Aaron Sorkin’s scripts, for how much cleverness they incorporate through their wording, can also carry a flair of being too in love with the pen. With the right filmmaker, however, something more arises in order to really show how clever they actually can be and the furthest that they have ever managed to reach was in 2010 when David Fincher released The Social Network, a film recounting the events that led to the creation of one of the most used websites in recent history (arguably the most used and most common social media website in that regard). In spite of some obvious contrivances with actuality, the film’s relevance has only managed to grow.
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There’s something universal that lingers all throughout The Squid and the Whale which I find is what helps it elicit the power it contains within the brief running time it sustains. Something to which I ended up finding a whole lot more personal at the same time not only in the sense that it was on Noah Baumbach’s end but also on my own, for it hit rather heavily on a personal note everywhere I would have least expected it to land. Maybe it could be I was expecting too little, even for Noah Baumbach, but with The Squid and the Whale he has clearly left behind something that is so resonant it only touches me so deeply.
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Somehow, Zack Snyder turned Batman v Superman: Dawn of Justice into what it was that I wanted out of the drearily ugly Man of Steel, and the results are rather satisfying. Seeing how he’s willing to explore the potential that he had and turn it all into this, I’m only interested in seeing what more can Snyder do when he’s behind comic book films and seeing as I’ve not been all too impressed with his earlier offerings (Watchmen being a notable exception), I’m finding myself haven been proven wrong if he is indeed to direct more films where he shows his potential in the way he did with this. Continue reading →
Joachim Trier marks his debut into English-language territory with Louder Than Bombs, a well-acted yet disjointed and frustrating piece that promises a fascinating character study. While I’ve not particularly fallen head over heels for Trier’s previous films (in spite of loving Oslo, August 31st), he always presents very intimate pictures of the human soul on the screen and I’m not so sure I was able to dig much into what I was witnessing in Louder Than Bombs because in spite of the dedication I was seeing on the screen, I felt extremely detached. Continue reading →