Mr. Arkadin

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  1. BABY DRIVER is the kind of cinematic confection about which little can be said, but I found it pretty thrilling.
  2. That's something the Nerf parody actually captures really well: Wick action has only one kind of rhythm. There's not a lot of variation.
  3. Keith Uhlich declared this to be one of the standard-bearer of what he called the "New Competence," a movement that counterbalances "chaos cinema" by fetishizizing formal clarity (i.e. relying on show-off long takes, as WICK and LA LA LAND do). But he also lamented the shallowness of it all, suggesting that there's no real center, no real vision. I enjoy the WICK films as passable timekillers, but I agree with Uhlich that they're pretty voids. Wick's backstory has always felt like a calculated narrative justification, a cliche revenge trope stripped back to the bare bones. The many fights capable but also numbingly repetitive; an endless sea of headshots doesn't make for dynamic action. I wish this series would drop any pretense of drama. It works best as hyperviolent absurdist cartoon, as it does during the prologue of WICK 2.
  4. Paul is in the process of setting up the voting. The Image folks are a little overwhelmed at the moment, so it might be a little bit.
  5. Agent Cooper, Holy Fool. I wish they were still releasing this in two-episode blocks. I want to stay in that groove for longer than an hour.
  6. Around that same point. I just realized I wasn't invested or entertained. They decided to pile on narrative incident, but little of it is interesting. Part of it is a sense of the been-there, done-that (it's a shame that they didn't really go all-in on a WWIII type of scenario to differentiate things), part of it is that this season isn't very good at the posturing that made this show fun.
  7. I gave up on it.
  8. If nothing else, this season moves faster than previous seasons.
  9. Some thoughts on Alien: Covenant.
  10. So I have this as our final list of nominees. Am I missing any? 4 Months, 3 Weeks, and 2 Days Adam's Apples All Quiet on the Western Front Almost Famous Amazing Grace Amélie Angel and the Badman Another Woman Arrival Awakenings Barton Fink Blue Velvet Breaking Away Captains Courageous Children of Men Cleo from 5 to 7 Close Encounters of the Third Kind Contact Crouching Tiger, Hidden Dragon David and Lisa Don't Look Now Edward Scissorhands Eyes Wide Shut Face to Face Fearless Fruitvale Station Gaslight Ghost in the Shell Groundhog Day Holiday I ♥ Huckabees Ikiru Inception Joe Versus the Volcano Journey to the West Knight of Cups Last Holiday Life, Animated Malcolm X Marty Metropolis Moon Moonrise Kingdom Mulholland Drive My Neighbor Totoro On the Waterfront Pan's Labyrinth Picnic at Hanging Rock Punch-Drunk Love Red Beard Running on Empty Searching for Bobby Fischer Selma Shutter Island Something, Anything Spirited Away Take Shelter Tender Mercies The Artist The Assassin The Color Purple The Double Life of Veronique The Edge of Seventeen The Fits The Great Dictator The Illusionist The Insider The Killer The Lives of Others The Long Goodbye The Matrix The New World The Pervert's Guide to Cinema The Secret of Kells The Traveler The Tree of Life The Trial The Truman Show The Way They Live They Might Be Giants This Is Martin Bonner Through a Glass Darkly Upstream Color Wings of Desire
  11. It's close-ish to what is suggested in Prometheus. It's not very close to how Covenant evolves the ideas suggested in Prometheus.
  12. Title: Face to Face Director: Sergio Sollima Year: 1967 Language: Italian / Spanish IMDB Link: YouTube Link (a clip of/trailer for the film): Link to the A&F thread on the film (if there is one): N/A
  13. Title: The Americanization of Emily Director: Arthur Hiller Year: 1964 Language: English IMDB Link: YouTube Link (a clip of/trailer for the film): Link to the A&F thread on the film (if there is one): N/A
  14. Yes. Their scenes are so bittersweet that it makes me want to cry.
  15. The weight of time is all over this series, not just in the weathered faces and voices of our beloved characters, but in the sense that the status quo of the world has changed, that things were lost that can't be recovered, and the darkness of the world remains as baffling and terrible as ever. The moment where Badalamenti's "Laura" theme returns in its most prominent statement--for me, one of the most moving moments in these first four episodes--sums this all up. It's not empty fanservice, but a deep statement of loss, of the effects of entropy on communities and people.