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Excerpted from my review for The Spool.
“A portrait of a closeted lesbian woman living in England during Margaret Thatcher’s oppressively homophobic 1980s reign, Georgia Oakley’s Blue Jean illustrates a unique paradox for a critic. How does one navigate criticizing a film’s self-imposed binaries while also accounting for the realities of a restrictive period, the gravity of the subject matter (and parallel current circumstances), and the differentiation of what is intended as cinematic affect and what constitutes clumsy filmmaking?
From the…
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★★★½ Rewatched 01 Mar 2023
Discussed on Discussed on Episode 15 of Intermission. with Dan Mecca.
Here's how I contextualized this conversation in the description of the episode:
"Coming off a disparate and largely consistent run of projects (including most recently, the stubbornly low-key backstage musical/relationship drama, Magic Mike’s Last Dance), Soderbergh was and remains an unpredictable filmmaker who’s as likely to knock out a four-quadrant-blockbuster as an obtusely rendered conspiracy thriller throwback like Kimi.
Today’s conversation touches on Soderbergh’s ongoing fluency switching between different…
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Impressive, but this starts hitting diminishing returns with its formal conceit about halfway through. Often feels like Noe-lite.
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Responsible for (or at least instrumental) in leading to so many stylistic tropes I don’t like from 2000s/2010s action movies, but so undeniably alive as a piece of filmmaking.
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“It’s more of a love story than a horror story.” “They can be hard to tell apart.”
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Heavy metal petting.
Really feel like I should have had a stronger positive or negative reaction to this given how hard it’s trying to make me feel something.
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