Twentynine Palms (2004)
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Critic Reviews for Twentynine Palms
A textbook example of how a director can strip away plot, motivation, character, and meaning and still leave arrant pretension standing tall.
In Twentynine Palms, writer and director Bruno Dumont takes his cultural revenge on the United States, attacking countless American stereotypes and in the process reinforcing an equal number of cliches about arrogant French auteurs.
It's alternately monotonous, hot and dramatic, which makes for a peculiar, not entirely unsatisfying atmosphere of neo -- or is that post? -- noir.
[Dumont] forces viewers to question not only what's on the screen, but ultimately, the very nature of reality.
Audience Reviews for Twentynine Palms
It's hard to imagine anything less enjoyable than Twentynine Palms, California, but the movie achieves all that and less.
I'm not sure what to take from this. I take this to be what The Brown Bunny is, which I have not seen. It is a lot of desert driving, arguing and sex. The scenes are described as "sensually realistic", and that is pretty accurate, but it doesn?t tell you that the aimless desert driving and hiking is sedately realistic. And there is a lot of it. A lot. That is, until the big thing happens. And what the hell was that Is that supposed to be what is out there in the beauty of the Joshua Tree Park? I know there is more to the story, or that there is supposed to be, but it gets lost in almost 90 minutes of mind-numbingly boring bickering and sex. You feel no attachment to these people. The only thing that saves this movie from being worthless are the great performances by the two people. Everything except the sex scenes are touching and bearable. The howling, not so much.
Provocative but not relentless.I remote myself in a vast plain,mingled with the sky's peacefulness.I wouldn't wish though to have such temper aside of me.Palms as a fake plastic manuscript of thoughts and determinations.The couple is disjointed and yet so loving you feel their inner loss towards the end.Dumont shows how much a film can present without shaky camera movement and a classic film-making persona.The outcast figure.
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