Art. My site by KEITH WATSON. Keith Watson • 14 Pins. out on a wave .Hope you like my blog. This poignant grace note is an homage to the deceased comedian as well as an acknowledgement that Bill and Ted’s youthful exploits have potentially added up to little more than trivia for the future age.When Bill and Ted later time travel again to steal the revolutionary song from their future selves, whom they presumed wrote it at some point—another good joke—they confront various Bill and Teds of escalating dire straits. Snowpiercer (Bong Joon-hoo, 2014) Bong Joon-ho’s Snowpiercer is an angry and bleak film, as well as an old-fashioned meat-and-potatoes genre entry concerned with passé niceties such as atmosphere and spatial coherence. But Furie’s statement about not ignoring hell is equally applicable to the current political landscape in the United States, where white supremacists festering with rage are finding new ways to bring social outcasts and the economically downtrodden into their toxic fold.In an archival clip late in the film, Steve Bannon states that the enemy of the right isn’t the left, but rather the media, and goes on to stress the importance of obliterating objective truth. 10. As in Lynch’s The film has a weird, ghostly, even beautiful pull, but it functions mostly on theoretical terms because Kaufman has thought it to death, lingering only on his characters’ miseries and disappointments. Tesla is first seen entering the doorway of a prosperous courtyard, perhaps in an echo of the final shot of John Ford’s The framing device involving Anne gives Almereyda license to skip around in time, structuring the film primarily as a series of dialogues between Tesla and various captains of industry who could help him in his endeavors, and who often either discourage him, abandon him, or rip him off. Obayashi died earlier this year at the age of 82, and Another Japanese film examines insidious clichés not with maximalism, a la Obayashi, but austerity. The unexpected payoff to this imaginative running joke makes for the strangest and most moving moment in the series: Bill and Ted confront their future selves on their death beds, speaking to the old men like fathers. Katy Perry’s Wildest Video Looks, from “California Gurls” to “Smile”Listen: Dua Lipa Elevates “Levitating” with Help from Madonna and Missy ElliottReview: Billie Eilish’s “My Future” Is an Unexpectedly Upbeat Tribute to IsolationA profound sense of restlessness and loneliness haunts Michael Almereyda’s film, which reinvigorates the biopic genre.Retrospection is a bane of the biography, giving the impression that its subject’s narrative is set in stone, in the process shortchanging the chaos and immediacy of life. Similarly, when they meet Death (William Sadler), a memorable character from Parisot is at least partially responsible for informing another far-out comic adventure with startling pathos, 1999’s During a mission at a Kiev opera house, a C.I.A. Many of the Cuban people shown here are presented as stuck between worlds, often living in dire third-world urban decrepitude; the thin Potemkin sliver of restored tourist Havana is as foreign to them as it is to the Westerners zooming around taking selfies in beautifully restored old convertibles.There are times when it can feel like Sauper is simply wandering through Havana with some locals as they talk about the past or cast a crooked eye at tourists.
Keith Watson's best boards. Gabriel doesn’t bow down to Marcos as a neophyte often does to a veteran, treating him instead as an equal and, later, rival. Without putting too fine a point on it, the version of “the young woman” that we see is filtered through Jake’s recollections from an undefined future, her very namelessness suggesting his remoteness from her. The film’s singular ambition is to immerse the viewer in the thick of a frenzied drive toward the promise of a lover’s touch and a few more minutes of life. (Tesla, the dreamer, is incapable of such intimacy, and Hawke plays him without sentimentality. After a while, the show that’s made of such inversions comes to feel like watching a snake eat its own tail. Which means that the film’s characters are also living in a material world made possible by old money. Keith Watson.