Mary Poppins Returns
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All Critics (14)
| Top Critics (6)
| Fresh (10)
| Rotten (4)
It is Gilmore's story and his family history, evoked symbolically, that give Cremaster 2 a solidity and emotional depth that are missing in the earlier, more playful installments.
A tantalizing melange of dreamlike riffs on the desolation of the American west, the empty poses of male ritual, and the blood lust of macho fetishism.
Barney defiantly makes expensive avant-garde movies that proudly flaunt both their extravagance and their obscurity, and while they're salient forays into notions of history and narrative to be sure, they're also sallies of the genius Artist writ large.
The narcotized self-satisfaction of [Cremaster 1] is, however, preferable to the narrative Cremaster 2 (1999), which, twice as long.
The most cohesive narrative in any of these films, following murderer Gary Gilmore (played by Barney) on his crime spree, conviction, & striking execution, juxtaposed with a Harry Houdini (played by Norman Mailer) subplot.
Barney's outlandish mise-en-scène, forever emphasizing the organic, the amorphous, the massive, the adhesive, and the fluorescent in quite literal ways, also retains those very qualities in my memory.
Bizarre and incomprehensible, full of imagery that's intriguing and creepy ... and this time quite sexy as well.
the 1977 execution of Gary Gilmore (played by Barney, with prosthetically reduced penis) is figured as a rodeo ride to the death
It's a little longer than Cremaster 1, and it has extra room for more confusing craziness.
Easily the most plot-driven in all of Matthew Barney's Cremaster cycle, Cremaster 2 still conveys the thematic obsessions that drive the series, and stands as one of its most accessible entries.
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