Michael Joshua Rowin
The film focuses on the disruption of linear space and time created by psychic phenomena, allowing Roeg to masterfully explore the possibilities of creating, through camerawork and editing, a thoroughly nonlinear temporality even while depicting a succession of events.
As the cinematic past increasingly recedes we will probably see a lot more films like Dawson City: Frozen Time, a documentary that attempts to reacquaint viewers with film as film at the same time as it eulogizes the former material basis of the medium.
In the wake of Ryan, realism ceased to be an aesthetic choice or strategy among countless others that might be employed to cinematically portray war; it became a de facto principle, an attitude taken for granted as the obviously correct one for approaching said material.
Rated the lowest of all Coen films on Rotten Tomatoes, and generally spoken of with embarrassment by fans who see it as the nadir of their career, the 2004 version of The Ladykillers—a loose remake of the 1955 British comedy—makes the best case by which to come to terms with the siblings’ thick, often impenetrable, ironic humor.
Cyrus bears an unmistakably stunted relationship to his mother. He calls her by her first name, spends an inordinate amount of time with her to the exclusion of any other friends, and engages in creepy behavior, including using the bathroom while she showers.
This homecoming, of sorts, is welcome. Jeunet has always proudly embraced making movies with massively wide appeal, but since signature debut Delicatessen and the lesser but fitfully captivating The City of Lost Children, each attempt to reach an ever-larger audience has forced him to undermine his already narrow talents.