French - Argentinian Gaspar Noé has chosen to follow up his «psychedelic melodrama» Enter the Void with a graphic examination of relationships driven by lust and jealousy, and while it is a warmer
film than his previous efforts, Love is a far cry from feel - good and offers its own set of challenges.
Not exact matches
Unfortunately, when those same character actors aren't given roles with any depth, their skills are practically useless, and what could have been a
film as exciting as Jones»
previous similar
effort, THE FUGITIVE, becomes little more
than another RAMBO style action vehicle, with about the depth to match.
More meandering and less polish
than Swanberg's
previous effort, though the
film contains similar charm and a lighthearted spirit.
In a New Yorker piece on the director, Baumbach briefly mentions his follow - up to «Frances Ha»: another New York - set
film co-written with Gerwig, and one reportedly much «looser and wonkier»
than their
previous effort.
The
film comes close to a greatness that has largely eluded the director and though it loses points for a random rough patch, it still delights much more thoroughly
than his underwhelming
previous animated
efforts.
West told Deadline, «Although it is still somewhat of a horror
film, it is much more psychological
than any of my
previous efforts.»
Here's a new one - sheet for the
film, showcasing rather brighter, summery colours
than previous efforts.
The
film is played noticeably straighter in tone and humour
than Anderson's
previous deadpan
efforts to the point of settling into an overtly laconic rut that struggles to extract even a titter, let alone a wry chuckle.