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I was literally in tears for parts of Argo, a purely physical reaction, not an emotional one, to deal with the tension. The only other option would have been to moan out loud, the film is almost that unbearably nerve-wracking.
David Ayer has pulled off an all-new LAPD cop action drama with a vibrancy so electric that the screen seems to sing from the film’s opening moments, and keeps ringing long after the film ends.
Honestly, I’m not entirely sure what David Cronenberg’s point is here…
Could I dare to hope that another Jo Nesbo film would be as wickedly funny and as sharply pointed as Headhunters? Alas…
“I need a man, not a little boy with a teddy bear.” This is a shocking thing to hear in a piece of American pop culture in the early 21st century…
The heightened emotions and outrageous urgency of rom-coms are actually appropriate here. All the absurdities that define the genre — not accidentally but deliberately — suddenly work in its favor.
You must see Twenty Twelve if you’re a fan of smart, sharp social, cultural, media, and political satire and hugely entertaining comedic performances from some of the best British talent doing funny stuff today.
Those with a very low tolerance for indie quirk may find their patience tried, but I, who have been mixed on the Duplass Brothers and really hated their last film, kinda couldn’t help being charmed by this one.
Zombies and social satire were made for each other — this has been true since the advent of the modern zombie flick in the 1970s. But zombies and political satire?
I don’t know how anyone can possibly make a horror movie again. This absolutely genius movie renders all past and future examples of the genre superfluous.
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