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I love Eggers but his Nosferatu is cripplingly tame and oddly chaste, self-consciously yearning to be a grand, psychosexual gothic fantasia about desire, lust and female agency, but in practice has a sense of eroticism as muted and dulled as the color palette. It reminded me of Wright's Last Night in Soho, another example of consummated cine-obsession that revealed an oddly kinkless vision of their own material. There's a *lot* to enjoy, but I badly wanted to love it.
Eggers…
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Another movie endorsed as "theologically smart" when it's really just the presence of spiritual discussion at all that seems brainy, an increasing rarity in film even as an odd three major releases in 2024 contend with religiosity (Dune: Part Two and Conclave being the others). It's clearly impressed with its own handling of the material while conning audiences (and perhaps too many critics) into thinking the same. But Grant is feasting, and worth watching for him alone.
I hoped for…
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If Miller was channeling Metropolis meets Stagecoach for Fury Road, Furiosa has him making a Biblical, quasi-Dickensian epic, tracing how Edenic innocence turns to rage and life drifts to myth. Watched together, they have the feel of a perfect double album, the first straightforward and accomplished disc followed by the more experimental and vulnerable second, foiling and enriching their twin in the process. I loved it.
So Furiosa is fucking great, but it's the kind of great that was always…
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a kind of fascinating case of a movie always plainly identifying to itself what elements work (the generationally sensational cast, the old-school bigness of the musical numbers) alongside what doesn't (often how the camera fails to create a strong visual language for the set-pieces, everything to do with the lightning and palette), but I couldn't help but be swept up in it all –– Cynthia Erivo and Ariana Grande become the movie. I had a good time!
at its best, the…
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