soft-headed thinking could also be applied to Killers of the Flower Moon, Scorsese’s own shaming of America’s social rot and systemic racism. That was Scorsese’s first politically pointed movie, conceived during Covid’s national insecurity. But Eddington is equally out of touch; it’s just another overblown Aster horror show (Beau Is Afraid, Part 2) and, because of its violent excess, of little significance. Eddington is so solemnly goofy that its vision of polarized America might as well not be a satire. Scorsese’s praise sounds significant, but by leaving out the word “exploitation,” it’s his political cop-out.
>Desperate to continue authoritarian argument, they misrepresent Eddington as a grand summing-up of the era on the level of Fellini’s La Dolce Vita or Godard’s Weekend. (Consider Eddington an A24 version of what Francis Coppola flubbed in Megalopolis.) They all bypass the genuine expression of polarization captured in S. Craig Zahler’s Dragged Across Concrete or Radu Jude’s Do Not Expect Too Much from the End of the World, failing to see that Aster is a hysteric, not a rationalist or aesthetic moralist like Godard. The miscommunication that Scorsese’s blurb refers to as the essence of our crise is the product of both political tragedy and B-movie sensationalism.
checkem
>According to Scorsese, Aster “dives right into the side of American life that many people can’t bear to look at or even acknowledge — no one wants to listen to anyone else, which is frightening.” Such soft-headed thinking could also be applied to Killers of the Flower Moon, Scorsese’s own shaming of America’s social rot and systemic racism. That was Scorsese’s first politically pointed movie, conceived during Covid’s national insecurity. But Eddington is equally out of touch; it’s just another overblown Aster horror show (Beau Is Afraid, Part 2) and, because of its violent excess, of little significance. Eddington is so solemnly goofy that its vision of polarized America might as well not be a satire. Scorsese’s praise sounds significant, but by leaving out the word “exploitation,” it’s his political cop-out.
>Desperate to continue authoritarian argument, they misrepresent Eddington as a grand summing-up of the era on the level of Fellini’s La Dolce Vita or Godard’s Weekend. (Consider Eddington an A24 version of what Francis Coppola flubbed in Megalopolis.) They all bypass the genuine expression of polarization captured in S. Craig Zahler’s Dragged Across Concrete or Radu Jude’s Do Not Expect Too Much from the End of the World, failing to see that Aster is a hysteric, not a rationalist or aesthetic moralist like Godard. The miscommunication that Scorsese’s blurb refers to as the essence of our crise is the product of both political tragedy and B-movie sensationalism.
7/11/2025, 2:44:13 AM
>>212569863
>Marcello Mio is Christophe Honoré’s metaphysical answer to Horwath’s political project. Actress Chiara Mastroianni’s comic pursuit of the identity of her father, Marcello Mastroianni, eventually connects us to the soulful legacy of her mother, Catherine Deneuve.
>A Minecraft Movie is Jared Hess’s venture into video game territory. Full of buoyant imagination and good humor, it combines eccentricity and innocence for a deserved blockbuster comeback.
>Misericordia is Alain Guiraudie’s latest surreal satire of a community’s moral and sexual hypocrisies — a social analysis that exceeds Hollywood sanctimony.
>The Phoenician Scheme is Wes Anderson’s study of the era’s most confounding figure, an industrialist (Benecio Del Toro’s Zsa-zsa Korda) whose actions affect his family, assassins, and the world. An homage to Mr. Arkadin, it also rebukes TDS.
>The President’s Wife is Léa Domenach’s tribute to Bernadette Chirac (Deneuve, again) that finds musical, comic, and trenchant ways around all the conventions of political celebrityhood.
>When Fall Is Coming is François Ozon’s redemption movie. Grandmother Michelle (Hélène Vincent) survives her scandalous youth, and her generosity shockingly reproves the guilt of the next troubled, culpable generation.
honnestly, not very good recs from Armond. Annd he still thinks Fall Is Coming has a positive ending lol.
>Marcello Mio is Christophe Honoré’s metaphysical answer to Horwath’s political project. Actress Chiara Mastroianni’s comic pursuit of the identity of her father, Marcello Mastroianni, eventually connects us to the soulful legacy of her mother, Catherine Deneuve.
>A Minecraft Movie is Jared Hess’s venture into video game territory. Full of buoyant imagination and good humor, it combines eccentricity and innocence for a deserved blockbuster comeback.
>Misericordia is Alain Guiraudie’s latest surreal satire of a community’s moral and sexual hypocrisies — a social analysis that exceeds Hollywood sanctimony.
>The Phoenician Scheme is Wes Anderson’s study of the era’s most confounding figure, an industrialist (Benecio Del Toro’s Zsa-zsa Korda) whose actions affect his family, assassins, and the world. An homage to Mr. Arkadin, it also rebukes TDS.
>The President’s Wife is Léa Domenach’s tribute to Bernadette Chirac (Deneuve, again) that finds musical, comic, and trenchant ways around all the conventions of political celebrityhood.
>When Fall Is Coming is François Ozon’s redemption movie. Grandmother Michelle (Hélène Vincent) survives her scandalous youth, and her generosity shockingly reproves the guilt of the next troubled, culpable generation.
honnestly, not very good recs from Armond. Annd he still thinks Fall Is Coming has a positive ending lol.
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