The LEGO Movie 2: The Second Part
The Walking Dead
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All Critics (18)
| Top Critics (8)
| Fresh (18)
| Rotten (0)
It's one of the most unusual films I've seen, a barrage of images, music and noises, shot with such an active camera we almost need seatbelts.
Shadows was a leap in the dark like none other in Soviet film history, and a slap in the face of the officially sanctioned and artistically vacuous school of Socialist Realism.
In this overwhelmingly beautiful movie, a sad, short, brutalized life is elevated to ecstatic myth.
The athletic camerawork and the bizarre visual effects take their tone from the folk ballads that recur on the soundtrack, sometimes touching an authentically barbaric or tragic poetry.
There are hallucinatory sequences in Sergei Paradzhanov's 1964 film Shadows of Forgotten Ancestors when this eruptively colorful movie feels more like a folkloric tapestry sprung to life than a film about flesh-and-blood people.
Shadows of Forgotten Ancestors is one of those rare films that look totally fresh and uncorrupted -- as if the director hadn't pilfered a thing from other film makers but had simply discovered the camera, and how best to use it, by himself.
The film's dramatisation of the urge, however quixotic and self-destructive, to return to an idealised past also serves as a sly commentary on the very real nationalistic desire of many Soviet Republics to reattain their independent cultures.
Stylistically the film is jaw-dropping -- somewhere between the French New Wave and an acid trip.
When Paradjanov made Shadows of Forgotten Ancestors, he was experimenting with a new approach to filmmaking for the first time and the aesthetic achievement is spectacular.
The fervid pageantry is like experiencing the medium with virgin eyes
Ripples with the force of nature.
Watching [this] breakthrough feature... reveals an undeniable sense of joy -- and even release -- in every frame.
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