The Neon Demon shares a Grecian passion for allegory, telling a story of envy as a clash of idols in an uncertain realm. This film speaks through its eyes. It’s not really a movie with “characters.” It more resembles a statue gallery: Refn might be an over-imaginative child walking through it, making up the life and times of the stone prisoners cursed to stare at each other forever.
When Mary Poppins pops out on stage in stockings and Mia Wallace hair I was reminded of some Mary Poppins-themed miniskirt ensembles I saw in a shop window in Disney Springs. From then on, I was half-afraid of the Banks home staging a rendition of the sexy maid porno situation. I’m fairly certain Andrews’ version would have scoffed the scanty jollity of this number in particular. I’m positive that author P.L. Travers would have wept.
A Christmas Carol is such a tired tale by now that the first task of this new film should have been to make old hat seem tailored for the first time. But as Dickens picks up well-known artifices of his story off the street, you become infected by that terribly un-jolly feeling that this is one of those movies – one in which random people will speak full Dickensian quotes for the good author to overhear and jot down, in which everyone he meets has a name that will go into one of his stories.
The aspect of rebellion in Fight Club makes it the anthem of a cinematic generation, who may not understand it at all. Remember, “the first rule of fight club is that you do not talk about fight club.” If you argued about its philosophy, its meaning, its impact, its significance, the movie would punch you in the nose.
Alien: Resurrection is not unified by its cynicism as Robocop was. It’s not a satire of us, but just a satire of Alien movies. It’s never boring and that’s actually something, in the realm of fourth entries. The reason this film is in the category of “Everyone Else is Wrong” is not because I think it’s good, but because I don’t know what people were expecting.
Nothing about Hellraiser has the remotest sense of dread (besides perhaps that sense that it’ll inevitably become a franchise). Even Frank as he gradually corporealizes has the sad eyes and questionable brow anatomy you may expect less from a Barker body horror than from an alien ambassador on Star Trek: The Next Generation.
Hello, Dolly! can’t get passed Streisand. It’s a solo concert trying to be a movie. Character is more a windfall than a result of the plot, which concerns Dolly pulling so many strings to get what she wants that it’s not even clever – it’s so decadently convenient that she seems to have the writers on her side.
This moral naysaying is shockingly against type for a film bursting with Copacabana headliners. Remember that these are the guys hired explicitly to hold a mic in one hand, a drink in the other, and to generate a fantasy of wealth and well-meaningness that makes thousands of less charming people mistake clubbing for having fun. Robin and the 7 Hoods is drastically less endearing than any of its hoods.
I’m not overextending an analysis of Hulk (2003) by connecting it to mythic lore and Shakespeare – its idea of drama is unquestionably what is in those fables, even if it is the worst in them. Its psyches are all torturous, exaggerated, archetypical. But what is worst in myth, what is flagrant and flawed, is also what is human and endurable.