Releasing your film as close as you can to the Oscar deadline may keep it fresh in the mind of Academy voters, but it does make it tricky to keep a track of for your more casual viewer.
Throw in the time delay between US and UK releases and even the most fervent cineaste could be forgiven for forgetting exactly when their favorite film was released.…
Here’s the latest installment of the Electric Shadows podcast, which is hosted by myself and the wonderful Mr. Rob Daniel. There’s a link to his site, the titular Electric Shadows, in the toolbar to the right. This week we’re discussing the unsurprising disappointment that was Batman V Superman: Dawn of Justice – Ultimate Edition – the original has, in our mutual loathing of it, probably been our most discussed film this year – and our mutual, if critical, admiration for Nicholas Winding Refn’s latest, flawed masterpiece The Neon Demon.
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Like its predecessor, Only God Forgives, Danish director Nicholas Winding Refn’s latest, The Neon Demon, was also booed at Cannes. Unlike its predecessor, only the film’s final third might merit any such reaction.
The film starts as a glossy, lurid scrutiny of beauty and what it elicits.
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