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I’m not sure I’ll ever get over Ledger in this movie. Few “big” performances since have even come close to the level of immersion he got to here.
It’s the hair, the makeup, and the posture, but what sells it most for me is that damn voice.
How does an Australian make himself sound like that? What the hell did he even hear that set him on the course to get there? And how does he make it work so…
I’ve been eager to revisit this after Killers of the Flower Moon. Beingonly a few minutes longer, it’s interesting to see how Marty utilizes each film’s length and to what purpose.
Killers spends every available minute immersing you into a time and place that’s been both overlooked and underserved before now, using its final minutes to reckon with its own role in the tragedy-to-entertainment cycle. Irishman puts a character’s glory days and shopping of their own casket 50 years later…
Coming up on eight years since it came out, looking at the letterboxd score as a crude but helpful gauge it seems Interstellar has settled in as the seminal sci-fi masterwork I’ve been championing it as from the start.
Nolan’s true masterpiece is as bold and ambitious (in scale, scope and emotion) as any movie that’s been released in the last twenty-something years. Interstellar marked the start of Nolan’s official challenge to Spielberg’s late 80s-early 2000s run where he had all…
Bigger, longer, deeper, meaner. As all sequels should be. Every time I watch this I’m blown away at how perfect it is, and how every choice made was the right one.
After watching this, part of me always wants to immediately run it back for round two.
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