Ianucci's new
film about the demise of the gravedigger of the Russian Revolution is not so much maliciously anticommunist as it is, above all, historically clueless.
Chomet has delivered a deeply melancholy little
film about the demise of vaudevillian entertaiment, in visually splendid style.
Not exact matches
All in all, the
film is plenty conventional, even in a portrayal of Ancient Rome that is
about as thin as a lot of the characterization, and as contrived as the melodramatics which slow down the impact of momentum almost as much as dull and draggy spells, thus making for a script whose shortcomings are challenged well enough by a powerful score, immersively beautiful visual style, solid direction, and strong lead acting for Henry Koster's «The Robe» to stand as an adequately rewarding and very intriguing study on the impact Christ had even on those who brought
about his
demise.
The troubling thing
about the picture beyond its obvious troubling things is that with the impending
demise of the Miss America pageant (and with The Donald threatening to acquire it), there is the truism that people share the
film's belief that pageants are horse - and - pony shows masquerading as scholarship opportunities and don't care
about them unless — and here's the rub — you get the reality show behind - the - scenes of the beauties doing their best to scratch each other's eyes out.
They give good commentary, chatting
about this and that without leaving much in the way of dead air, and the fact that the conversation frequently ranges way beyond Chopping Mall to consider other
films and pop - culture markers from the era (programmable robot toys, FANGORIA magazine, the long, slow
demise of Radio Shack) is frankly a relief given the sheer quantity of content here.
While rumors
about the
demise of «Inhumans,» the final
film in Marvel's Phase 3 arsenal, have been circulating, they have no merit.
At the recent press day, Tarantino and his actors talked
about the advantages of shooting in 70 mm, how a Tarantino set differs from other movie sets, how Leigh and Russell played off each other while chained at the hip for 4-1/2 months, why Russell remained in character after his character met his
demise, the decision to stay close to the script, Tarantino and Jackson's take on race relations in America, why a period
film affords a filmmaker the opportunity to comment on the present in ways a present day
film does not, what their filmmaking adventure was like for the veteran actors who have been with Tarantino from the beginning, and why Tarantino doesn't mind dancing on the edge of political correctness.
A long - out - of - print 1975 collection edited by Todd McCarthy and Charles Flynn, Kings of the Bs, contains invaluable information
about the evolution and
demise of B -
films.
As it stands his
demise was supposed to make the viewers feel like the stakes were real, but this failed because firstly we all know the big names make it due to Marvel announcing their slate of
films, and second because we don't know very much
about him.
Though the situations portrayed in
film are often exaggerated (few of us would plot to kill our bosses, however often we may dream of their
demise), movies and TV shows
about workplace dynamics can sometimes be very truthfully reflective of the challenges we face, both as employers and as employees.