Anomalisa doesn’t open until the 30th, and most cities won’t get it until January, so for right now, the less said about it, the better.
Unsurprisingly, if the film aimed at rehabilitating Vlad’s reputation it’s not entirely successful: the indelible image of the film is a field of vanquished Turkish soldiers impaled on stakes as far as the eye can see – Vlad’s infamous Forest of the Impaled. In his brilliant second feature, writer-director David Robert Mitchell summons both at once, conjuring a slow fade from summer (beaches, frozen yogurt) into fall (rustling leaves, back to school) removed from a specific time period—and then unleashing upon it a malevolent force that approaches slowly but will never stop, and can appear in seemingly any guise. But in 2015, it was hard to go more than a few steps without hitting something major, something essential.
Gregory Plotkin (director); Jason Pagan (screenwriter); Chris J. Murray, Brit Shaw, Dan Gill, Ivy George. :_(, All of these look good, but I’m especially excited by Suffragette! Happily, though, that failure led to the improbable existence of Anomalisa, a stop-motion adaptation (co-directed with animator Duke Johnson) of a theater piece Kaufman had written, which was originally more or less audio-only.
[Mike D’Angelo], Many directors make films that are moving, or thought-provoking. The impending end to their co-dependent relationship heralds a terrifying future for the young man, whose inner turmoil manifests itself in a series of violent outbursts. Fury Road bucks just about every trend in big-budget franchise filmmaking: It’s a self-contained joy ride through its creator’s limitless imagination, an art movie stretched across the canvas of an IMAX screen. But in 2015, it was hard to go more than a few steps without hitting something major, something essential. The foot soldiers of the early feminist movement, women who were forced underground to pursue a dangerous game of cat and mouse with an increasingly brutal State.. Oh, i’m pretty sure the second one is going to break my heart.
Change ), You are commenting using your Twitter account.
My list reflects the unfortunate accident of a calendar year with no release by many of the best American directors working in or out of the Hollywood system, such as Martin Scorsese, Sofia Coppola, Wes Anderson, Miranda July, Terrence Malick, James Gray, David Fincher, Steven Soderbergh, and Paul Thomas Anderson. [Jesse Hassenger], Top-tier Pixar films nearly always take simple, hooky ideas in unexpected directions, but rarely has the studio pulled a bait-and-switch quite as sublime as the one in Inside Out.
Those overtones are there for its young characters, but the movie goes deeper than that: It’s about fear of adulthood and, eventually, death—the malevolent force coming for all of us, no matter how slowly.