Without Joe’s perspective of the world he hates, there’s nothing – not even resentment – with which we can empathize. Joe is left merely with things we can’t condone. This doesn’t prevent it from stopping your blood with its performances. The depth of Cage’s eyes describes hurt in ways that words fail.
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.
In this film, the divisions that we value so much, out of which we create our sense of individuality, will victimize us to a terrifying monster of collectivity. The Thing absorbs and unifies life where suspicious and divided people destroy it. This is Invasion of the Body Snatchers accelerated to universality.
I have not in recent memory seen a film whose concept is more divergent from its filmmaking than The Cloverfield Paradox. It is a movie so dumbfoundingly predictable and yet so incomprehensible that it becomes meaningless even as an average film, a paradox only in the sense that its grand pretensions cannot occupy the same space as the need to connect a franchise that was never intended to be cohesive.
Every frame of The Wailing wades into dream space and out again. Nature in it becomes a backdrop not just to a murder investigation but to the primordial evils of human emotion that would make such an investigation necessary to begin with. We never know if people murder each other because of the anger pent up in a demonic spirit or just the anger pent up in themselves.
I’m aware that Alien 3 had a troubled development and a schizophrenic screenwriting cycle, all documented to any reasonable human’s satisfaction on Wikipedia. But if the result had been miraculous, Fincher would have reaped the credit as a directorial miracle worker. Blame is now the price of that possibility.
If Fantastic Four is supposed the be the story of a superhero family, the 2015 adaptation makes them seem as unsupportive as you can be before civil action becomes your only option. Not only do they see no beauty or meaning in their heroic endowments, but they are so quick to give up their integrity after the accident that you think, as you never should, that these people don’t deserve their gifts.
The transition is over pretty quickly. Face/Off is not about change, but about how the face we have and the role we are given dictates how we act. As soon as the act of transferring one actor’s soul to the other’s body is complete in the mind of the audience, the only task remaining is all performance.
The climax of My Neighbor Totoro doesn’t involve the Volvo-sized hamster of the title, nor does it involve a sick mother who can only be cured by magic – it involves only a five-year-old girl who is lost and scared because she thinks that she can. Like childhood the film involves a lot of running around and laughing and getting grass stains in exotic places. And it drifts into genuine fear, and magic saves the day.