If this movie were to add a little bit of self-imposed minimalism, it could be much more successful as a character study.
Like “Between the World and Me” by Kamilah Forbes, “Malcolm & Marie” by Sam Levinson, and Doug Liman (Doug Liman) Like “Locked Down” by Natalie Morales, “Language Class” by Natalie Morales is obviously a product of our locked-down era, and its premise is particularly suitable for its technical limitations. Mark Duplas (Marc Duplas) (wrote the screenplay with Morales) plays Adam, a new long-distance student of Cariño (Morales), a Spanish tuition teacher in Costa Rica. His wealthy husband, Will (Desean Terry), signed up for the course as a birthday gift. He quickly established a connection with Cariño, which became stronger after an unexpected tragedy.
The action of the movie is almost entirely carried out through a series of webcam chats, usually switching back and forth between the laptop screens in the scene, which proves that the fascinating way of acting mainly surpasses the initial embarrassment. Moreover, although the separation of actors limits how many chemical reactions they can create, it occasionally adds a sense of originality that they may lack in traditional movies. When the characters look directly at the camera, they focus on the fragile moments more clearly. Focus on.
Language classes also use their limited perspectives to expand their central conflicts in interesting ways. After Adam realized that his mansion was in sharp contrast with Cariño’s more humble environment, he gradually admitted that he had a sense of guilt for his privileges relative to hers, and their video calls provided limited information. It is an effective way to effectively explain how much you can do. Understand each other’s lives.
Just like Alex Lehmann’s “Paddleton” (Dupras also co-starred), “Language Lesson” proved his strong interest in Platonic romance. It is one of the least-known relationship arrangements in the film industry. Both films exude low-key warmth, but the characters here are not so idiosyncratic, which means that they may clear the basic similarity threshold, but can only take the story so far. Although there are occasional hints that Cariño may be performing for the camera, and Adam is not allowed to participate in all the details of her life outside of the course, the film’s viewfinder prevents this idea from being explored in any meaningful way. In the absence of any personal moments or interactions in the real world, dialogues can become overly illustrative, as they are forced to take on most of the heavy narrative on their own.
During the previous voice-only call, she accidentally turned on the camera and briefly exposed Adam with a bruised face and dark eyes. An embarrassed Carinho suddenly retreated and established a more professional teacher with him. Relations and recent desire to maintain their private life. In the end, the two were forced to face each other’s differences, and some arguments were too clear about the insecurities and stereotypes that threatened their thriving friendship. In the early days, the tension between class, race, and gender behind this cross-cultural exchange was subtly downplayed, so when the story takes a more intuitive treatment of the theme, it is a shameful thing. The final plot revelation may also be too much. Too much. If this movie were to add a little bit of self-imposed minimalism, it could be much more successful as a character study.
Actors: Natalie Morales (Natalie Morales), Mark Duplass (Mark Duplass), Disney Terry (Desean Terry) Director: Natalie Morales (Natalie Morales) Screenplay: Mark Diplas (Naslie Morales), Natalie Morales (Natalie Morales) Release time: 91 minutes Rating: NR Year: 2021
The characters in this movie are full of paradoxical fears that can only happen in dreams.
Dominik Graf’s “Fabian: Going the Dogs” (Fabian: Going the Dogs) begins with a slow trolley that shoots down the stairs into Berlin’s gorgeous subway station. Although anyone familiar with the original material of the film, such as Erich Kästner’s novel “The Fabians: A Moralist’s Story” published in 1931, hopes that this story will take place in two places in Germany. Between World War II, but now it is obvious to us, because people on the screen are wearing polos and jeans among other things. However, when the camera passes the station and walks up to the opposite staircase, the commuter will put on the clothes of the expected time. The camera ascends the stairs and finally puts us in the twilight zone of the Weimar Republic – or at least when Graf consciously performs incomplete simulations of it.
Other signs indicate that from the black concrete streets to the particularly obvious glimpses of stolpersteine, we are all in the moment, with brass stumbling blocks embedded in the sidewalks to commemorate the victims of the Holocaust. Michael Almereyda’s Tesla recalled that this telescope-like approach to historical novels emphasized our position with respect to the observed events. However, Graff’s method can resist over-stimulating alienation devices, such as the narrator underplaying Google entries at his fingertips. In addition, the crazy, severe playful aesthetics used by the filmmakers fit his theme, namely, the chaotic society of the short-lived Weimar Republic. The turmoil and widespread anxiety of the Weimar Republic have at least spawned some of the most art and life in Berlin. Crazy experiments, before these were stifled by the German state slipping into fascism.
After the slow, methodical tracking lens opens, Fabian bursts out a series of images, alternating rapidly between grainy low-spec film and washed out digital video. We were introduced to Jakob Fabian (Tom Schilling), a shocked, veteran with a degree in literature, and in a noisy night, he was ready to take on the job of ad copywriter. Fabian goes home with an older woman (Meret Becker), only to find that he needs to sign a contract with her husband to sleep with her, and may even be entitled to compensation. Tired of the cynical mix of business abandonment and official procedures, which was the basis for his transfer of Berlin’s nightlife, he fled back to the night.
All over the world, Fabian cannot cope with the spirit of the times, and the desperate abandonment of human relations determines the life path of everyone he meets. An incompetent colleague stole his idea of advertising campaigns, and as a result he lost his job. Soon after, she met and fell in love with the actress Cornelia (Saskia Rosendahl) she met, and the latter happened to live in his building. Fabian was forced to accept her as a filmmaker’s mistress in order to Get a foothold in the movie.
On the whole, this story about young people’s inability to deal emotionally with their lover’s sexual behavior is an unfamiliar story. But Graf managed to make this illusion lively by keeping us at a distance from Fabian, with an artificial, authoritative voice-over narration (alternating between male and female voices). Although, or perhaps because we were evacuated from the couple, their courtship became the only thing in the world that could raise a dog. Marked by the kind of stupid and interesting young people, they immediately opened up to each other, conspired to avoid the landlord, hippies on a lake outside Berlin, and spontaneously performed late-night folk dances among the fans-sincerity of Fabian and Cornelia Romance breaks through the tragic irony of the dubbing narration.
The nobleman Albrecht Schuch, a colleague of the Fabian project, represents an exception to the sinister ridicule of society as a whole. Labude is very anxious about the post-doctoral thesis. He is also an active social democrat and an instigator of rationality and justice principles. With his ideals, this person, just like the commuters waiting on the train platform at the beginning of the movie, seems to be silent for the time being. His thoughts are not adapted to the development of the times. This may be why Fabian seems to be more discouraged. Always have the last word in their conversation. At one point, when Fabian was just for observation and not for his own defense, Labude asked: “How does this help?” Fabian’s defeatist replied: “Who will be helped?” Layer shadows.
In the end, both Labude’s socialist frivolous political agitation and Fabian’s long-distance writing attitude were swallowed by historical trends. Although Kästner’s book was published less than two years before the Nazis came to power, it conveyed a premonition that the Weimar Republic was about to end, but did not understand what was about to happen, but we and the film inherited these Terrible details, as part of the Nazis. world history. This dark satirical book by Kästner makes people stare at the society in which its author lives. The film uses the bris of its images, its chaotic time and space and the dream logic of grotesque comics, Reminiscent of the nightmare of the past. Its character is full of a kind of contradictory fear, which can only happen in dreams-the fear before the great disaster is inevitable because it has already happened.
Actors: Tom Schilling, Saskia Rosendahl, Albrecht Schuch, Meret Becker, Michael Wittenborn (Michael Wittenborn), Petra Kalkutschke (Petra Kalkutschke), Almarscha Stadelmann (Almarscha Stadelmann), Anne Bennent (Anna Bennent), Eva Medusa Gun (Eva Medusa Gühne) Director: Dominique Graff Screenplay: Dominique Graff, Konstantin Ribb Release time: 178 minutes: NR Year: 2021
Unlike Malcom & Marie, Daniel Brühl’s feature-length directorial debut proved to be a true self-molding.
Next door is Daniel Brühl’s role as an actor in the global film market and the luxury that comes with it, coupled with a suppressed retaliatory narrative that looks like Sam Levinson on the surface (Sam Levinson) “Malcolm & Marie”. But when manipulating the film to verify the agency’s screenwriter and director’s on-screen agency rights, Bruhl’s feature-length director’s debut proved to be a true self-cast satire. Brühl will not indulge in the false humility in many Hollywood satires; in fact, “next door” is the cruel satire of this form of complicity, in which movie stars, and even ordinary people, are in politics When correcting my bromide, I lived a life I liked, turning a blind eye to the surrounding environment, especially the many quasi-Jews who could afford to pay. Complicatedly realize the survival of the servants of the middle and upper classes.
Bruhl plays the movie star Daniel (Daniel), he is similar to him in all aspects. Like Brühl, Daniel enjoys privileges in Cologne and has made considerable progress in the show business. At the beginning of Next Door, Daniel was preparing to audition in his luxury apartment in Berlin to play a role in a top-secret blockbuster, which reminded him of his role in Captain America: Civil War “In the role. So, as a short spell, we are tempted to think that this film will be a fictional impromptu fragment of Brühl’s life, which probably depends on the big audition until the roadblocks appear. Daniel stopped at the bar going to the airport and was stayed by an ordinary Bruno (Peter Kus). In stark contrast, these people conducted dramatic studies: Daniel dressed neatly, completed morning exercise and wise eating habits, while Bruno was older, clumsy, and apparently accustomed to eating. A richer breakfast and beer. However, Bruno’s eyes are not soft, because since his first appearance in the movie, this man has exuded acidic wisdom and anger.
When people struggle with will, Daniel Kehlmann’s script subtly displays our loyalty. Daniel is a humble idiot who is in the slightest jab in the movie. Once, he told the bar owner that he was happy that he did not have strong coffee because it was bitter and could cause a heart attack. This gesture is his humble thoughts, when the people who really belong to that bar may not need to think about the concept of humility. There is also a sly joke, which is funny at first, and then becomes a threat. In this case, people (from the owner of the bar to his fans) enter the surroundings of the bar without Daniel’s real attention, which is concisely manifested He was blind to the proletariat until the latter forced an estimation.
However, Bruno is definitely not a working-class hero proposed for easy consumption of rich sermons. The man was very unhappy, steered bitterly, and in his own way, he was as qualified as Daniel, as evidenced by the way he inserted himself in Daniel’s morning, insisting to the actor that his movie sucks, and Personally insulted him. Daniel told Bruno that his views were irrelevant because we thought such a statement was part of the defense of public figures.
These two characters are usually not likable, although both are very attractive and related to each other, and together they exert our jealousy and resentment towards the social elite, which makes “Next Door” an anxious quality, and may even be especially in this way. , And the conversation between Daniel and Bruno was calm and aggressive only in a passive sense. In the early days it was obvious that Daniel would not leave this threshold, and may not even want to be on a subconscious level, because men use each other to drive out their cultural demons. They found that disgusting with each other is accompanied. In this sense, the movie is reminiscent of many Hitchcock thrillers, especially “Stranger on the Train,” which also includes a chaotic agent named Bruno.
The script teases Bruno’s various explanations for Daniel, the clearest reason of which is Bruno’s resentment of the tension a few days before the reunification of Germany. Bruno initially claimed to sympathize with Stasi, given the financial crisis in East Germany relative to West Germany, the social gap between Stasi and Daniel and Bruno paralleled. However, this idea has never been thoroughly examined, and actually exists as a window decoration for the tracker scene. However, Brühl wants to respect the quality of everyday life, especially the way men enjoy luxury in disappointment, and is mistaken for too early in the day, and he has never fully devoted himself to digging into genre mechanisms. Imagine a stranger on a train, not releasing his fixture ecstatically.
In the second half of Next Door, the loose and underutilized ends continued to accumulate, eventually reaching a consciously incomplete ending. The kind of despicable grace that these people received at the end of the film united them in a desolate environment, and made them unite across huge social barriers. This shows a turning point rather than a conclusion, which makes us feel better. An abnormal partner movie that will never come true is ready. This inexplicable mystery is indeed consistent with the design of the movie, acknowledging inequality, which often affects our lives, usually without comment or catharsis. In the case of “Next Door,” such a conclusion is more theoretically valid and seems to be an exit strategy for filmmakers who have not yet fully thought of the ending.
Actors: Daniel Brühl, Peter Kurth, Aenne Schwarz, Nils Doergelo, Rike Eckermann ), Vicky Krieps (Vicky Krieps) Director: Daniel Brewer (screenwriter): Daniel Kehlmann (Daniel Kehlmann) Release time: 94 minutes Rating: NR Year: 2021
This movie hints at the fusion of Eco Doctor and Acid Western movies, and this difference between different genres leads to a mysterious atmosphere of tension.
”A Shape of Things Come” by Lisa Malloy and Monaco (JP Sniadecki) hints at the fusion of ecological documentaries and the desolate acid west, and the differences between these genres Caused a mysterious tension. Sometimes, Sundog, the long-bearded recluse in the center of the movie, is like an entertaining hippie, drinking beer, dancing in a local bar, reading novels, and enjoying with various animals in a temporary ranch-slash-ecosystem Lives in the Sonoran Desert near the Mexican border. In other places, he seemed to have teeth, pointed a high-powered rifle at the surveillance tower, patrolled the Border Patrol car contemptuously, and tantrums himself. You may find yourself in a split, either watching the movie to celebrate a person’s self-sufficiency, in this era we are deeply dependent on Grid, or worrying that he is a self-righteous weird person who expresses his dissatisfaction in his own way Sense of social exceptionalism. For Sundog, this is his way or highway.
The shape of things to come is largely immersed in Sundog’s daily life. This film reminds people of how fascinating the outlines of various processes when artists have the confidence to observe their subject but are not interested (in this case, from Sundog’s hunting and slaughtering of animals to his harvesting of toads in the middle of the night venom). Let them meet the prescribed narrative. This willingness to abandon traditional narrative coincides with Sundog’s avoidance of traditional society. Sundog’s life seems to be noise-free, from the harshness of advertisements to polarized political discourse, without exception. One of the most exciting scenes in the movie is that he just takes a bath in an outdoor bathtub, hears natural sounds, and enjoys a moment of reflection and comfort. When he sank into the water, it was as if he was going back to the womb.
A certain expectation of violence, coupled with the ambiguity of the film’s creative environment, prevented “The Shape of Things” from becoming a gentle and lovely celebration, living his own life in his own way. The shaky photography of Malloy and Sniadecki exudes an amazing neurotic texture, reminiscent of Vincent van Gogh’s landscape paintings. In the early images, Sundog was shot obliquely while walking among various plants, suggesting crazy brushstrokes and reflecting Sundog’s restless headspace. The film also uses more obvious symbols, such as the omen shots of the overhead plane (Sundog’s messenger of corruption and pollution in the world) and the premonition shots of the rattlesnake, which may also be a temperature interpretation of Sundog’s growing frustration. . Used in conjunction with Broder Patrol’s monitoring program. Such crazy moments, especially in scenes where Sundog seems to have committed serious crimes, make us question whether we are actually watching a documentary or being closer to an experimental thriller.
In the 77-minute “The Form of Things in the Future”, Malloy and Sniadecki invite the audience to read various deep and disturbing meanings into the title of the film. It may hint at the crazy development of Sundog, or the madness of the metal and plastic world we built almost out of inheriting nature, or both. In this rather disturbing situation, you might feel that Sundog would succumb to the company’s modern machine, because his understandable anger might undermine his ability to enjoy the excellent little sanctuary, which is He struggled in a land of tolerance. .
Director: Lisa Malloy (Lisa Malloy), JP Sniadecki Release: Grasshopper Movie Release time: 77 minutes Rating: Undecided Year: 2020
This movie will land and land as an expression of unfettered trust in our common humanity.
Don Hall and Carlos López Estrada’s “Raya and the Last Dragon” (Raya and the Last Dragon) bring Disney and other recent Disney entertainment events For example, Moana is vividly enriched and improved. They have mature minds, some extensive plot elements, and are committed to showing a variety of Asian cultures and avatars on the screen: The Last Chizong. Of course, even though the Nickelodeon series draws on East Asian traditions, the film carefully incorporates elements from Southeast Asian countries (including Vietnam, Cambodia, and Laos).
However, in the vast world construction and aesthetic diversity, Raya and “The Last Dragon” are most obviously reminiscent of the experience of watching the “Star Wars” movie. Raya (Kelly Marie Tran)’s journey from land to land-from the floating market in Talon to the marble palace of the Ark-has its own rituals, palettes and unique issues (for example, in Talon, the artist is dressed as a baby sweet). Adele Lim (the crazy rich man in Asia) and the playwright Qui Nguyen’s script, without sacrificing the momentum of the protagonist’s legendary story, fascinatingly unveiled the myth of the ever-expanding fantasy world.
At the beginning of the movie, Kumandra is a broken kingdom destroyed by violent snatches between five isolationist countries and haunted by Druun, a smog-like monster that will bring thousands of citizens Turned into stone. Six years after her father (Daniel Dae Kim) suffered this scourge, Raya seeks to rebuild a shattered magic gem and make one who once saved Kumandra and exile Druun ) The legendary dragon is resurrected.
If this kind of plot develops with the stability and predictability of video games (in each country), Raya will get another gem and recruit members for her dirty team of adventurers, the luxuriant scenery and Raya’s evolution will avoid any sense of repetition. Crucially, Raya has a trust problem: it was her own false belief in the neighboring “Dragon nerd” Gemma Chan (Gemma Chan) when she was young that led to the destruction of the gem and the release of Druun. Each of Raya’s new companions forces her to face her fear of losing trust, and this film is a good reflection of the demons of girls in the geopolitical realm, and the five countries refuse to unify the threats they face.
As the savior of Raya, the water dragon Sisu, Awkwafina provides a unique, stolen scene sound performance, inevitably reminiscent of Robin Williams of Disney’s Aladdin. ) The wizard. Against the sublime background of the high-altitude fantasy epic, Awkwafina speaks fast and is self-deprecating. She is familiar with her past comedy roles. It seems that she is otherworldly and a contemporary figure in a fabulous landscape. In the grand Disney tradition, lovely friends abound in Raya and Last Dragon, such as some bugs from pills and some Alan Tudyk from Amadelo. , Playing the role of pet and transport at the same time, as well as Captain Boun (Izaac Wang), a child cook and captain, his family was thrown to Druen.
Although Raya is a brave and noble heroine, she has admirable self-confidence in her intelligence and strength, but Namari’s shock of betraying her leaves an unshakable aftertaste, which sometimes makes her Act impulsively with anger or revenge. The angry ghost of the girl brought a certain degree of danger to this protracted battle, which seemed to go beyond Disney’s usual low-key fare. Through her usual martial arts battles with Namaari, or battles with weapons and close combat, the fierce choreography shows that these two young women are both deadly and dangerous to each other. For Raya, the refreshing frivolity is based on the frozen inner turmoil of Queen Arendelle, Queen Elsa, asking the audience to accept the imperfections of the heroine, even if they sometimes feel fear in the action. These violent conflicts are not the only elements in the movie that linger in the dark: when Raya and Sisu meet Tong (Benedict Wong) on the feet, alone in a state of destruction, Raya’s gaze wanders on the empty crib in the corner , The loss of lighting without a word is too painful to discuss.
Raya and the last dragon avoid a darker, bittersweet ending, so that they can easily get out of the predicament: in the final scene, mortality and bottomless despair become easily reversed. However, these young audiences may not need Disney movies to tell them that, like the Druun described by Sisu, “the plague stemming from human disharmony” will cause lasting harm. In its own gorgeously described terms, the film uses the landing site as a celebration of hope, showing what an unconstrained trust in our common humanity will look like.
Actors: Kelly Marie Tran, Awkwafina, Jemma Chan, Daniel Dae Kim, Sandra Oh, Ben Benedict Wong, Izaac Wang, Talia Tran, Alan Tudyk, Lucille Soong, Patty · Harrison (Patti Harrison), Ross Butler (Ross Butler) Director: Don Hall, Carlos Lopez Estrada (screenwriter), Adele Lim Release: Walt Disney Studios Motion Pictures release time : 107 minutes Rating: PG Year: 2021
The film failed to effectively grasp how the life and work experience of its protagonist affected her life as a person and an artist.
Based on Joanna Rakoff’s memoirs of the same name, the writer and director Philippe Falardeau’s “My Salinger Year” set in the 1990s took a dilapidated path, following the two Joanna (Margaret Querley), in her teens, tried to start her writing career and hoped that she would stand out from her current job as secretary of the New York Literary Institution. Her work is a wrinkle that distinguishes this adaptation from many other films that ambitious writers try to adapt in big cities, because Joanna’s boss Margaret (Sigourney Weaver) represents With the reclusive writer JD Salinger of The Catcher in the Rye, this young woman realizes the common illusion of close contact with literary heroes. However, this also means that the film is full of fashionable references to broken literary works and characters, and this familiarity quickly becomes mediocre.
The plot throughout the story outlines Joanna’s work in the photography agency, her personal life and the plot of her struggle to become a writer, woven together half-heartedly, as if you were watching two different movies. Although Joanna is one of the most legendary mysteries in the literary world, Joanna believes that her work is just a stepping stone to her career, and this ambivalence seems to have disappeared in Falado’s storytelling.
Since “My Salinger Anniversary” failed to effectively grasp how her life and work experience affected her life as a person and an artist, Joanna felt like a blank. Except for the moment when she said she published two poems, we almost knew nothing about her writing and process. In this case, her narcissistic boyfriend Don (Douglas Booth) is writing this novel, which has attracted a lot of attention from Falado, which is a bit unreasonable. direction.
There were at least some exciting moments that made my Salinger years active, nothing more than recognition of the rye fanatics among the watchmen. In literary institutions, Joanna’s task is to answer Salinger’s superstitions with replies written in advance by impersonal decades ago. As fans look at the camera while reading the letter, the film implicitly recounts that the imprint of a great work attracts all kinds of readers, and at the same time seems to be written for one reader. According to company policy, it was even more chilling when Joanna cut a letter from a fan into pieces immediately after completing her reply.
But the initial eloquence about this angle turned to clumsiness, when Joanna began to imagine that a particular fan (Theodore Pellerin) was an imaginary conscience, and Falado used this character to express multiple expressions. The subtext of the scene. The appearance of this kind of plot device in the otherwise plain narrative inadvertently reminded me of an earlier story in “My Saling Year”, when Joanna was a rogue and responded to a supporter with her own words Letter from. Joanna told a high school student to draw inspiration from Holden Caulfield and think for herself. It’s hard not to think that the movie itself should have listened to her advice.
Actors: Margaret Qualley, Sigourney Weaver, Douglas Booth, Brian Obern, Théodore Pellerin ), Colm Feore (Colm Feore), Senna Haq (Henza Haq) Director: Philippe Falardeau Screenplay: Philippe Falardeau Release: IFC Film Festival Screening time: 101 Minute Rating: Year R: 2020
What is the difference between film and ordinary news, and its intervention in reality, is the difference in time.
As we know from slapstick comedies, the flies on the wall can turn any scene into a rolled-up newspaper, the furniture becomes a blacksmith shop, and a chaotic vortex of chaotic special police enticing gloating. Documentaries flying on the wall carry similar risks. Considering how observing behavior necessarily changes what is observed, filmmakers must always choose the objectivity of the position related to their subject-if the subject happens to be political, this will have tricky consequences.
Some recorders accepted this contradiction and recorded their intervention as part of the reality they recorded. For example, Joshua Oppenheimer (Joshua Oppenheimer) in the “Killing Act” invited The perpetrators of mass killings in Indonesia in 1965-66 rebuilt the cruel “heroism” in front of the underworld. camera. Taking a cursory look, Jill Li, the first filmmaker, chose the less practical method of the “Lost Course”, in which she recorded a scene in Wukan, a Chinese fishing village in Guangdong Province. The Polish protests led to a failed democratic experiment.
In the first part of the film “Protest”, when Wu’s villagers reacted to the sale of public land by corrupt government officials, staged large-scale demonstrations and collective petitions, and were supported by a general strike, Li’s camera fell into the deepest part of the action. . With the rise of the movement, the film focuses on the core of some activists who seem to have the best intentions and are determined to serve as China’s one-party state institution. In the end, the protests forced the government to approve the villagers’ request for free elections, and the leaders of the movement were rushed to a place in the village committee.
The second part “After the Protest” will be open one year after the election. The new village committee fell into a bureaucracy and was helpless and failed to restore the land in Wukan. At the same time, higher-level governments have selected their leadership, thus forming a wedge between them and the voters. As the years passed, as the villagers resigned against Wukan’s slow and inevitable decline, their disillusionment was disillusioned.
Now that there are not many protests, this has opened up space for Li-lyrical red and white lanterns are shining in a rain puddle, or moths are burned by zippo in desperate cruelty to show the rhythm of daily life and return to Wukan. However, these are still exceptions to the rule that she does not disturb the camera. The camera rule only presents the situation when the scene occurs, and the filmmaker has never intervened in his own politics or exercised judgment on the villagers (which may explain Li The reason for how to be allowed to shoot the movie). First of all). Throughout the process, someone felt that she was cultivating their trust. They are accustomed to the existence of the camera and seem to speak directly to the people behind them instead of the imaginary audience, and even take risks by revealing sensitive details.
At the climax of the movement, other film crews and journalists appeared on the periphery, but when the dust settled, what was left was Li’s camera, delving into the daily chaos of parades and electoral spectacles. The difference between Li’s project and ordinary news is her intervention in reality, which is a difference in time. For its part, Robin Li spent six years (from 2011 to 2017) struggling to shoot Wukan, and perhaps more importantly, the consequences, which seems irrelevant, but it is a dedication to embedded movies, plus With its three-hour running time, this gives the course the strength of loss.
This film has spent a lot of time, not only discussing Wu Kan’s struggle as a Chinese political process at the micro level, but also conducting character studies of relevant people. Even when their enthusiasm and innocence, even when they gave up fighting, condemned each other or blindly chased past achievements when the political movement was stagnant, Li’s lens remained firmly sympathetic. Because her politics can only be hinted at through this sympathy, she lets the audience learn from it and explain the situation. It is common for individuals to be politicians, but the “Lost Road” reminds people that politicians are also individuals.
If the “SpongeBob SquarePants” series has finally opened, it seems that it is the audience that disappoints the audience the most.
”Who is going to set sail for another adventure that will make me money?” As early as “SpongeBob SquarePants Movie: Sponge is Running”, it was yelled as Krabby Patty’s boss Crabs (Clancy Brown). ) When I cried. Squidward (Rodger Bumpass), Mr. Crabs’ most stretched employee, rolled his eyes before leaving the underwater fast food restaurant. Faced with a cynical mercenary movie like this, it’s hard not to feel sympathy for Squidward, because the third feature film based on Nick Layton’s beloved animated series seems to be mainly aimed at attracting adults, with identifiable stars appearing in the live-action relief. , And iconic movies. Nautical role.
When the futile King Poseidon (Matt Berry) kidnapped SpongeBob (Tom Kenny)’s beloved pet sea snail Gary (also Kenny) to use his mucus for skin care, SpongeBob and Patrick (Bill) Fagerbakke) set out to rescue him from the lost city of Atlantic City, which is “a terrible, infamous cesspool of moral depravity.” Fans of SpongeBob SquarePants will know how much Gary means to his owner, and in the summer camp, the couple’s party is cute and serious in retrospect. However, the “escaping sponge” is sometimes unconscious and unable to concentrate on the task. In the Lost City of Atlantic City, there is even a long gambling time, where SpongeBob SquarePants and Patrick find that they can’t always focus on it.
SpongeBob TV series always like random moments, and Sponge on Run is also not lacking in harmless weirdness, just like Patrick explained with ridiculous seriousness when introducing himself once: “My name is on the Celtics. It means a toaster.” But this clumsy logic appears most effectively in SpongeBob’s past characteristics, which are a collection of cute, idiosyncratic character features. Here, storytelling itself is absurd.
Once Snoop Dogg and Keanu Reeves appear in a long and helpless dream sequence, it is a distraction, not delusion; in the dream sequence, the burning tumbleweed and the latter’s face are in it. , Challenge SpongeBob and Patrick to liberate a carnivorous hip-hop dance team. The zombie pirate from the Diablo (Danny Trejo) sedan. However, incomprehensibility does not equate to purposelessness, because celebrity guest appearances seem to be stuffed in for marketing purposes. Kamp Koral, the prequel of this TV series, is being released with this movie, and in the last half hour, abandoning a series of plots and adopting a series of plans back to the summer camp, this seems to be part of a profitable adventure.
SpongeBob SquarePants has always been the weirdest and most wonderful thing is that it allows children to see the marine life as an adult at a glance. In contrast, “SpongeBob SquarePants” abandoned the iconic tasteless dumplings of the series and asked the audience to grow up if they wanted to keep up (for example, the vulgar festival mentions “drowsy people”. Vomiting at night”).
Few Sponge on the Run can find the classic sweet spot, seeing children as being able to understand complex humor while still letting them talk about in stupid farce. The relay-style narrative branding of the series is sometimes effectively displayed here, for example when Patrick and SpongeBob see a glimpse of the scene shifting to the “window of the same time”, and when they are arguing about whether their adventures will become more. Time such as a friend movie or a hero’s journey. However, the couple may be disappointed to learn that their disjointed, dull pursuit did not follow such a satisfactory structure. If the “SpongeBob SquarePants” series has finally opened, it seems that it is the audience that disappoints the audience the most.
Actors: Tom Kenny, Bill Fagerbakke, Rodger Bumpass, Clancy Brown, Mr. Lawrence, Jill Tully ( Jill Talley, Carolyn Lawrence, Matt Berry, Awkwafina, Snoop Dogg, Danny Te Danny Trejo, Tiffany Haddish, Reggie Watts Director: Tim Hill Screenplay: Tim Hill Release: Paramount + Release time: 91 minutes Rating: PG Year: 2021
The films of Anthony and Joe Russo can never escape the inherent hollowness of the role of Cherry.
Tom Holland presents a thin and hungry look at the beginning of Anthony and Joe Russo’s “Cherry”, in which we see the characters of the same name with Amazing way of robbing banks with half assets. The young man lacked plans and knew nothing about the consequences, partly because he was an opioid addict. However, as the rest of the adaptation of Nico Walker’s widely acclaimed 2018 semi-autobiographical novel reveals, the combination of ignorance and Lu combination drove his development, and even became addicted in Iraq. Before the road. Chery said in the narration: “I’m 23 years old this year and I stretched out the earlier and more active parts of the movie, but I still don’t understand what people are doing.” The center (if any) just doesn’t take place.
After the opening remarks, the film was shortened by five years until 2002, when Cherry had sowed the seeds for his future self-destruction. Just as Holland played with bright charm, even if he was in the most devastating and lost situation, the cherry still bounced somewhat randomly in his life. First of all, we heard a lot from him-literally, he was recounting his false attempts to capture life, while spending time in Cleveland and spending time with friends with nowhere and engaging in false Together at work. Later, because a series of wrong choices restricted his choices, he would have nothing to say.
On the autopilot of the Jesuit University, Cherry’s classmate Emily (Ciara Bravo) felt very heavy, and she showed the audience what she looked like: a bright and beautiful self-confidence model, his self-awareness and cunning humor matched his . Although Emily’s life seems to be more harmonious, in the end she is still full of mysteries in the movie like life itself is to the cherry. Their relationship is unstable but unstable. After fighting with Cherry, they were even more impressed when Cherry joined the army during the most intense period of the Iraq War. More impulsively, they got married before he left.
The middle part of Cherry dates back to our protagonist’s military service and is the most convincing. For a 20-minute movie that has been released for too long, the entire basic training sequence feels very redundant. The absurdity of military life once again highlights Cherry’s loss in this world that seems to be just a bad joke to him. In Iraq, Russos outlines some large-scale action scenes with impressive images, but he is not sure about balancing Cherry’s experience as a combat medic with the emotional trauma caused by jaundice’s humor.
In the United States, due to lack of guidance, Cherry’s life quickly collapsed due to the blur of PTSD. He and Emily became obsessed with heroin, which in the short term led to quirks such as stealing money from dealers, cash flow problems, and bank robbery. Compared with the previous scenes, the couple’s new life of crime and the challenges they face in drug abuse and detoxification have greater immediacy and drama than the previous scenes, and the previous scenes tend to be viewed from a distance or even significant Developments. But this movie still cannot escape the inherent hollowness of Cherry as a role.
By linking the catastrophe of war abroad with the catastrophe of addiction at home and Cherry’s aimlessness before Iraq, the filmmakers seem to imply that the United States is prone to danger and knows nothing about risks. However, although this movie involves many hotkey themes and is full of events and sense of humor, its conscious style (from narration directly to the camera to slow motion to visual techniques such as washing out the entire background and making the characters Will suddenly appear in bright colors-simple representations deprive it of the opportunity to say a lot. The filmmaker makes strange decisions and ends with vague hopes, but there is no dialogue to help explain cherry in his life The changes that may occur only emphasize their failure to articulate their main role, rather than losing themselves.
Actors: Tom Holland, Ciara Bravo, Jack Reynor, Jeff Wahlberg, Forrest Goodler K (Forrest Goodluck), Michael Gandolfini (Michael Gandolfini), Michael Rispoli (Michael Rispoli), Daniel R. Hill (Daniel R. Hill) Directors: Anthony Russo, Joe Rose Screenwriter: Angela Russo Osto, Jessica Goldberg Release: Apple TV + Showtime: 140 minutes Rating: R Year: 2021
If the world outside of Supermercado Veran is full of poverty and crime, then we will not understand it from this little cocoon.
For director Tali Yankelevich, it is easy to paint a humble portrait of a Brazilian grocery store in the heart of the My Darling supermarket, where the focus is on waste, low-wage workers and race Activists. After all, Brazil is a country defined by income inequality and class struggle. Instead, Yankelevich opted for something more interesting, using a sliding camera, whimsical scoring, and the beauty of cotton candy, making Supermercado Veran in São Paulo look like the Galeries Lafayette in Paris.
There is no dissatisfaction or injustice here, only plain white shelves, delicious goods and workers who love to work. Some even admit to establishing contact with customers. Others boast of the variety of people they come into contact with every day. The relationship between colleagues is from the college period in the dream. If the outside world is full of poverty and crime, then we will not know it from this little cocoon.
Yankelevich’s fantasy approach was so purposeful and coherent that the film never really felt like an advertisement for a non-existent sanitary country. Therefore, my Darling Supermarket is closer to reverie, a portrait of an over-focused place, and this place happily ignores the surrounding macro-reality. As Yankelevich’s camera floats throughout the store’s space, she pieced together observational vignettes and testimonies from her employer, anecdotes that often make Gonzo a reality. In the process, the camera humanizes the normally invisible workforce.
Yankelevich did not steal delicious stories from them, but instead asked the workers to tell us their passions, quirks and dreams. We met a warehouse stevedore who was obsessed with city building games and suspected that someone would find his workplace worthy of movie attention. George Orwell was a historical professional, singing doorman, a conspiracy theorist, and a conspiracy theorist. A Japanese-speaking anime lover, a persuaded clerk haunts the supermarket, and a security guard who hopes her surveillance camera can determine the whereabouts of her child.
The most surprising thing is that even though we never felt that the camera spent so much time with them, all their problems existed. As if they were filled with all kinds of deep contemplation in boredom and automatism, it made their work more boring and finally found a willing audience. Perhaps this is the internal motivation of the documentary form, the camera attracts strangers who need belated listeners. The reason why Yankelevich did justice was not because of their self-righteousness, but because they recognized the richness of the things they dreamed of and dreamed with them.
Nicholas Jarecki’s Crisis is a procedural thriller designed to deal with the corruption and failures that led to the opioid epidemic in the United States. The structure of this movie is the reason for its existence, which is the main focus of Jarecki’s imagination, because the director and director has created three plot lines that show how opioid addiction is nurtured in different classes of society: Businessmen on the street trade with shady pharmacists. To these universities, pharmaceutical companies provide professors with high funding to “green mark” their research; between Canada and the United States, law enforcement agencies conduct transactions with traffickers. The ongoing war. In prioritizing the system process rather than the protagonist, “Crisis” almost deliberately invites comparisons with any of Steven Soderberg’s films.
The influence of professional processes on interpersonal relationships is Soderberg’s main obsession as an artist, and everything from his sensational works to his low-fidelity experiments came into being. He is good at using a single human suffering to inform potentially boring talking points and procedures, such as the painful close-ups of Benicio del Toro in Traffic, and the disturbing The clinical specificity and the fear of Kromberg format have led to the spread of infectious diseases. In contrast, Jarecki’s filmmaking has an exhilarating quality back and forth, which implies that the three TV pilots randomly knit together to prove an obvious point. Jarecki may not be sure whether his opioid-centric subject matter is sufficient to sustain a movie, so he resorts to the clichés of criminal revenge, from the revenge mother to the police, he is too honest for this fragile world. The crisis ended with a boring 30-minute ending.
In the arbitrage activity, Jarecki cleverly confused melodramas with activists, using Richard Gere’s seductive movie star performance as a hedge fund tycoon, making us attractive The social dysfunction of force is confused by architects. Martin Scorsese (Martin Scorsese) in “Wolf of Wall Street” (Wolf of Wall Street) intensified this trick of attracting the audience to the extreme, they admitted that social greed is our own amplification, while also offering to make the audience The fun of being able to skillfully handle bad behavior without any consequences.
The crisis showed that Jarecki had forgotten this technique, because the rigid pawns stereotypically tested or stimulated the audience, and did not distract them, except for some mandatory suggestions that the screenwriters behind the scenes suggested that the screenwriter check the box. When dealing with the Canadian and Armenian gangsters of fentanyl, the determination of the secret DEA agent Jack Kelly (Armie Hammer) has never been tortured or censored, and the addict Claire (Evangeline Lilly) who is recovering When investigating his son’s fatal drug overdose, he barely blinked. Be killed. Some people think that the death of a son from the mother’s own choice of drugs will lead to potential relapses, and certain insights or incidents that were invested with survival pressure, but this possibility has only been obliterated. Instead, Jake and Claire are both regarded as action movie heroes.
The most ambitious and possibly disturbing story of the crisis is also the most ridiculous. Dr. Taryn Brower (Gary Oldman), a veteran scientist and educator who has been experimenting on a dime of a big pharmaceutical company (Big Pharma) for many years, was shocked. Donors may want something in return, that is, to approve a fictitious, supposedly non-addictive drug that may be more lethal than lethal drugs. Oxycam. Taking into account the professional experience of the character, Tyrone’s naïveté, played by Alderman hysterically, seems ridiculous, and Jarecki wasted the best ideas of the film here.
When Tyrone threatened to inform the informant, universities and pharmaceutical companies dug up an old reputation for sexual harassment, which made him notorious, although the emotional impact of this threat and Tyrone’s hypocrisy as a person believed to be the truth was never discovered Over. In fact, the filmmaker was so surprised by the inner life of his various characters that he even ignored the influence of Tyrone’s famous marriage on his marriage. The crisis has changed the human element of the story time and time again, in other words drama, in exchange for drug statistics that can be searched by Google in a few seconds.
Actors: Gary Oldman, Arme Hammer, Evangeline Lilly, Greg Kinnear, Kid Cudy (Kid Cudi), Luke Evans, Michelle Rodriguez, Indira Vama (Lily-Rose Depp), Mia Kirchner ( Mia Kirshner, Michael Aronov, Adam Suckman, Veronica Ferres, Nicholas Jarecki, Daniel Jun ), Martin Donovan Director: Nicholas Jarecki Screenplay: Nicholas Jarecki Release: Quiver Release time: 118 minutes Rating: R Year: 2021
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Post time: Mar-02-2021