![]() ![]() McQueen presents the torture and psychological torments of this national travesty with a steady, unflinching gaze, avoiding the catharsis of a Tarantino revenge fantasy and creating instead a more honest, important movie.Ĥ. Here he meets Patsey, a young slave who catches her owner’s lustful eye and pays dearly for it in ways unimaginable. He is viciously beaten, sold from owner to owner until eventually, he ends up in the stickiest, most vile place imaginable: the plantation of Edwin Epps. Solomon Northup, whose life inspired the film, wakes up in chains after a night out with a pair of white men. Steve McQueen uses Hitchcock’s favorite narrative device, “The innocent man wrongly accused,” to stare directly into a national horror with brutal straightforwardness. 12 Years A Slave- Quite simply, this is the most powerful movie about American slavery we’ve ever seen. If anything, the year’s masterpiece will serve as an important corrective: it’s not style over substance, style is the substance.ģ. But not working directly as an obvious critique of anything is exactly why the film will endure by evading a definite “purpose,” it is a piece of art that can be observed from a multitude of angles. As a major release in 2013, Spring Breakers is purposefully indefinable, and so nonplussed reactions from Gen-Y are unsurprising (strangely, our drug-obsessed culture doesn’t seem too interested in art inspired by drugs?). Big Arch and the indelible Alien are the walking, boasting incarnations of this ever-lasting Dream, and the girls’ eventual foray into criminal warfare is all an inevitable part of their quest for insatiable pleasure. Malevolence has always been a way of coping with marginality for Korine’s characters, but for Brit, Candy, Faith and Cotty, it is a way to reach the ultimate high attaining a transcendent euphoria, not through debauched revelries but through dominance and power. Aesthetically, it mirrors the sex-and-drug infused paradise of an MTV spring break, filmed under bright pink skylines and seedy red nightclubs. Spring Breakers- The perverse pleasures of cinema were mined and radicalized in Harmony Korine’s Spring Breakers, an apocalyptic beach party and an unforgettable deconstruction of modern America’s excesses and wastelands. Scorsese’s damning portrait of greed has a well-secured place in the canon of America’s great black comedies.Ģ. The uniformly great supporting cast, paired with DiCaprio’s career-best performance, carry out exhilarating, even visceral, comedy scenes that keep the film bouncing through its three-hour run-time. ![]() It is in these outrageous slapstick moments and revolting conversations that the director becomes a sly satirist, allowing us to laugh at and observe this lifestyle from the self-aggrandizing narrator’s point of view. The men in Wolf act out of humanity’s basest impulses snorting drugs and screwing prostitutes in the office just because they have no one there to tell them “no.” Scorsese, much like the protagonist, never slows down to moralize anything on the screen, keeping the focus on the excessively sexual and drug-fueled life of Belfort and all of his brokers. The film depicts behavior most would find irrefutably lewd, misogynist, or downright amoral most of which is played for uproarious laughs. ![]() You wouldn’t know it watching The Wolf of Wall Street, an impossibly energetic riff on the true-life exploits of Wall Street crook Jordan Belfort. The Wolf of Wall Street- The funniest film of the year was made by one of the world’s greatest directors, Martin Scorsese, who is now into his 70s and nearing the very end of his career. ![]()
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