the DCU (Depression Cinematic Universe) sure is excellent

I wouldn’t say I hate this. But the more I try and defend it the more I realize this was such an ugly and rushed execution to what could have been something touching. Like what is the Kevin Macleod type score accomplishing? Who allowed those “documentary” scenes to go on for as long as they did? It’s different! It’s interesting! Kinda? But the HIDEOUS end credits sequence was really the final twist of the knife. That bottom centered “Directed by Richard Linklater” SCREAMED that even he wanted this movie to just wrap itself up. Is a shitty visual aesthetic enough to ruin a movie? Apparently!
“Where’d You Go, Bernadette” makes perfect sense as a Richard Linklater movie. In fact, this half-baked and eccentric tale of a modern woman getting her groove back — adapted from Maria Semple’s decidedly uncinematic novel of the same name — might only make sense as a Richard Linklater movie.
From the maverick likes of “Slacker” and “Boyhood” to the more studio-polished fare of “School of Rock” and “Me and Orson Welles,” Austin’s most inquisitive auteur has always been drawn to…
i too would leave my family for a trip to the antarctica with spencer from pretty little liars
"A little social anxiety never hurt anyone."
Bernadette is a chance for people to bask in the majesty of Cate Blanchett. Her character, Bernadette Fox, expresses extreme anxiety. As a former architect, she becomes lost in the world: she wants nothing to do with the people who hate her nor the strangers who love her. Still, she has a base comprised of friends and family, and the driving force of the movie is her rediscovering her passion.
Based on a…
Not everything here works, the big intervention scene is flat and it risks knocks the film out of balance, it is too dependent in the precious daughter to explain itself sometimes and some of the non-Blanchett material fails to raise beyond functional, but this is near miraculous as far as contemporary studio film goes both very conventional and offbeat. So full of odd rhythms (as usual Adair editing is great, just the right transitions and cuts all the time) and…
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Huh. Not exactly surprised by the reception of this one, although I found myself charmed by the end credits. Besides the supporting Linklater players, I couldn't quite find his footprint in this mostly anonymous studio weepie, but it's a quirky rich-people dramedy and it does an admirable job of playing the tone as gentle and bittersweet.
If you're lost, you can look and you will find me. Time after time.
The curse of artistic identity and the love within a chaotic family dynamic. Much like the entire film, this is messy, chaotic, and doesn’t quite find its own identity. It fails to captivate me, even though it offers us a very interesting journey into the burden of genius.
The anxiety deepens, my mind jumps through the comedic tragic drama of the film, where the character study…