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White Noise
With White Noise, Noah Baumbach has managed to make a compelling and remarkably coherent dramedy from Don DeLillo’s postmodern epic of optimism and catastrophe.
Jack Gladney (Adam Driver; winningly ungainly with long limbs and beer belly) is a renowned professor of “Hitler studies”, who works at a fictional American college sometime in the 1980s.…
You may have noticed The Movie Robcast has a lovely new logo image. Created by the rather wonderful Bridge Fazio, we’re thrilled with it. See more of Bridge’s work here.
Episode 79 sees Robs Daniel & Wallis review both the ridiculous and the, not sublime, but well-crafted.…
A bedroom embrace is wrenched away and instantly replaced with the rear compartment of a getaway van, one door wrenched off its hinge and sparking on the asphalt, as a lover’s playful snarl becomes the shriek of a bullet, ricocheting around the exposed interior.…
The Florida Project
In his follow-up to 2015’s Tangerine, Sean Baker gives us a confectionary, pastel-coloured ode to the “hidden homeless” in America’s Sunshine State.
The gaudy Magical Castle Motel may be located on Seven Dwarves Lane, virtually in the shadow of Disneyland, but life there is no fairy-tale for six-year-old Moonee (Brooklyn Prince, in an astonishingly shrewd performance) and her tatted-up single mum Hallee (Bria Vinaite).…
When we fade in, it’s on a little girl in a checked skirt, wandering beneath the hanging moss of a long dark tunnel of oak trees. When she gently picks mushrooms from the dirt, we can almost hear their stalks part; so quiet and eerie is the locale.…
But where Kevin Smith’s Tusk was about a vicious comic forcibly losing his humanity due to a mad experiment, Yorgos Lanthimos’ The Lobster is altogether more social and universal.…
Simply put, you can’t: the Disney corporation has fiercely guarded the image of their founder, almost as fiercely as their iconic mascot.…
I think it’s revealing that two of my favorite genre films of recent years – Shane Black’s vaguely satirical crime thriller Kiss Kiss Bang Bang and Drew Goddard’s postmodern slasher horror The Cabin in the Woods – both deconstruct their respective genres.…
That honor is reserved for Brazil, Orwell’s 1984 via German Expressionism.
Nor is it the late Heath Ledger’s defining performance – whether you prefer Brokeback‘s closeted cowboy or the anarchic philosophizing of his Joker in The Dark Knight, both are, in my opinion, far more notable.…
Billy: No, it doesn’t. There’ll be one guy left with one eye. How’s the last blind guy going to take out the eye of the last guy left whose still got one eye left?…
