“well, there's nothing to be afraid of if you love, or have loved. it's an unstoppable force. it's unbreakable. it has no limits.”
undoubtably in a thematic dialogue with coppola’s previous feature, twixt, with the pair communicating expressions of grief in relation to art. their differences lie mainly in their positions on trauma, with twixt posing it as catastrophic for one’s ability to create and the other as a motivator to construct a better existence through collective healing. a concept…
Watched on my break, did not pay to see it. Never understood the phrase ‘so bad it’s good’ until this, because this is just straight up not a film, it flows like an assembly cut of a YouTube fan project. Had to hold back laughter several times because of how embarrassing both the writing and the direction gets, an utterly pointless addition to this franchise, does nothing for this show or the mythology, does not push plot foreword, It’s just…
authentic, colourful, zany, unafraid of its silliness, everything a super-hero movie should be. took me back to the comic book flicks of my youth in ways i didn’t expect, two decades of centrist, washed out marvel ‘event’ projects made me forget that these adaptations can hold value.
behaves more like a poem than a film, which is in most instances to its benefit. i am still unsure as to the meaning of a few symbolic inferences in its metaphorical sequences, but for a mythical conversation about creativity and the commercialism that defines it, i cannot help but be enthralled by Megalopolis and its idiosyncrasies; a deranged feature that challenges in a manner unlike any other contemporary film.
for a film about enforced corporate conformity and the lengths one will go to escape it, alien: romulus' relentless efforts to operate as an acquisitive visual emulation of the first two entries in the franchise are often questionable. the film harbours a peculiar sentimentality, one akin to the tired self-referentialism star wars has confined itself to within recent years. despite these parodical entrapments, alvarez does supply a sufficient quantity of spontaneity here. there's an unabashed outlandishness to a collection of…
