Midsommar is a complicated beast. Those going for something as linear as Hereditary will be immediately disappointed by Midsommars somewhat convoluted plot elements and meandering pace. I sat in the cinema as the credits rolled by, deep in thought about what I just watched, and if it was any good. Nothing really sat well with me, and the film didn't really connect upon immediate completion, but I gave it time to digest.
Ari Asters two movies are very much at odds with each other. Hereditary slaps you with it's excellent presentation, pace, sense of dread and quality of acting on display. Then, upon further inspection, it's woven plot elements and symbolism shine through on subsequent viewing.
Midsommar is very much the opposite. The film almost dawdles in it's presentation and doesn't fully attack you with it's acting chops or narrative (although Florence is simply stunning in her portrayal of Dani). Midsommar more presents it's parts in a very matter-of-fact fashion, and then leaves it up to you to connect the dots of both the plot and what's on display. While there is far too much to unpack in this small comment section, I'd just like to detail some of my favourite themes on display in Midsommar, and why it went from a 6/10 during my cinema viewing, to a solid 8 - 8.5/10 upon reflection.
--- LONG DISCUSSION OF SPOILERS BELOW THIS POINT ---
One of Midsommars central parallels is the individualism/selfishness of Western life and it's stark comparison to the commune we are introduced to. Examples of this are: During the intro, Dani is going through the trauma of a suicidal family member and her boyfriend, Christian, is encouraged by his friends to abandon her in her time of need telling her to see her therapist as it's not his problem. Christian echos these sentiments directly to Dani about her sister, telling her to leave her alone as she is just doing this for attention. Upon arriving at the commune in Sweden, Mark is unwilling to wait for Dani to be ready to take shrooms. Josh, knowing of Dani's recent trauma involving death, subjects her to the suicide of the elders for his own thesis and research. Christian uses the situation to further his own academic efforts, much to the annoyance of Josh. Everyone is acting in their own self interest regardless of the emotional toll this takes on their friendships. This is a stark contrast to how we see the commune deal with distress, emotion and personal issues. When Dani sees Christian cheating on her, the female members of the commune bawl, weep, scream and cry along with Dani, literally experiencing her burden with her to lessen the load. As described by Pelle, the commune "hold" you during your distress, helping you cope and living through those emotions with you. This is further cemented by the scene earlier in the movie, shortly after Dani's sister commits suicide. We see Dani hunched over Christian's lap overcome with emotion, screaming out the pain of the loss of her sister. Christian is anything but present however, his eyes vacant as if he weren't there with her at all. This is possibly my favourite theme of the movie, as it really paints how alone we are in modern society regardless of how many people we surround ourselves with. How many people are actually there for us in our time of need? Sure, they might be physically present, but are they actually there, sharing our pain? It's truly terrifying to think about.
My other favourite theme is who is and isn't a bad person. I've seen many people online say they think Christian is a horrible boyfriend for how he treats Dani. While I can understand their position, I struggle to see how Christian is the bad guy for his actions. Christian finds himself in a dying relationship which he is mentally checked out from but decides to stay to help her through the grief of losing her parents and sister. Christian even goes as far as to bring her on vacation with him to help her through her trauma, even though he wants to split up with her. Would the audience have prefered Christian leave Dani right after she lost her family? That would have been MUCH worse. Do these actions warrant what happens to Christian? I don't think so at all. Christian is so misunderstood in this movie, I can't wait to see it again to draw more conclusions on his character. Is Josh a bad person for wanting to fully envelope himself in a foreign culture? Although we know it is largely for academic gain, Josh does seem to love learning about the culture of these people, wanting to see how they operate and know every intricacy of their faith. Does this warrant his murder for trying to document their sacred texts? Should an outsider be murdered for enjoying and absorbing someone elses culture and customs, or should they be thanked for their interest and passion? (Sidenote, I see Josh's character as a direct reflection of the usual racial stereotypes we see in movies of this ilk. Usually we see the white academic researching the savage native/minority tribe, but Josh is the exactly flip of this, which is a nice touch). Were Connie and Simon wrong for coming into another culture and expressing disgust at their customs? Should they have been so outwardly disgusted and vocal about their disapproval while being welcomed in by the commune? Sure it didn't warrant their ultimate fate, but this small subplot asks an interesting question about outsiders attempting to shape and alter other cultures and customs as it doesn't sit with their ideals.
Other small details:
While it's directly conveyed to the viewer that the red haired girl is attempting to cast a love incantation on Christian via pubes in his pie and runes under his bed, very little attention is given to the fact that Christians drink is a slight shade darker than everyone elses. From the tapestry we see at the start of the festival, we know exactly what the red haired girl has slipped into his drink :face_vomiting: Fantastic subtle horror/grossness.
Pelle talks about how his parents died in a fire and the commune helped him through the trauma of that loss. After the ending, it's pretty clear the fire wasn't an accident, and they evidently died for some kind of ritual.
Artwork above Dani's bed at the beginning shows a girl with crown kissing a bear. While direct foreshadowing to latter events, it also asks the question if this was all fate. Dani's sister's final message reads "I see black now" (potentially a reference to The Black One) before killing herself and her parents. Were Dani's parents 72 and this was the end of their cycle? Was Dani's sister already a distant member of the commune?
Runes are scattered all throughout the film to foreshadow certain character arcs or add more meaning. My favourite hidden rune is the doors to the temple, which when open, make the rune for "Opening" or "Portal". Amazing attention to detail.
Yeah, this movie is much MUCH better on reflection and I absolutely cannot wait to see it again. I really hope Ari's 3 hour 40 minute directors cut is released so there is more to dissect. While not as immediately impressive has Hereditary, Midsommar definitely has the layers and complexity to be a slowburn horror classic.
EDIT: I am now 4 days out from my first viewing and I've not stopped thinking about this movie. I've become a frequent visitor of the films subreddit and have even purchased/listened to the films dread-inducing yet somehow joyous soundtrack a number of times throughout the days. I've been reading up on runes and their meanings, reading up set analysis for hidden meanings and any other small details others can find. A movie hasn't vibed with me like this for a long long time so to reflect this, I think it's only right I bump my score from an 8/10 to a 9/10. When I can get my hands on the digital download/Blu-Ray, I'm sure this might even go higher.
Oddly captivating, The White Lotus is like a car crash you can't stop staring at. It's not outright entertaining, but something about it is intriguing and gripping on a level I can't fully explain. Looking forward to see where they go with this, every characters backstory is fairly deep and fleshed out considering it's told exclusively through dramedy snippets.
Possibly a contrarian opinion, but I'm starting to get a little worn down by a show that so heavily panders to the super fans in hopes their gushing will trickle down to the masses. You're supposed to be telling me the story, not showing glimpses of things and then hoping I'll read wiki pages and fandom entries just to know what the hell is going on.
Case in point, we've seen Monica as an operative for SWORD, but she walks through the Hex and now has glowing eyes and can stand toe to toe with Wanda. So now you expect me to read wiki entries on whoever the fuck "Spectrum" is just to understand what the hell just happened? Or are we all supposed to have a resident Marvel super fan who can just rattle off who these people are you're introducing at the speed of light?
Agatha is also another prime example. After this weeks episode, it feels like the intended reaction from the audience is "OMG THEY ARE DOING AGATHA HARKNESS?! OMG OMG OMG I CAN'T BELIEVE THEY'RE DOING AGATHA!!". I simply do not know who Agatha is or what her connection is, but all the comments online would have you believe this is the second coming of Christ.
A fly on the wall in one scene is apparantly a confirmation of either Mephisto or Nightmare. Who? What? Oh right, more wikis and fandom pages.
Like Deus Ex meets Crank, Upgrade is a stylish, gritty but somehow humorous thriller which is a blast from start to finish.
With an absolutely killer cast, The Circle is let down by a totally unfulfilling plot and script that felt many times like it was scrabbling for direction or resolve. Like an episode of Black Mirror minus any of the depth or intrigue that comes with it.
Jesus Christ cousin! I feel like I need to just sit down, swig some whiskey and let this episode marinate in my mind. I feel raw just being on the sidelines of this absolute pressure cooker of a family unit; I can only imagine what living like this would do to your psyche after years and years of exposure. It adds so much context to the Berzattos, and finally answers why they're the way that they are. Possibly one of the best episodes of television ever, and an absolute ensemble of powerhouse performances. The Emmys better put some respect on the Bear, it's absolutely phenomenal.
What a treat! No One Will Save You is a dialogue devoid, tension soaked thriller with an understated backstory and a great presentation. Employing my favourite style of storytelling by showing rather than overtly telling, this deeper-meaning alien thriller is decidedly something special comparative to the other streaming movies that get dumped onto their respective services each week. Surprised this one didn't get a run out at the cinema, I think it would have benefitted from the theatre experience. That's to say you should give this one the setting it deserves. Turn off the lights, crank up your sound device of choice and let this one thump and thrill you for 90 minutes. If you're willing to give it your full attention, I think you'll be greatly rewarded.
Much like all of these post/elevated-horrors, many of the elements are metaphor-laden and hold deeper meaning past the usual surface layer. The aliens in this scenario embody the feeling of anxiety, dread and guilt that is currently holding Brynn hostage in her own home. Unlike everyone else in the rest of the world, who let this anxiety and dread wash and takeover them, Brynn has decided after years of solitude and self-hate that's she's going to stand up and fight back. My read on the ending is that Brynn, who we now know killed her best friend in an accidental retaliation during a childhood fight, has now processed that guilt and stopped it from "consuming" her. We see that everyone else has allowed the alien parasite into them and are now living life with the motions, while Brynn actively fights off the possession and kills many of the aliens trying to force it upon her. Now she has faced the guilt head on, she can live her life free and unburdened, as we see her going about her daily tasks and being accepted by the possessed town that once shunned her.
It's amazing to read other reviews where people are completely slamming this movie for "not making sense". I think this movie is a good litmus test for people who actually pay attention and those that have made doomscrolling on socials part of their movie watching experience. Without things being overtly spoken through dialogue, many are missing this movies well conveyed story, and it's pretty depressing. Hope the industry keeps giving movies like this the time of day, they're the kind of movies that really remind me why I love this medium and the places it can take you.
Can’t help but feel this was a little bit of a dud of an ending? Not sure, going to have to reflect on this for a little while, but immediately feels like a 6/10 ending for what was overall an 8/10 show.
Edit: Having read the book ending, yeah, I'm a little let down by this one. The book basically throws in another murder that Jacob is suspiciously close to after Hope winds up dead and Laurie finds a red stain on Jacobs bathing suit. This pushes Laurie over the edge with guilt as she is now totally convinced Jacob did it, resulting in her killing him with the car crash. I feel this is much more compelling ending as it adds a pattern of similar circumstances around Jacob, but still doesn't confirm he is the killer. and further drives home some of the central points of the show. The grey area between right and wrong, the decision between what is right ethically, and what is right for the family, and how hard it is to straddle that line for the people involved. How a parent copes with loving someone that they are convinced did a horrific act. It keeps the same ambiguity of the show ending while adding the finality of Jacobs death, meaning we may never know the truth.
Although it feels like I've bemoaned the entire ending here, I still really enjoyed the show, and would probably give the whole show about an 8/10 if pressed for a score. Would have just been great for them to have gone through with the book ending as it's a little darker and much more in-keeping with the shows tone and presentation.
A somewhat lucid slice-of-life experience that chronicles the loves and life events of one indecisive 30 year old.
The Worst Person in the World manages to evoke the feeling of looking through the mental scrapbook of our lives; the one we all flip through after a milestone birthday or large life event. The feeling of quickly summarising large swathes of your life into the most poignant (and in some cases mundane) moments that stick with you forever. It was moving, touching, challenging and dare I say real(?) in its portrayal of navigating a contemporary relationship in modern life. It also made me realise the stark differences between a tiny generational gap of those in their 30s and those in their 40s. The juxtaposition of Aksels friend circle to Einvinds made it all the more jarring, and was shown without emphasis to great effect. Aksels all discussing settling down/family events while Einvinds are setting up Instagram pages, taking mushrooms, putting off having kids for environmental reasons and working service jobs well into their 30s. It's eye-opening, if a little depressing as I find myself turning 30 in the not too distant future.
There was much here I resonated with, many lessons I learned from the characters and a few quotes to boot. This feels like a movie that will sit with me for much longer than I anticipate, but I'll be happy it did every time I think about it. If I can manage to shake the existential dread it brings me that is.
I honestly can't get over how good this show was. Started out on a whim Saturday night and binge watched the entire series in two sittings. I was hooked from the get go. From the synth-y soundtrack, to the Stephen King meets Goonies storyline, everything about this show is truly gripping and enjoyable to watch. If not a huge success, Stranger Things is surely a modern day cult classic.
Not very often does a movie quietly unfold it's narrative with such sensitivity and grace as Past Lives; a broad but understated piece on fate, destiny, love, relationships, identity and so much more. I connected with every single layer of this movie, and felt for every character and their specific angle. In-Yun as a concept wasn't new to me, but now it has a name I'll think of it constantly as I navigate this rocky plane of existence we call life. A lovely movie with an oddly gut-wrenching comfort; bitter sweet but so enjoyable from start to finish. Every frame is beautiful yet nostalgic with it's film grain, washed out composition and wide framing. A perfect score that is as every bit wistful and full of hope as it is soft and heartbreaking.
To save myself from rambling, this was such a great movie, please do yourself a favour and let it whisk you away at your earliest convenience, I just can't guarantee you won't need tissues by the time the credits roll.
I want my own Jennifer Lawrence to pull me out of my shell and show me the ropes of life while also inadvertently becoming a close friend of mine in the process. Not a bad film by any stretch of the imagination and there were many moments that got an audible laugh out of me, it just lacks the completeness of the raunchy comedy classics it's emulating to swing for a higher score. It's still a fun time with enough heart to see you through to the finale, perfect streaming fodder when it inevitably makes its way there.
"It's never too late to start over"
Richie, Richie, Richie
I absolutely adore how they've made me completely connect with this "jagoff"; watching him grow and develop and get knocked down and get back up again; I hope the rest of this season is kind to him as he finds his own purpose and reason for being. There were flickers during this episode, with the deep dish pizza (called it) and genuine delivery of service to the people of the restaurant. You can just see Richie opening himself up to the graft and reward of the service business. A lovely message to the whole episode too, about never being down and out, there is always an avenue for us all to take to get back up, dust ourselves off and start again. I actually got a little teary watching him hear the news from Tiff and when he's cruising to Taylor Swift. What a character.
"Every Second Counts"
Saint Maud joins the ranks of Hereditary, Midsommar, The Witch & The Lodge; a movie that is primarily a chilling drama with shades of horror throughout, a formula which has shown to be exponentially more frightening than the cheap thrills of yesteryear. Rather than easy scares and loud noises, Saint Maud focuses on the realism of it's protagonists struggles to paint a more horrific reality than any prosthetics or high decibels could create. If you are a fan of the new wave of horror, Saint Maud is unmissable. Rose Glass has easily secured herself amongst the ranks of Ari Aster and Robert Eggers in the horrorsphere with this beyond impressive debut. I look forward to whatever she works on next.
Musings and details I enjoyed [SPOILERS BELOW]:
The lighter is foreshadowed throughout the movie, from Maud idly playing with it along the sea front, to the party guest helping light the candles at Amanda's party. Every side character in this movie also smokes, something I'm struggling to land the exact symbolism of outside of the mentioned foreshadowing of the lighter.
Maud/Katie's descent into madness is shown via spirals/whirlwinds/tornados throughout the movie. Water is shown swirling down the plughole multiple times, a tornado appears in Katie's beer at the bar and obviously the opening in the sky during that scene.
Maud/Katie's past life and current life are kept very distinctly apart until the final scene when her ex-colleague comes to check if she's OK. We then see, as Maud/Katie looks out the window that her eyes are now different colours. Does this portray that her Katie and Maud personas are now one and she's fully succumbed to her religious delusions?
The movie flips the usual trope of women being objects of desire and sex by having all male characters be literal sex objects. Katie gives the guy at the pub a handjob, she sleeps with the guy who's beer she knocks over, and Amanda only has her male friend over at the start of the movie to drink and sleep with. Cool subversion of older tropes which isn't pointed to or overly highlighted.
The movie solidifies that all of this is a delusion in Katie's head with it's harrowing finale, but other details shown throughout also confirm that this is nothing more than a coping mechanism. For example, when God speaks to Maud, it's in a foreign tongue that I initially mistook for Latin, but it is actually Welsh. The actress who plays Maud is Welsh so it's not much of a stretch to assume that Maud herself is Welsh, confirming that God didn't actually speak to her, she was simply speaking to herself.
The movie asks a lot of questions about the validity of religion, as well as the support structures available to those who live through traumatic life events. It's terrifying to think that people out there could suffer with PTSD and have no one to turn to. Maud (like many others in real life) fell into religion as a coping mechanism for her pain. This movie is horrifying in the sense that I could see this really happening to someone. Being unable to deal with a life changing event, and instead projecting a higher purpose on yourself to try and run from the problem, ultimately leading to the destruction of others and yourself.
I enjoyed the parallels between Maud and Amanda's characters. Amanda has been told her life is abruptly coming to an end, while Maud is struggling to find any reason for her life to go on. Amanda is leading a life of frivolity and recklessness in a final blaze of glory, while Maud is attempting to lead a life of conservatism and modesty. Great dynamic to have, especially seeing as where the story takes these two characters.
Man, this movie has so much to unpack considering it's fairly brief 84 minute runtime :laughing:
Definitely carries a much more sombre, sadder undercurrent than the other entries into Bo's work, but results in this being some of his best. Great stuff, I hope Bo continues to perform for many more years to come.
The warm, authentic 70s vibe emanating from this movie really is something. From the film grain, the lofi credits, the static camera with pan and zoom only, it really sells the aesthetic right from the jump and never lets up. On craft alone, The Holdovers is a worthy watch, but that would be a disservice to the melancholic-yet-heartwarming tale being told. While you could argue that the plot is one of trope and predictability, the warm blanket it provides is perfectly fitting, and offers just the right stage to explore these three unusual characters. A lovely story about connection and finding friendship in the unlikeliest people, The Holdovers is a delightful movie that I can't recommend enough, especially with it being the season and all.
By squashing together two thematically juxtaposed storylines, American Fiction drives home its point about America's derivative, stereotypical and one dimensional take on race. Traditional media likes to pander, simplify and stereotype black lives, instead of just telling the breadth of variety to the black experience from each unique viewpoint. By showing both a satire of this oversimplification through Monks success, and giving us a window into Monks personal life full of family issues, relationship struggles and financial woes, we're given a running dialogue that equally critiques the current status quo while also showing the truth of a unique, valid black experience. For something with such a lofty message, American Fiction is very easy viewing; equal parts emotional, humourous and punctuated with a buttery smooth soundtrack, you'll be hard pressed to not finish this one if you start. Does its inclusion in the Oscar race play right into the very problem it's satirising though? That's another debate for another time.
The tone of this movie is all over the place; it is an absurdist collage of genres that never capitalises on any single one to great effect. It's both fantastically shot while being absolute drivel, it's a complete whiplash in quality from one facet to the next. Not once was I sure what type of response this movie was trying to illicit from me. Was I supposed to laugh at the absurdity of it all? Enjoy the annoyingly well shot action sequences? Be scared by the slow building horror scenes? Chuckling from the poor acting and terrible script work?
Either James was shooting to make The Room of horror movies as his return to the genre, or something here went horribly wrong. Or it'll become a cult classic because of how stupid it is. What a wild ride, and sadly not one I can say I enjoyed. The Saw references were a nice touch though.
Richie is such an interesting character, and another layer is given to his demeanour in this episode. The main bulk of this chapter is the struggle he feels between grasping onto the memory of his best friend, while also doing right by the restaurant that he left behind. For it to thrive it must also shed what it was when owned by Mikey, and that's a difficult emotion to convey but The Bear somehow does it perfectly. The resentment of the new guard, the loss of tradition and culture that you feel and associate with a place, the bullshit conversations you used to have are no longer there. The vibe is different and you know the place is better for it, but you still can't quite shake the feeling of loss and like you don't fit into the new mould. The love is waning and it's up to Richie to process and grow with the place, or let it grow without him. As we see him call the police on the gangs he used to bump shoulders with, we're inclined to believe that maybe, just maybe, Richie is on the up. There is a lot of delicacy taken with the approach to these characters and how they're all developing post-Mikey and it's really interesting to watch, especially for the second time through. New viewers can easily get bowled over by the shows frantic, stress-filled pace and a lot can be lost in the weeds. I highly recommend another viewing for those that have seen it through once, it's a stellar piece of TV and I'm having a blast seeing it another time.
That and Jon Bernthal absolutely commands the screen during the opening scene. What a presence and really conveys the feeling that a larger-than-life character has been pulled from this dysfunctional family unit. The void left is cataclysmic, and the people left behind can't possibly hope to fill the void. So much is said via so little, and The Bear really is a masterpiece for it. I'll stop rambling now before I sound too much like a fanboy for this show :sweat_smile:
Like Eighth Grade meets The Strangers with a dash of Funny Games, Speak No Evil is an awkward, tense slow burn of a movie that will have you cringe and sweat for the majority of its brief runtime. Speak No Evil directly attacks the polite agreeance that we all find ourselves doing daily to make everything go smoothly during normal social interactions. Our own boundaries of acceptance are pushed and redrawn as we just try to stay polite and not be a bother to those around us. It's a difficult emotion/feeling to convey on film and Speak No Evil nails it. Next time you find yourself awkwardly nodding to an acquaintances suggestion, ask yourself if you really want to do what they're asking, or if you're only doing it to appease them. Uncomfortable but thought provoking viewing. Those who can stomach the bleak subject matter will be rewarded with a solid social horror.
Macabre to the core, what starts as a jovial evening with past friends quickly becomes a bleak yet almost too relevant look at the world in catastrophe. Not what I expected, and really enjoyed the slow reveal of what was truly happening. Some of the messages here will probably be interpreted differently now after everything that has happened in the real world, but as a dark drama comedy, this is a hit.
And we're finally back in form! After what I thought were a few stagnant, meandering weeks, the show is finally getting back to what made it great. The progression of these characters through the lens of football, while keeping the heartwarming subject matter we all know and love. I hope it stays at this calibre for the rest of the season, and that we start to squeak out what is obviously troubling Ted deep down. Great great episode.
Aside from the horrific editing throughout the majority of this feature, The Little Things is a gripping crime thriller with a sharp human twist. I'm rather shocked by the level of disdain on here for the ending, as I thought it was much better than simply naming the killer. Having Deke save Jim from the guilt that befell him when he killed an innocent man was a nice twist that I didn't see coming. Sure it doesn't answer the main mystery of the crime, but I'd argue that was never the main storyline of the movie in the first place. It was all about Deke finding peace with his past, while helping his replacement not fall into the same hole that he did. Takes a while to get going, but once it does it's a gripping, enjoyable ride to the credits. (Just try and ignore the 293048023948238 edits during scenes as simple as breakfast at Jim's house)
I mean this with the greatest of respect, but I feel like this is made for the generation of people currently on Twitter replying to all cinema posts with "sksksksk fr fr yasssssss we WILL be seated". It's an interesting twist on the high school, raunchy comedy with a gay twist, but nothing really comedically landed for me throughout the majority of this. I really did enjoy the soundtrack and aesthetic of the movie though, and the outtake sizzle reel at the end was great. Just alright, not to the heights that the internet would have you believe, but still decent enough.
Paint-by-numbers hijack thriller. Nothing new or exciting is brought to the formula here, but it's serviceable for what it's trying to achieve. Nothing pops out at me, it's just decent thriller TV. I will once again throw out the usual observation that Apple TV shows always give the good guys Apple products, and the bad guys everything else. I knew the pilot was shady when his tablet was running an unbranded version of Android. Mr. Late-for-his-Flight was also using an Android device. Let's see if Apples insane product placement policy ruins some of the twists and turns in this show.
Right from the hip, this didn't completely come together and I'm trying to figure out if that was intentional for the eventual Season 3 redemption, or accidental and all the pieces just didn't fall into place at go time.
Do not get me wrong, there are some absolutely fantastic moments in this finale, some of my favourites from the whole season in fact. Pete & Donna outside the restaurant, Richie in full Michelin-mode and taking over the kitchen, Syd and her father and finally finding "the thing", Marcus knocking his phone so he didn't see the calls from the care home, Richie showing respect and thanks to Cicero by remembering the chocolate covered banana; some honest-to-god A tier drama with arc and resolution and substance.
Carmys arc, and by extension Claires too, just didn't feel...right? Even with the tragic wrap up it just didn't feel very polished? The handle being forgotten because of Carmys divided attention, Carmys self destructive spirals and PTSD from both his early career and his mother/family all make sense, but Claire barging in and overhearing his self-deprecating ramblings and taking them seriously enough to cry and run off just seemed a little, unrefined? Something just didn't feel right and didn't line up for me. The premise is sound and I'm not totally anti-Claire, but the execution of it all felt sloppy at best. Then there was crackhead Josh, which felt like it had a few scenes removed so didn't land as intended, and the Marcus/Syd clash felt very forced, considering all the way up to this point these people have actively pushed to compartmentalise to make sure the kitchen runs smoothly, devoid of emotion and personal clashes like this.
Just a little messy and could have done with another pass, but some of the hits still absolutely hit and I have everything crossed that we get a Season 3 to wrap this all up and see it out.
This was possibly one of the best episodes of anime I've seen in years. Ufotable absolutely knock it out of the park each and every time, I'm so glad it is them at the wheel for this series. Definitely going to rewatch that final sequence a few more times before next week. That was simply insane.
I'm a sucker for an open ended narrative, and Anatomy of a Fall gives us so many breadcrumbs to work with it's hard not to get lost in how we feel once the credits roll. It's been amazing to read multiple interpretations throughout the days following my viewing, and I'm still not sure where I land on the ultimate conclusion of the plot. What I can say for certainty is that Anatomy of a Fall is a glorious peek inside the life of a delightfully nuanced couple. Their interactions are raw and real, arguments feel clumsy and looped, realistic and believable. It asks us to question our perception and interpretation of others; seeing relationships for brief moments and coming to grandiose conclusions about their infinite nuances without ever truly knowing these people and the dynamics that push and pull between them. I'll continue to return to this movie in my head for weeks to come, as another minute detail bubbles up and questions the narrative I've built in my head about these people and what transpired between them. Maybe I should watch it again, I can't imagine what a second viewing will unearth. Fantastic film, I expect a lot of award season love for this one.
As others have said I absolutely love all of these characters, warts and all, and I can't wait to see where each of them goes over the course of this season. I'm also appreciating the raised comedy in this season. While it was prevalent in the previous season, it's really brought to the forefront here and it's adding a nice lilt to the whole thing without losing the dramatic edge.
There is so many layers here to all of these people, and they always manage to keep to a tight 30 minutes:
Ebra struggling in the academic setting after being clearly talented and proficient by himself was very relatable. I hope after the initial impostor syndrome and doubt subsides, he can come out the other side even better.
Syd trying to explain to her Dad why she believes in this dream, when all your parents want for you is stability. We got an insight into her past and her mother too, which was done in the usual Bear fashion of leading conversation that we can only gleam small details from to piece the bigger picture together ourselves.
I think it's fitting that Carm would have a love interest that also works in a sector as stress-inducing and high pressure as his own profession. I do however feel this will be very reminiscent of Whiplash, where we're lead to believe the love interest will follow the usual arc, but in a twist is cut short and removed entirely as the connection only serves to hinder the potential of being great. I'd love to be wrong, but I think the detail called out by @votrespirit only adds to my theory.
Richie is still bubbling under the surface, but the short glimpses we saw of his partner? ex-partner? in the opening episode as well as his confession about having no purpose will surely come to a boil at some point and I'm excited to see it.
Once again, what a show. Christopher Storer & co, you have a fan for life. I will watch anything you create.
While the story, characters and acting leaves much to be desired, Hellraiser's use of prosthetics and special effects are still amazingly impressive to this day. As a new watcher this year, I was astounded by some of the effects work on show here, which really stands the test of time over it's CG counterparts. Not sure I'll watch the others in the series, but as a stand alone entry it's an impressive 90 minutes.
