Sofia Coppola’s body of work has always remained intriguing even when she isn’t exactly the most consistent filmmaker. It’s hard enough to imagine how she can follow up a film as beautiful as Lost in Translation but there was always the certain fear that after having directed her best film she would turn out another effort that proves itself hugely underwhelming and with Marie Antoinette comes the film that consensus has agreed upon as their worst effort to date but I also think it also makes a great case as to why her work is so intriguing. Given what would be expected of a period piece, especially one about the ill-fated Queen of France, it seems only fitting that Sofia Coppola took this outline and directed a film that details her life the way that one would only be able to imagine it must have been from her very own eyes, rather than one that sticks to tradition.
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At the hands of the much publicized sexual misconduct allegations against writer, director, and star Louis C.K., I Love You, Daddy feels difficult to look at without said context. Evidently, this film is a very self-deprecatory look at its own creator commenting on the idea of idolizing celebrities within the entertainment industry, but when I’m still trying to adopt a neutral perspective when looking at I Love You, Daddy, I haven’t found myself getting much out of Louis C.K.’s odd and outright uncomfortable project. It really isn’t possible to remove the icky taste of Louis C.K.’s personal life out of I Love You, Daddy upon watching this considering where the film seems to build itself on, the discomfort is only set to make oneself want to distance themselves from the work and it isn’t helpful in this scenario.
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The Place Beyond the Pines is a very interesting case for myself because it’s a film which I remember being extremely fond of back when I first saw it, and over time and many revisits I’ve found myself liking it less and less each time. That’s not to say that I’ve rewatched it enough to think of it as a bad film, because it’s very far away from such a distinction but it certainly feels as if after having worked so well once, it ended up losing its own way within another point and in the end, a film which I remembered as something I thought rather highly of chimes out as a film which only left me all the more disconnected from it. It feels rather disappointing seeing what Derek Cianfrance is capable of when he directed Blue Valentine. Continue reading →