A Ghost Story

July 22, 2017

a-ghost-storyGiven the revival of Malick since the late 90’s, it’s no surprise that there is a generation of American independent filmmakers who seek to ape his lyrical, gorgeously shot style to such a degree that it has almost fully supplanted the rough-and-tumble, dialogue-heavy post-Tarantino style of the 90s.  American indies are nothing if not given to trends.  David Gordon Green arguably got the ball rolling with his (still) stunning George Washington, followed by a handful of varyingly successful continuations on theme until he found his current niche in stoner comedy.  Others have come since, and one of the standouts both for good and bad reasons was David Lowery’s Ain’t Them Bodies Saints, it’s haughty title belying both its lyrical imagery and ponderous tone.  It wasn’t much more than something to look at – a tale of subdued outlaws in early 20th Century Middle America – and listen to, thanks to Daniel Hart’s memorable score.  I missed Lowery’s well-liked foray into big budget filmmaking, Pete’s Dragon, but here he is with the typically smaller follow-up, A Ghost Story, featuring Rooney Mara and Casey Affleck in a white sheet with black eye holes.  A person’s reception that kind of affectation will likely color the viewing experience as a whole – Lowery does little to undercut it, and that would likely be the least of concerns for those who can’t, for lack of a better phrase, get with its vibe. Read the rest of this entry »

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The Neon Demon

July 15, 2016

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Nicolas Winding Refn begins his latest, The Neon Demon, by stamping his initials on the background of the opening credits.  Not just for a moment, but through virtually the whole thing.  His supreme sense of authorship could evoke a great sense of pride in his work or a high level of pretension to his own abilities.  I’m not against the notion, per se, though it does strike me as a little gauche to do underscore every other credit by making sure nobody forgets this is your baby, but to do so puts the audience in an almost combative sense of expectation.  “This better be some high art, dude, because your lack of humility is jarring.”  There’s no doubt Refn has a sense of style, even if he’s a little reliant on Kubrickian camera moves to evoke his states of dreamlike dread.  His larger problem is his lack of self control, something he wears as proudly as Lars Von Trier (another filmmaker I run very hot and cold on), though lacking the latter’s occasional sense of cutting introspection.  Read the rest of this entry »