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Bio:mpowell dropped percentiles on me two weeks after i changed to a scale that makes no use of percentiles, so now i'm changing back again. thanks for nothing mpowell.
"when i described SIGHTSEERS as ‘mike leigh does natural born killers’, i didn’t know wheatley was remaking this specific film with the violence more overt. that one works because he's a wholly cynical asshole, whereas i rarely find derision suits leigh too well, and the quality of his films is inversely proportional to how much screentime the objects of that derision are given. still hilarious ("you seem to have a morbid obsession with where the dungeons are") and truthful in places, as al"
"the way roeg withholds so much exposition and rejects narrative progress or catharsis is frustrating, but genuinely radical. a guy starts out earning millions in pursuit of a goal before slowly falling into the same traps and ruts as everyone else, until the film just meanders and deflates along with him... CITIZEN KANE, this is not. the way roeg shoots bowie and his experience of our world is something else - its datedness actually adds to the alienation for me. candy clark can fuck off though."
"couldn't find a real thematic throughline here, although the way animals are repeatedly the enemy (he is a scarecrow, after all) seems apt for keaton--only once he's riding a machine can he get things done, and the wedding ring gag is a quintessential keaton image. i only really like the first part, though, which may superficially resemble i.e. THE GOLD RUSH but is wholly buster's in how it employs ridiculous, elaborate rube goldberg contraptions to mock the absurd impracticality of modernity."
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