Sunday, 18 November 2018
The disadvantage of fact-based stories is always two-fold: firstly, we are likely to know the end result, and yet secondly the awareness that it is a representation of actual events can be intrusive, in that any more extreme moment can raise a nagging doubt about how much the drama or violence have been souped up for effect. Nevertheless, Cranston's performance is as good as his Walter White, all smooth topshow covering barely-contained panic, and the menace surrounding him is quite palpable at times.
Sunday, 21 October 2018
This is all for an audience that we're repeatedly told doesn't actually exist, because there are no cameras, and it's clearly meant to say something about the nature of performance arts and their purpose. But the point remains irritatingly, wilfully unfocused. It seems to be enough for Carax to chuck enough dissonant weirdness at the screen in the hope that the viewer will make some of it coagulate into a personal meaning. It's a tremendously lazy and self-indulgent presumption and Carax is hardly the only artist to have tried this, but not too many in the cinematic field have the sheer audacity to chance it. If that still sounds like a lure or virtue, it shouldn't.
Friday, 19 October 2018
The film has been criticised for both sexism and extreme violence, but these aren't really the problem, since it's quite plausible that the world she moves in is still that crude and brutal. The bigger problem is the muddle that the plot gets into with its double-dealings and fuzzy character motivations, including a U.S. official who we're led to believe is prepared to sell top-level military secrets for an Austin Powersesque $250,000. The sheer lack of focus and realism ends up detracting quite badly from the tension that it seeks to build up.
Thursday, 18 October 2018
Monday, 15 October 2018