"Columbus."
I was so happy with FRESH OFF THE BOAT's Season 3. I had written it off as just another one of those so-so comedies that I might have to drop after maybe one more season (okay, fine, so I'm still watching "Modern Family"), but this season just hit it out of the park every episode. Really, there wasn't a single dud episode--and there were a lot of very hysterical ones, with Constance Wu, Lucille Soong and the kid who plays Evan duking it out for MVP every single time. Hey, "Modern Family," pay attention.
MAZE RUNNER: THE DEATH CURE was a pile of steaming shit. They could have cut an hour out of it, and there wouldn't be any difference. I only watched it because it was my cousin's birthday. What a waste of cinema space.
Here I proclaim my love for LADY BIRD, Greta Gerwig's coming-of-age masterpiece. But it's so much more than just coming of age. If you have (had) a mother with whom you share a deep, loving relationship, with whom you seem to bicker every minute, you will see yourself in this movie. If you've had to be in a position where you just felt like everyone around you was so much better and miles ahead, you will see yourself in this movie. If you've had to struggle as a family--and not even just financially--you will see yourself in this movie. I do not know what this says of my tastes (and honestly I don't care), but if you've read A.O. Scott's fawning rave in The New York Times, that's just about all of my sentiments as well. Anyone who says this movie does not deserve the Oscar Best Picture or all the other accolades it has received is being petty and pedantic. If it wins, I will be totally fine with it. Gerwig made me wish I could write such precise, evocative, snappy dialogue. And I am still in love with that cast, hours after watching the screener (don't worry, I will definitely be there when the film opens in local theaters next month). Also, can I just say how perfect the choice for the school musical--Sondheim's "Merrily We Roll Along"--was?
The rewards of Kogonada's COLUMBUS are unexpectedly immense, if you have the patience to sit through it. Some have compared it to Richard Linklater's "Before" trilogy, but I found this one to be more subdued and testing, and the conversations more authentic. There weren't a lot of profound dialogue, which contributed to strengthening its realism, because face it, Ethan Hawke and Julie Delpy's language in the Linklater films sometimes went overboard with the metaphors. The most beguiling thing about Kogonada's film was its use of architecture as a device, how it reflected everyday life, the ups and downs, the beautiful and the ugly, in the asymmetries and imperfections of the landscape and cityscape. "An intimate portrait of human connection for building nerds" would be a choice way to summarize it.
Agnieszka Holland's SPOOR had me rolling my eyes when it finally wrapped up. Okay, are we just suppose to ignore the whole can of moral conundrums opened toward the end of the story? Really? And what was up with that annoying percussive score? I am still trying to figure this out, because yeah, it had my feelings all jumbled, more towards the side of confusion.
Here I proclaim my love for LADY BIRD, Greta Gerwig's coming-of-age masterpiece. But it's so much more than just coming of age. If you have (had) a mother with whom you share a deep, loving relationship, with whom you seem to bicker every minute, you will see yourself in this movie. If you've had to be in a position where you just felt like everyone around you was so much better and miles ahead, you will see yourself in this movie. If you've had to struggle as a family--and not even just financially--you will see yourself in this movie. I do not know what this says of my tastes (and honestly I don't care), but if you've read A.O. Scott's fawning rave in The New York Times, that's just about all of my sentiments as well. Anyone who says this movie does not deserve the Oscar Best Picture or all the other accolades it has received is being petty and pedantic. If it wins, I will be totally fine with it. Gerwig made me wish I could write such precise, evocative, snappy dialogue. And I am still in love with that cast, hours after watching the screener (don't worry, I will definitely be there when the film opens in local theaters next month). Also, can I just say how perfect the choice for the school musical--Sondheim's "Merrily We Roll Along"--was?
The rewards of Kogonada's COLUMBUS are unexpectedly immense, if you have the patience to sit through it. Some have compared it to Richard Linklater's "Before" trilogy, but I found this one to be more subdued and testing, and the conversations more authentic. There weren't a lot of profound dialogue, which contributed to strengthening its realism, because face it, Ethan Hawke and Julie Delpy's language in the Linklater films sometimes went overboard with the metaphors. The most beguiling thing about Kogonada's film was its use of architecture as a device, how it reflected everyday life, the ups and downs, the beautiful and the ugly, in the asymmetries and imperfections of the landscape and cityscape. "An intimate portrait of human connection for building nerds" would be a choice way to summarize it.
Agnieszka Holland's SPOOR had me rolling my eyes when it finally wrapped up. Okay, are we just suppose to ignore the whole can of moral conundrums opened toward the end of the story? Really? And what was up with that annoying percussive score? I am still trying to figure this out, because yeah, it had my feelings all jumbled, more towards the side of confusion.
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