Inherent Vice – Review


Paul Thomas Anderson’s Inherent Vice will certainly leave the most common moviegoer baffled with their own experience although given the source material that won’t turn out surprising at all. But it’s hard enough for me trying to describe what Inherent Vice will leave behind just from a single viewing because it almost feels like a hallucination as it moves by. Yet at the same time, we’re caught up inside of a web of lies almost like a Philip Marlowe story. Inherent Vice is a blend of eras and it’s the sort of experiment that only a filmmaker like Paul Thomas Anderson himself could bring to the table in such a manner. But in this indulgence, Paul Thomas Anderson also manages to summarize on the spot what exactly Inherent Vice is about, because of how much we can take in from one go to that point it’s so baffling yet it still keeps us watching. It keeps us watching because it’s absolutely wonderful in that sense, because it’s Paul Thomas Anderson at his craziest, and if that doesn’t signify something good I don’t know what will.

Continue reading →

The Neon Demon – Review


Forethought has never been a good friend to some of my opinions on certain movies after a first impression and when I wish to talk about my thoughts on The Neon Demon, it probably is only fitting I admit that I have a particularly conflicted relationship with the films of Nicolas Winding Refn. I’ve fallen head over heels for Drive with the fact it turns its own visual style into a new form of storytelling and while I’ve liked many of his other works, something about his work felt missing and it was evident from a path he took starting with Only God Forgives and now The Neon Demon. Both films have understandably polarized audiences, but Refn purists got what they wanted and then some. For every intriguing moment that The Neon Demon presents also comes a fairly self-indulgent one that drives upon his own influences – among many of his tendencies that always struck me.

Continue reading →