I’ve migrated from the world of free Internet blogging to the harsh realm of self-hosting. All future cinema sights content will appear at the new website which you can check out here: http://cinemasights.com/
I recommend reading the news post I made over at the site.
SPOILER ALERT: The main plot twist of the film (which comes about thirty minutes into the film) is discussed at length.
I’ve put myself at a bit of a disadvantage watching this film. While The Mirror is certainly a good film with some interesting ideas, I couldn’t help but constantly think how Close-Up went on to explore the same ideas but with the benefit of having a far more interesting subject and a lot better structure. While Close-Up certainly owes something to The Mirror, I couldn’t stop making the constant comparison which puts The Mirror at a major disadvantage. Read More »
Melodrama is a fickle beast. When done right, it can elevate a film into an overwhelming and moving experience. If done incorrectly, it’s abusive, overwhelming and stifling, drowning the audience in a sea of sappiness and sentimentality. The Cyclist sadly falls into the latter category, a film with such an excessive and explicit style that its melodramatic tone only cheapens its pathos. Read More »
Continuity. It is the key to Marvel’s long-term film strategy. It’s also the reason I got turned off to the Marvel universe after Iron Man 2 came out. Spending a lot of valuable screen time setting up characters, situations and plot threads that won’t be satisfied for a couple of years makes for a larger film experience I’m just not interested in having. Therefore, I haven’t seen Thor or Captain American: The First Avenger. Read More »
Considered to be the beginning of the Iranian New Wave, The Cow marks an interesting cornerstone of Iranian Cinema. Simultaneously grounded in neo-realism sensibilities and liberated by surreal narrative touches, The Cow functions as both a moving human drama and a subversive ideological piece. Read More »
