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It's long, kind of absurd and not completely as clever as I think it's trying to be, but also, given that you're trying to fully immerse yourself back into Kubrick's world from "The Shining" in a 2019 blockbuster, it actually surprisingly treats that world pretty well. Seeing that hotel and those classic scenes again but with a new context gave me an immediate sense of chills and excitement. Flanagan captures the original's set pieces very authentically while maintaining his own modern vision as well. The third act is a seriously fun, wonderful time and maybe one of my favorite things I've seen in the theaters this year so far. As a whole, it's a bit all over the place though.
I think Almodovar's nostalgia and elegance as a director and writer is as fresh here as ever. Every scene is treated so beautifully with such precision to the themes and feelings of the characters. The story, while not very heavy on plot, is also full of surprises but more importantly, I think this film functions as a love letter to one's life and in an extremely humble, graceful way that never gets too self-indulgent. Almodovar still remains one of the best in his field today.
De Palma is absolutely insane here, which is why I loved it. In some ways, it's a meticulous character study, but also an exploitation film in other ways. De Palma's vision drives this film in ways that it shouldn't work. One of my favorite horror films from this era. Sissy Spacek is terrific throughout.
Waititi has some interesting intentions throughout this, and I always love a good Nazi satire, but I feel the ideas and themes are just muddled underneath easy and cliche gags and setups. I also just couldn't get into the chemistry between Jojo and the Jewish girl. It was almost too cute and too "wink-wink" for every time it made fun of Nazis acting like children. Part of me wants to find the real truth behind all the light comedy of this, but I'm not sure it's even clear to Taika as a writer and director. Still, some funny stuff and Rockwell is always fun to watch.