The Lighthouse, presented as a black and white vignette of several malcontent filled scenes between the harrowed old endemic lighthouse keeper and a young steward new to the location. The film has a jarbled, often scathing tone about its dialogue, a welcome grating narration to the usual seamless fabric necessitated through the industry. The characters …
Continue reading “The Lighthouse – A Meditation on the Lost Art of Communication”
The Lobster is the greatest romantic comedy I have ever seen. Now it’s not a romantic comedy in the same sense that Mama Mia or Crazy Rich Asians would be, with a lighthearted tune about finding love in a hopeless place, showered in sprays of springtime flowers and a dash of the coastal breeze. …
Continue reading “The Lobster: A Romantic Comedy that Asks the Right Questions”
Hae-Mi is a brilliant representation of the oft-forgotten femme fatale. In Burning, she finds herself in the middle of a love triangle in her search for stability, looking to her past in Jong-Su and aspirational needs with Ben, but neither could fulfill her true, inner desire, a sense of self. There is a single …
Continue reading “Burning: A Perspective into the Femme Fatale”
Harold and Kumar is the most important movie for Asian-Americans in the history of American pop culture. Miss me with movies like “Memoirs of a Geisha” where everything’s depressing and the characters were Asian because shit it was set in Asia, what else were they going to be. But Harold and fucking Kumar set the …
Continue reading “Harold and Kumar Go to Break the Status Quo”
Jurassic World and its sequel are gently nuzzled at the lower end of mediocre on my scale. But what exactly incenses a guttural hatred of the product? I don’t have any real nostalgic connection to the property – I never watched the original Jurassic Park as a kid. But, I knew what it was all …
Sloppy Critic