Blinded by the Light
His Dark Materials
Forgot your password?
Don't have an account? Sign up here
Got more questions about news letters?
Already have an account? Log in here
and the Terms and Policies,
and to receive email from Rotten Tomatoes and Fandango.
Please enter your email address and we will email you a new password.
No user info supplied.
A lovely behavioral beauty of a film. Milos Forman started out as so much fun. Why does he keep doing historical biopics? The gleeful anarchy of 'One Flew Over the Cuckoo's Nest' started here.
Goddamn glorious. Preaches as both warning and comic tribute to anyone too easily swept up in artificial realities: film sets, film roles, film itself. Assigned to shoot something called THE BORED MURDERER and asked to understand Camus, one of the pleasures of this film is how these characters interact using any number of deflections or advances they seem to barely understand. Yanagimachi directs with fluid steadicam allowing these scenes to play out like graceful mini-ballads. This is a movie to fall in love with and in.
Along with NO COUNTRY FOR OLD MEN, BURN AFTER READING, and now A SERIOUS MAN, the Coen Brothers have crafted their "No Ending" trilogy, in which the struggle is living with the knowledge that death or change is around the corner. You can't stop what's coming, but Larry Gopnik (the excellent Michael Stuhlbarg) wants to know what it all means. Throughout A SERIOUS MAN, the incredibly literal examination of what it means to be an inglourious jew, Gopnik will travel to three rabbis, be plagued by dreams and dybbuks, experiment with drugs...everything but direct action. He has tried to be a serious man but in 1967 cannot cope with a changing world, let alone a changing life. Nothing has prepared him for this and he wants to know why the human experience can feel like a murder of circling crows.
This is a movie about straight-up Jews. I will accept no form of criticism that the Jews in this movie are relentlessly vulgar creatures. I've been to Hebrew school. This is where the train goes. A SERIOUS MAN is an earnest plea for understanding to the Jewish plight and it is structured as a Rashi tale. Just as they have approximated film noir, screwball comedy, the gangster film, and McCarthy, the Coens approximate Jewish folklore and comment on the nature of existence, which is in itself the purpose of these fables. In lieu of cultural in-joke, the film exists as plea for understanding the Jewish way of life while shredding it to pieces. Throughout A SERIOUS MAN, Larry Gopnik will learn that knowledge exists only through action, and yet, in typical Old Testament fashion, simple action is nothing with knowing you must be a serious man.
There's a lot to grapple with in A SERIOUS MAN, a comanx (comedy of anxiety), but it succeeds as an incredibly strong piece of filmmaking, cultural in-joke, and savage comedy. There's a storm coming, Jew. Where you gonna go? Time to make a choice.
A mess but an interesting one. Does not begin to succeed as a horror movie. Like Juno, it's a cubby for Diablo Cody to shove all her preoccupations inside of. It's more nasty and expansive than Juno and it falls apart. She may find a horror director one day that can reign her quips in. Boring in parts but far too audacious as a whole to be dismissed. Megan Fox is fine. Amanda Seyfried is outstanding. Also: the kiss is hotter than you think.
Swooningly beautiful but far too monotonous. Campion does lovely things with the notion that all love made too public is unrequited even when tuberculoses enters the picture. All of Campion's movies are a little simple-minded ideologically. They're about the life within the surface pleasures, which are very there in Bright Star but in a key beated again and again, pleasurably but monotonously. You keep wanting to walk off-camera with Paul Schneider.