Not exact matches
Godard Mon Amour is very much like a Woody Allen
film, with Godard embodying Allen's
negative traits of pretentiousness, neurosis, and misogyny
without the redeeming virtue of humor.
On a more
negative note, the
film is designed and crafted in such a way that you take one side, with a certain perspective more prominently presented than the other, while the fact we're dealing with an ensemble feature does mean there's a lack of emotionality attached, as with so many characters to explore, we drift between them
without ever feeling as though we've truly got to the bottom of their respective character developments.
Christoph Waltz — whom the whole
film seems to have been built around — is excellent and he plays a charming character much like his stint in Inglourious Basterds but
without the slightly
negative Nazi connotations.
Though it would take a purist pedant to legitimately lament the evolution of colour stock as a
negative turning point in
film history, there's no doubt something was lost in Technicolor's takeover as monochrome movies moved from mainstream to niche, and the basic joy of black and white became impossible to appreciate
without express attention.
I was never a particular fan of the X-Men comic books growing up, and so when the first X-Men
film came out, in 2000, I went to see it
without any particular expectations, positive or
negative.
Over and over, the
negative reviews of «August: Osage County» have pulled variations on a sad theme, with various New York - and LA - based critics wrestling with the
film without having seen, or read, the Tracy Letts play that came before it.
There aren't too many
negatives here that I would say bring down the
film but it's definitely not
without a couple.
The images in Mountains
Without Faces are made by layering and shaping cut
negatives and positives from my
film archive over simple white ground.
Light falling on the subject is directly focused onto the photographic paper
without an interposing
film negative.