The LEGO Movie 2: The Second Part
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The Day After may rank among the slighter works in writer-director Hong Sang-soo's filmography, yet it still presents an absorbingly earnest look at relationships in turmoil.
All Critics (36)
| Top Critics (10)
| Fresh (28)
| Rotten (8)
Amusingly bittersweet yet quietly resplendent...
[An] uninspired pity party comedy.
Shot in chilly, silky digital black and white, it plays with chronology in a way that seems both casual and musically precise.
The Day After may not be a particularly great film, but it does feel like a necessary one.
A lazy shoulder shrug of a movie that never bothers to work out who its characters are, what they want, or why their ostensible problems should be of interest to anyone else.
Hong tells the story in long and dialogue-filled takes, done in a soft black-and-white that feels like pencil drawings, to extract deep and earnest confessions with a graceful touch that shudders with the life-shaking emotions at their core.
Hong Sang-soo directs another minimalistic film, which focuses on witty dialogue to get his comments through, and occasionally functions as a stage play, particularly due to the long takes of people simply talking
The Day After is as messy, desperate and hopeful as real life, and twice as entertaining. Not many directors as prolific as Hong are making anything as masterful as this.
Shot in black and white, the film allows viewers to observe the characters like a visual document, but at the same time, entertaining them with humorous nuances.
The film does bring on a few laughs but doesn't make one engage with the situation and the characters.
Hong's priorities are different from other filmmakers; he eschews an adherence to film language decorum in favor of interrogating emotions and ideas that are important to him, in ways that make sense to him.
While dealing with the trope of the "other woman" Hong Sang-soo's films have always been very philosophical without being moralistic.
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