Brittany Runs a Marathon
John Wick: Chapter 3 - Parabellum
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Persona has influenced the visuals in the closing sequence of "The Tree of Life" and the plot of Roger Altman's "3 Women," all almost direct re-make. The original hs inspired cultural critics like Camille Paglia and Susan Sontag, although both scholars abstain from sustended critiques of the film. Sontag's opposition to artistic interpretation created an essay that eliminates all the psychological schools of film analysis but argues for an appreciation of form without delving for content, or form-as-content. This non-critical approach to criticism prevents plot summary because what happens is not obvious and expository in experimental film. Paglia has only referred to Jungian archetypes as the origin of her thinking on female sexual personae and obliquely made allusions to 1960s foreign art films as sources of inspiration. Visually striking Ingmar Bergman film that situates itself very much in the tradition of cinema that refers to the limitations of the genre. Opening with an impressionistic sequence of random overexposed images and at a point the film dissolves showing only the light of the projector. The story it tells has to do an almost vampiric appropriation of other people's identities.
The Night of gratuitous naked flashbacks, or perhaps the night a title was devised for a film without a plot? An Italian giallo (gory horror film from the 1970s a genre synonymous with Dario Argento) that focuses on deranged Lord Alan Cunningham in swinging London (though everyone is speaking Italian) who has a penchant for taking red-headed, disreputable women to his castle and their demise. His extended family seems poised to swoop for his fortune but are they deliberately trying to drive him mad? The plot twists are mystifying and de rigeur
Although "Dark Shadows" has the beautifully crafted Gothic aesthetic inspired by German Expressionism that defines a Tim Burton film all other aspects imply contactual obligation. That the script deviates from the television series is not inherently problematic except when it eliminates all suspense created by the threat that someone in Collinwood Manor would discover that Barnabas is a vampire. The dialogue is uneven and stilted, reducing Carolyn to a shrill quasi-rebellious adolescent whose bad behavior is limited to owning T. Rex records. Victoria is labelled the obvious reincarnation of the doomed love interest and then ignored, despite being employed as a governess there are few actual moments with her educating Davy. Sprinkled sparingly throughout the film are moments of humor some natural, some forced... but nothing coheres. The only reason this film exists is due to the pop cultural fifteen minute preoccupation with vampires, not because "Dark Shadows" was an influential supernatural soap opera and camp classic.
For once the tagline for a movie is an accurate synopsis because Nowhere is "a Beverly Hills 90210 episode on acid." Gregg Araki's "Nowhere" has an ensemble cast of who's-who from the late 1990s teen stars (James Duvall, Rachel True, Mena Suvari, Ryan Phillippe, Heather Graham, Guillermo Diaz) as perverse, vulgarly inarticulate, Californian hipster nihilists. Some of the best worst dialogue in the history of film, bisexual fantasies, alien abductions, murder by a can of Campbell's tomato soup, cyber punk carjacking gangs, beefcake drag queens and a cameo by Rose McGowan, Shannon Doherty and Traci Lords as three vacuous valley girls who argue and gossip about each others dates before being vaporized by an alien leaving only their retainers and high heels behind. AMAZING!!!!
Another reviewer objects to the reliance on exposition in "Antonia's Line" while I wonder if he dislikes Jules et Jim, Like Water for Chocolate and Amelie for similarly relying on voiceovers for narrative thrust. When I was in college a good friend lent me her copy of Dutch Feminist classic "Antonia's Line" which tells the story of four generations of autonomous and opinionated woman and the eccentric characters they attract and inspire over the years.