Not exact matches
MovieMan, In Pan's Labyrinth it didn't bother me, because the Spanish Civil War was approached more like an atypical backdrop for a fantasy
movie, unlike in District 9, where the film purports itself to be an
allegory by having Johannesburg
as the setting.
As with Aronofsky's insane biblical
allegory, we're really not sure who this
movie is meant to be for.
A good zombie
movie but also more notably a good political
allegory,»28 Days Later» works off its» innovative director, even if it is not
as quick paced
as one might hope from a zombie flick.
Even though it relies on a gripping feel of intense paranoia, this is an overlong sci - fi / horror
movie that suffers from certain problems in logic and kills its tension with long passages that make the pacing irregular, not even being smart enough
as an
allegory like the original film.
Although the «Hunger Games»
movies haven't lived up to their potential
as political
allegory, the «Divergent» series hardly bothers with such ideas.
The class implications of this
allegory are painfully clear: though I suspect that Rockwell's background is more comfortable, the working - class origins of Anders, Rodriguez, and Tarantino (or at least what are perceived
as his working - class origins) are central to their
movies, and the myth of these filmmakers» ascendancy derives its power from the American dream.
As the second half of the
movie comes around, one wouldn't be criticised for saying that «codes» are an
allegory for Turing's sexual orientation.
And the arc of the
movie, in which Luke is indoctrinated into an all - male world of regimentation, brutality, and the following of orders that can seem bafflingly pointless, marks it
as one of the earliest American studio films to function
as a sustained Vietnam War
allegory.
Interpreted variously
as a preachy liberal fable, an
allegory of the McCarthy era and
as a commentary on U.S. involvement in both Korea and WWII, it stands first and foremost
as a fine, classic western
movie.
Showing at Panic Fest this weekend in Kansas City, «The Cured» starring Ellen Page, is a zombie
movie as sociopolitical
allegory.
The political
allegory component of the story isn't particularly compelling — it's been interpreted
as a commentary on the hysteria of Trump era — but
as a
movie about parental anxieties, it's steely and effective.
It's an impossibly tense horror
movie but equally valuable (and equally intense)
as a socio - political
allegory, a blistering critique of a culture that has been all too willing to forgive itself.
It now transpires that McKay, a Saturday Night Live graduate who is no stranger to political satire, viewed The Other Guys
as a slapstick
allegory for the recent financial crisis and was working on the
movie when he first read Michael Lewis's nonfiction book The Big Short: Inside the Doomsday Machine, an account of the people who predicted (and profited from) the crash of 2007 - 8.
The
movie doubles
as a political and environmental
allegory like so many horror classics but mocks student activists and makes victims out of those who attempt to halt the encroaching bulldozers.
«Get Out» An even more ruthless satire, Jordan Peele's breakout hit isn't so much a horror
movie as a heightened
allegory of race relations in America today — «a documentary,»
as the writer - director slyly teased after the Golden Globes slotted «Get Out» in their comedy category.
The main competition is filled with
movies about the ailing world of limited means and unjust distribution of wealth, and after the bizarre and derivative
allegory of labor in Vahid Vakilifar's Taboor and Amir Manor's astutely titled Epilogue, which played like Michael Haneke's Amour, only capitalism
as a stand - in for death, the main competition now brings us Sylvie Michel - Casey's Our Little Differences.
Mendelsohn has written an
allegory about the precarious state of the American teenager in a culture that sucks the life force out of its young, who are nurtured by
movies and fantasy and narcissism rather than by values such
as honesty or love.