David Lynch has spent his whole career trying to convince people that his work isn’t built on moral or political grounds, but is almost entirely a manifestation of his id. This is largely ignored by critics and fans, who, after seeing movies that operate with such a perfectly encrypted view of our world, assume that there must be a key to unlock them. It’s fun to search (in vain) for the age in Laura’s Diary that bridges…
• It brings me no pleasure to report that Ryan Coogler is just Black Mike Flanagan—the unmotivated oners, the garish Netflix-grade-CGI landscapes, the awful monologues, the characters who can’t help but articulate every single emotion, but yes also the sturdy genre craftsmanship than never veers into amateur territory.
• Miles Caton with a very impressive debut. Jack O’Connell always brings the heat. Delroy Lindo is so good and natural that it feels redundant to even compliment him.
• 90s Multiculturalism Dance…
Breathtaking feature. Johnson at his whodunnit-loving best.
Some highlights:
-Lakeith Stanfield calls Daniel Craig “hoss” no fewer than 40 times.
-Jamie Lee Curtis won’t stop looking into the camera and mouthing “I was in Halloween.”
-Not a single knife.
-Michael Shannon punching Chris Evans in the mouth.
-Michael Shannon punching Dode in the mouth.
-Michael Shannon punching me in the mouth (3D screening).
-It’s actually a prequel to Brick? This didn’t really land tbh.
