I like how even if we don't look at your takes, your videos are so well made. Well scripted, well structured, suitable editing style. It's really a treat every time I get to watch, and I can tell you're getting better at what you do as time goes on.
Please don’t “make your channel more accessible to the lowest common denominators” … if i wanted that i would just watch any other movie review channel whose names i don’t bother to remember
This channel is so underrated. The videos are so well made and edited, incredibly entertaining and informative. I find that you spew either the most amazing, thought provoking takes, or the most abysmal, awful opinions. Entertaining and amazing either way, though I'd prefer them a little more objective!
i feel the same way about barbie. in interviews, the cast is always saying "when i read the script i thought it was the best thing ever, i didnt know how it was going to get made" ... well of course they have to say that to promote it. but i didnt find it to be THAT good. it hits you over the head with the themes
barbies greatness has to be viewed through the lens of understanding about the modern movie industry. a movie like barbie is a movie that someone would have to ***fight*** to make. i am sure greta gerwig had the producers roaring at her neck to remove her political and feminist voice from the movie(in order to make it more general and thus more profitable "sigh' capitalism") and she fought back and held her ground with all the rights she knew she had. so while she may not be great at working political commentary into a script, barbie is still an important movie for our generation and it serves to introduce a bunch of these concepts to a confused younger audience. unintentionally i think the "monologue" just being a tired womans venting adds to the message of the film, as venting loosly defined is just someone being unable to hold in their true feelings about the suffering they endure and just letting it out to someone. in this case that someone was the world. its a painfully honest and meta movie and i don't even think she's trying to hide it, this whole movie is greta gerwig venting in the most artistic way possible.(she even tried her best to think about the boys too, and tried to make the movie be interesting to men too) i hope im not rambling and that this makes sense :))
@@genevievedisemelo55841) A character spelling out the theme in a monologue is lazy writing. The events of the screenplay should make the thematic argument. 2) There is no way in today’s climate that she had to fight to include the feminist message. We are in an era of exploitation. Similar to blaxploitation of the 1970s. A litany of films with thin characters that check demographic boxes Are being easily Green lit. 3) The movie did not succeed in spite of capitalism. Exploiting audiences based on symbolism alone is a capitalistic trope. Capitalism does not give any substantive ground here. The film is literally promoting a product. It is a Trojan horse. The capitalist oligarchy wins by occupying all philosophical positions all at once- even the symbolically anti capitalist ones. It is like selling t shirts of Che Guevara.
@@juju10683 1)the only lazyiness commited was not hiring a co-writer who could help with deficiences in her skill. incompetence does not equal laziness. and to address all of the points not covered by my first rebuttal with an added grace of translating it to hater speak: she alone nor with the help of all the talented cast members could never NEVER in their lives make a perfect or even half perfect or even quarter perfect feminist protest film that also avoids feeding into capitalism that is also good(its hard enough to make good film, but also trying fulfill those other goals whilst doing that??). they could work themselves to death and i mean that literally, they could literally work themselves to death and have the movie released post-partum and it would be still be an insurmountable task to even scratch the surface of such a thing being possible. because im not arguing that its a good feminist film im arguing that is a special film that was probably nearly canned multiple times during production as the producers saw how much greta would not budge on the feminist messaging. but despite that it did come out. case in point: we'll examine coyote vs acme; ARE THEY REALLY TRYING TO DELETE AN ALREADY COMPLETED FILM, A FILM THAT HAD MILLIONS POURED INTO IT FOR A GADDAMN TAX WRITE-OFF????????? this world is bleak for movie fans(and everyone else too {i-i} ) and i was just gushing about my director crush greta gerwig (i also never made any appeal to move the movie up the list it makes sense where it is, this is a direction review and education channel. not a social commentary channel)
Thanks for clarifying the key problem with Poor Things' script. I tend to focus on structure and pacing above all else (even above thin, single-purpose dialogue) and while I found the character development in the boat act to be rushed, and the the paris/brothel sequence to be overlong, I couldn't quite put my finger on why much of the middle of the film felt so vacuous.
But we don't care about Robert Downey Jr's character at all, nor really feel his motivation. Amadeus's Salieri is a rich entertaining character that we understand from the start, hanging on his every word. Oppenheimer is a jumbled up mess that pivots toward politics while refusing to show the consequences in Japan.
i learn things from your videos, that you're not even trying to teach. my point being thank you for making such quality content that the quality exceeds what the original author intended to create.
My favorite scene from Oppenheimer is when Oppenheimer meets with his security agent and tells him a bunch of things. The scene is intercut with him talking to Matt Damon's character right after on the train and with the security guard at the hearing much later. All at once we see the conversation, the immediate future, and the long term consequences of that discussion. It is not only brilliant writing but brilliant editing.
If Maestro does poorly during Awards season then we can say with pride that great critics like Moviewise warned us. "The Snoopy scene" alone doomed this film.
I know it has not been nominated but what did you think about Killer's of the Flower Moon screenplay? It's a pretty controversial one. Some people praise it, others loathe it. Btw, I really liked your video! Very insightful
Thank you for another wonderful video! This is definitely one to think about and mull over. (Got to use the right words.) I've seen none of the movies so far, but plan to watch at least three of them this year. The most intriguing one is Oppenheimer, of course. But I'm also interested in Poor Things, a movie that seemed to come out of nowhere and is in the theater right now. It's a little surprising that Maestro is so self-consciously artistic. I was thinking of doing a double feature with it and last year's Tár, but I guess just being about classical music isn't enough of a common feature for an interesting comparison. I'd still like to see Tár with something else, but maybe a contrasting film instead of a similar one.
I thought Kitty's unhappiness was well established. When we first meet her she wants out of her marriage and her role as a housewife. Later we find out that this is her third marriage and that her second husband died in the Spanish civil war. It s clear that staying home with a kid while her husband does groundbreaking experiments isn't going to solve her problems.
It's looking more and more like Oppenheimer will dominate this event, unless some upsets come from Holdovers, Poor Things or KOFM. Me personally I wished Godzilla Minus One got nominated in more categories lol
You bring up some good points, and may convince me to give it another chance. Unfortunately Oppenheimer was directed by Nolan who has boring compositions and just endlessly gives us scenes of people talking with shot reverse shot. Compare one of the trial scenes in Oppenheimer to the wake in Ikiru, or Christmas dinner in Fanny & Alexander. I don't hate nolan I think he's made some good stuff, but his direction is so bland sometimes.
That’s 99% of modern directors. Seems unfair to blame just Nolan for bland compositions and framing when virtually nobody else(Spielberg the exception) is doing it either. Certainly none of these movies are doing it. I agree with it even though I loved the flick, just weird to voice that critique in a video about screenplays not direction, Imo.
I've come to accept poor shots, but my main gripe with Nolan is that he tends to get hung up on inconceivable ideas, then tries to make it seem like the characters understand them. He backs away from this in Insomnia and Batman Begins, and those are 2 of his best films
I think Oppenheimer is an excellent film, but honestly I suffered a bit due to the length and quantity of the dialogues, sometimes superfluous, other times repeated. It seemed a bit like the opposite extreme of skeleton screenplays to me. It remains of a high standard and no one doubts it, but in my opinion a skimming would have been good. In addition to the fact that the editing, constantly changing shots, didn't help me much to concentrate on the words.
I love your analysis over everything, however, I disagree about Oppenheimer. I know I'm the minority report on this topic, but I found Oppenheimer to be over-bloated, juggling far too many characters who despite spending nearly 4 hours with still felt like they needed more fleshing out. The amount of information felt overwhelming for the speed at which it delivered it. It felt like a HBO miniseries crammed into a feature length film. I see it as a highly experimental work and I absolutely applaud the effort. It told many parts masterfully, but I never felt like I could completely wrap my head around the gargantuan amount of plot and characters. Perhaps that was the intention, to which I can only say "fair enough", but for me it was an appreciated, yet flawed experiment.
Superb analysis as usual and, as usual, I want to argue with some of it. OK, quite a lot actually, but I'll rein myself in. Mostly, I'm just willing to risk being the idiot who'll admit to liking 'Maestro.' The key is just that Felicia is the protagonist. It didn't matter - to me, but I also think, pretty much objectively - what score Leonard had been composing when he walked in and announced that he'd completed it. What mattered was that he was acting as if everyone was supposed to drop everything and be thrilled - and instead, Felicia rushes from the room and jumps fully clothed into the pool. This clearly bespeaks a desire to shut the moment out, maybe especially a need to _silence_ it, and perhaps even a desire to die. Somewhere in the temporal vicinity, Leonard, amidst the opulence of their country pile, tells a friend how completely in despair she is - all as if it's just some terrible inevitable effect of the pain of existence. But the specifics of aqll of _that_ have been amply set up: the woman who, at a time when gay men mostly had to be closeted, meets and falls for a gay or strongly gay-leaning bisexual man and, with the best will in the world, makes a devastatingly bad bargain with life. She tries to make work something that cannot. She gives up her own artistic dreams to be wife to this guy who can never love her properly, while his artistic career goes to the godlike stratosphere. You say a lot of the time you don't know what's happening or why. I say, what I've just described is going on in just about every scene, and the arc is from the initial hope that it can all be made to work to the discovery, far more crushing than expected by either character, that it can't and is a coffin for their feelings. You say we're constantly asked to believe in Leonard's genius without justification. I say all this, especially the garden lunch scene you cite in support, is precisely about Felicia having to listen to such stuff throughout the marriage because the world believes it. And you say Don Draper would have puked at the dialogue during the Thanksgiving parade, well, I say, the dialogue is stilted but rings true precisely because it's being spoken by two urbane, uptown NYC Brahmins who can't express their feelings properly, but we've still been given more than enough to get what's going on. And while that last point is, admittedly, a little subjective, most of all, I'll add that. yes, the film feels chaotic and even sort of senseless, complete with dialogue that's often hard to follow, but all that is great to me. It feels like the life of someone in a morass of pain - except that we, unlike them, also, as a golden thread running through it, have the information we need to understand that pain.
I loved Past Lives and I never once thought the two main characters were meant for each other. In fact, my favorite scene in the film was between Nora and her husband. I took it as being about taking space to grieve for "what ifs" and moving on with the decisions you've made in life. But to each his own. That said, I totally agree about Barbie.
To get Past Lives is to get that is about her and the husband… still, for me nothing ever felt like much of a big deal… I liked return to Seoul much more
you should make a video one day about the soviet union films or European films in general, but soviet films I'd be more interested as they influenced modern films with editing style and the structure. I'm actually currently working on my film project about Dziga Vertov and Sergei Eisenstein (and more) so it would be a real treat to see a video about topics like this(:
Wow, you actually made me want to see two of these movies. That’s two more than I’ve wanted to go out to see in the last eight or nine years. I guess I haven’t totally given up on mainstream films after all.
I’d be curious to hear your thought on the killers of the flower moon screenplay. You bring an insightful-ness that Ive never heard before from anyone else
You routinely verify my inner voice. I was taken in by Zone of Interest, thinking I was missing something. Glad I mostly stayed away from theaters last year. It sounds like they were extra stupid. Even when holding back, your fall down on the floor funny inserts are still in just the right place. Vulcanic = 👍. Do not dumb down. Americans think of you as our long lost English teacher (with an accent). Loved Oppenheimer and your appraisal.
I don't agree with everything and I haven't seen a couple of these, but I'm happy to agree with "Barbie" and "Past Lives." Amid the fun, Barbie starts with a compelling dramatic question, "You guys ever think of dying?" That pulled me in, but I soon was lost because the story became about women vs. men. This is why America Ferrara and Ryan Gosling are nominated, not Margot Robbie. Barbie's fundamental concern was addressed by a sweet scene with an old lady, and scenes with Ruth, her maker, who makes a secondary monologue. That's all. As for "Poor Things," I get what you say, but the picture was such a delight to watch.
I think Oppenheimer had three affairs in the film. There was a passing reference to a long relationship with an associate's wife in Pasadena. Saw the film for a second time and caught some things I missed the first time. The viewing also cemented the film's greatness as, even though I knew was about to happen, I was still enthralled throughout. My wife agrees about your Barbie criticism.
Strongly disagree with a lot of these takes. A lot of movies that you call have ‘skeleton screeenplay’ seem to be ones where the director doesn’t spoonfeed you the information and you are forced to engage with the film beyond what is shown. It doesnt imply that something is missing from the film, rather the focus/depth is found in different elements compared to other films Also that sequence in schindlers list, isnt the same thing as entirety of zone of the interest
Because you are an egomaniac and had to notify others. Had you been in the first 15 you would have mentioned it. Had you been one of the first 10 you would have mentioned it. What makes you think it matters to anyone else? Next time you feel as though you 'need' to mention something similar, try throwing a bottle of ketchup at one of your walls then sit and watch the aftermath slowly trickle down, you may discover the same dull satisfaction.
@@hpoonis2010 Bad day or are you always this insufferable? Why don't you remove that broom handle from where the sun don't shine and learn how to lighten up and take a joke.
@@hpoonis2010I’m gonna assume writing this comment was a source of gratification far greater than the one OP experienced sharing an innocuous warm feeling.
Love your stuff! May i give you a video idea: compare why does the 1960 french movie Breathless works, and why doesn't work it's 1983 cheap remake? especially the "love scenes", chemistry, camera use and the endings. Looking foreward for your next hit video :D
Of the ones i've seen, Oppenheimer and The Holdovers were the best. Poor Things, i found more visually appealing, the story kindof went over my head. Maestro was an exhausting mess.
I feel like you didn't get what 'Past Lives" is about. There's an element about it being about a person from your past unlocking a different part of you, through language and culture.
Rivette defends that some subjects must always be treated by filmmakers in specific ways, so Pontecorvo deserves contempt for making a pretty shot in a holocaust movie. I disagree with any attempt to dictate how a filmmaker should make a film, including moral reasons. That’s all.
16:50 Was this 'paler shade of grey' vs. 'darker shade of grey' duality part of the conceit of 'American Prometheus' as well? Also, wasn't the Salieri-Mozart rivalry unfounded really?
PUHHHLEEEEZ SMART UP YOUR VIDEOS to cut the dead weight! 😉 Sorry that line about dumbing down content, I'm stealing (borrowing) that! Love this channel.
I actually loved Past Lives- could have been a little shorter, but it’s a solid, quiet art-house drama. Not for everyone, but definitely something I connected with emotionally. Maestro, on the other hand, is an absolute mess…
When I saw praise for that monologue in Barbie, my head started spinning. The entire last act of that movie was a mess (except for I’m just Ken and the end with old lady, that was nice)
The video is excellent! I completely concur with your perspective on "Oppenheimer" and "Anatomy of a Fall." While "Past Lives" may follow a straightforward screenplay, its narrative remains steadfast in its focus. The film carefully constructs a powerful moment when Nora is seated between her husband and Hae Sung. The profound impact of "Past Lives" on its audience can be attributed to its meticulously crafted yet uncomplicated cinematography and the nuanced acting performances delivered by the cast.
I'd be delighted to hear your thoughts on Glazer's other films like Under the Skin. Granted, you have such an easy and thorough time skidding your opinion from the mainstream and even consensus amongst critic/reviewer news outlets. I get your forte is really covering the bonafide canonical classics, and granted, I adore that kind of video. But I'd be amissed to never hear this lavish, satirical, contradictory rhetoric you're so good at building to as well. And perhaps not just with the run-of-the-mill Oscar bait and Film Twitter fixation of the month. But with the diversity of the contemporary cinema's range of curiosities and experiments! I'd love it if you could at least do one of these screenplay roundups for one of the previous years of the major IFF's. Cannes, Berlin, Venice, Toronto, Locarno, or Rotterdam. Maybe a US independent festival on terms of Sundance, Tribeca, Independent Spirit, or SXSW. Covering a historic year in one of these festivals that you feel deserves acknowledgment would be really interesting. May I suggest Cannes year of '68 or Sundance year of '92? And if you really wanna be adventurous with your channel... go onto Criterion Channel or Mubi and create discourse out of something that you think you'd like to that would otherwise not get the chance. I leave off with a question. What do you feel is your gravity towards cult genre films? As someone who seems to be so concerned with film craft fundamentals, I don't see you much taking to the world of cheap slashers, giallo, spaghetti westerns, poliziotteschi, crime, sci-fi, kaiju, blaxploitation, chanbara, pinku eiga, tokusatsu, edgier anime, and wuxia, right? I feel like watching those you need a stomach for what pleasures your better judgment tells you not to have. A craving for the absurd, salacious, and radically unique (if not always "good"). Am I wrong about you on that front? With less added preamble, what do you think of experimental films and experimental documentaries?
Qualitywise this is easily one of the 3-4 best film theory and analysis channels all over RUclips and you're definately catching up with every new upload. 😊 You deserve a lot more subs but I don't think going for click bait and less quality is the right way. 😮 What if we viewers start a little support action... In case everyone of the 34.000 subscribers recommend this channel somewhere on RUclips or elsewhere and just attract and guide one or two new interested viewers here this could make the first RUclips award for 100.000 subs. 😇😜
For people who want to see an excellent depiction of the banality of evil, specifically the banality of Nazi evil, I recommend the short film Hope Dies Last. You can find it on RUclips.
I'm intrigued that you positively highlight the juxtaposition of the two 'trials' in Oppenheimer, because I found that a weakness. It took a film that purported to tell the antihero story of the man who built the bomb and then struggled to live with having done so, and turned it into a redemption arc for a tragic hero. I found that rather tedious, and I'm genuinely confused why the film gets so much praise. There was even a line that undercut the whole point of the film and suggested the writer didn't believe what he was saying, or changed his mind about what film he was writing during one of the drafts. When Oppenheimer became distraught at the news of his mistress's suicide, his wife said something along the lines of: "You don't get to betray me/do something terrible, only to have me [i.e. the audience] feel sorry for you when you start feeling bad about it." I accept there was some good writing within the script, but the story completely lost me.
Entirely disagree with your analysis of Past Lives. For me it's strength was in how our expectations and wants for the characters changed throughout. In the beginning I wanted the two main characters to be together, but that slowly shifted until, by the end, I was in the same position as the main character-saddened at the departure of a friend, but still satisfied with the person she was with. It was, for me, about the big "what could have beens," without making value statements, just accepting life as it is.
I kind of liked Barbie's script for the cleverness of how it makes non-sensical lines appear natural (perhaps more to the credit of the actors than the writers), but Gloria's "it's hard being a woman" monologue was painful. But here's what I noticed about that monologue: who liked it? My mom, who doesn't really watch movies. A bunch of other middle aged women. I can't relate to what being a woman feels like, as a guy in his late twenties, but come on, there was no subtetly whatsoever. FFS Poor Things delivered the better feminist message by far
That whole scene. That was my favorite scene. Do you know why? Fights between married couples are just that ridiculous. These people are people in the arts having a ridiculous fight. And just so you know its supposed to be ridiculous, there is a Snoopy floating past the window. We are not supposed to learn anything from the specific lines in their argument. It's absurd. And the Snoopy's not random. There was a Snoopy earlier in the film just in case you missed it. It's not a biopic, it's about a marriage. Describe the flick again but pretend you are talking about a long, fraught marriage, not a person. Nobody today can commit to anyone or anything for more than five minutes so they have no idea what it looks like to commit to someone for decades. That's what the movie is about. And if you think Bergman did it better, well, good for you.
Thank you. I was waiting for this. I wish I had the same feelings about Oppenheimer. I thought it wasn't engaging at all. But maybe I need to give it another viewing. What were your thoughts on the screenplay for Killers of the Flower Moon and should it have been nominated for Best Adapted Screenplay? Now I await your rankings of the nominated directors.
Not to be selfish but don't become popular. It's clearly not worth it and I don't want to see armies of film bros regurgitate quotes from you out of context and miss the point entirely.
The thing with that monologue in Barbie is, NOAH ALREADY WROTE IT. Judy Dench even won an Oscar for being on screen less than 10 minutes because of it. So embarassing and on the nose pandering.
The argument between Leonard and Felicity on Thanksgiving... and other arguments, I don't quite get what they were supposed to be saying. Felicity is pissed about Lenny's lovers, even though she signed up for it. Fine. But sometimes it seems like she's saying he needs to have relationships with men/be more out of the closet....maybe? Or is it more general, like he's Mr. Happy Extravert but secretly a mess and he's not dealing with it? It seemed like it was being obtuse about it-- these two creative people have some kind of existential angst, some of it's about their respective sex lives, or practical marriage stuff, or one spouse being in the limelight, but a lot of it's mysterious existential creative genius angst that the audience isn't supposed to understand? I didn't hate the movie but that kind of thing made it a slog.
Paul Giamattii is a fucking jewel of a character actor. And never do The Thing your friends suggest. When i started writing books in 1999-2000 when i was 15-16, this was advice I would get all the time. dumb it down and you'll be more successful. Whether or not it would work is largely irrelevant, if you're making art for its own sake, because you have something to express, whether or not you make money from it is largely irrelevant. That I'm able to make a living as a writer is pretty awesome, but I would never attempt to consciously change the way I write to appeal to anyone. I write for the same reason people have always done so, it is a compulsion, an obsession, and I have a love for the craft … whether it enriches my bank account is irrelevant. You will find success when you connect with the right audience man. Don't sell yourself short mate.
if the rest of the video aligns with my thoughts about the films, I'm going to send you my screenplay, just to get my point of view on my screenplay if it wasn't written by me.
Everything you praise Oppenheimers dialogue for is everything I despise about it. This dialogue 'style' is also charateristic of all his films. It's nauseating to listen to.
I have to disagree with your script analysis here, you're overly encased in the classical box. A script can have different structures other than going from A to Z in a purposely and logical way with an introduction, climax, conflict and end. This is just the classical Hollywood way of writing, but if this was the only way then masterpieces of cinema like "The Mirror" from Andrei Tarkovsky, "Wings of desire" by Wim Wenders or "My neighbor Totoro" from Miyazaki would not fall into this category. Film is an art form and sometimes a script needs to read more like an aimless journey that feels more like a poem than a novel. That doesn't mean that any aimless movie is therefore a piece of art though. Maestro is the clear example of how to do that style of script writing wrong. In my opinion anatomy of a fall and poor things are better scripts with better commentary on life and more to say than Oppenheimer. Nolan is not bad, but he's painfully overrated.
barbie feels like a doll play. A little girl is playing with dolls, the barbies. And the movie is the visualization of the child's fantasy. Maybe that's why the screenplay is so cartoonish, in particular the speech of the character played by America. It's mirroring a child's psychology. The child is not shown to leave the space to the viewer. Isn't that a play within a play or a meta-narrative ? It doesn't count to you ? Anyway, it makes Barbie very special, I would think. That's how I more or less understand it.
Other reviewers of May December commented on its "humor" but you didn't mention that at all. Interesting. BTW, I started watching it and was bored. Turned it off after 15 minutes. And I don't remember anything slightly humorous about it.
I like how even if we don't look at your takes, your videos are so well made. Well scripted, well structured, suitable editing style. It's really a treat every time I get to watch, and I can tell you're getting better at what you do as time goes on.
Never dumb down your videos. Those additional views are worth only 1/5 of your current views.
I laughed more than Barbie to that part of this video😂🤣👍🏼👍🏼brilliant
Please don’t “make your channel more accessible to the lowest common denominators” … if i wanted that i would just watch any other movie review channel whose names i don’t bother to remember
Chris Stuckman comes to mind
*cough* schaffrillas *cough*
For people who actually love motion pictures, Moviewise is an oasis in the desert of youtube
This guy is a clown
Watching your videos makes me feel smarter than I am. Please don't change anything. I need that.
Nothing on RUclips gets me more excited than a new movie wise post.
Same!!!
This channel is so underrated. The videos are so well made and edited, incredibly entertaining and informative. I find that you spew either the most amazing, thought provoking takes, or the most abysmal, awful opinions. Entertaining and amazing either way, though I'd prefer them a little more objective!
Holy fuck the comment about the maestro scene being a young playwright practicing his pretentious play - genius
Great! When's the best director analysis video gonna drop?
Two weeks from now! For sure!
Thank you for blessing us with another upload..
Your videos are amazing. No other video teaches, surprises, and entertains like yours
i feel the same way about barbie. in interviews, the cast is always saying "when i read the script i thought it was the best thing ever, i didnt know how it was going to get made" ... well of course they have to say that to promote it. but i didnt find it to be THAT good. it hits you over the head with the themes
barbies greatness has to be viewed through the lens of understanding about the modern movie industry. a movie like barbie is a movie that someone would have to ***fight*** to make. i am sure greta gerwig had the producers roaring at her neck to remove her political and feminist voice from the movie(in order to make it more general and thus more profitable "sigh' capitalism") and she fought back and held her ground with all the rights she knew she had. so while she may not be great at working political commentary into a script, barbie is still an important movie for our generation and it serves to introduce a bunch of these concepts to a confused younger audience. unintentionally i think the "monologue" just being a tired womans venting adds to the message of the film, as venting loosly defined is just someone being unable to hold in their true feelings about the suffering they endure and just letting it out to someone. in this case that someone was the world. its a painfully honest and meta movie and i don't even think she's trying to hide it, this whole movie is greta gerwig venting in the most artistic way possible.(she even tried her best to think about the boys too, and tried to make the movie be interesting to men too) i hope im not rambling and that this makes sense :))
Agree. Was bored stupid by it.
American Fiction literally does the same thing and he ranked it as number 2
@@genevievedisemelo55841) A character spelling out the theme in a monologue is lazy writing. The events of the screenplay should make the thematic argument. 2) There is no way in today’s climate that she had to fight to include the feminist message. We are in an era of exploitation. Similar to blaxploitation of the 1970s. A litany of films with thin characters that check demographic boxes Are being easily Green lit. 3) The movie did not succeed in spite of capitalism. Exploiting audiences based on symbolism alone is a capitalistic trope. Capitalism does not give any substantive ground here. The film is literally promoting a product. It is a Trojan horse. The capitalist oligarchy wins by occupying all philosophical positions all at once- even the symbolically anti capitalist ones. It is like selling t shirts of Che Guevara.
@@juju10683 1)the only lazyiness commited was not hiring a co-writer who could help with deficiences in her skill. incompetence does not equal laziness.
and to address all of the points not covered by my first rebuttal with an added grace of translating it to hater speak: she alone nor with the help of all the talented cast members could never NEVER in their lives make a perfect or even half perfect or even quarter perfect feminist protest film that also avoids feeding into capitalism that is also good(its hard enough to make good film, but also trying fulfill those other goals whilst doing that??). they could work themselves to death and i mean that literally, they could literally work themselves to death and have the movie released post-partum and it would be still be an insurmountable task to even scratch the surface of such a thing being possible.
because im not arguing that its a good feminist film im arguing that is a special film that was probably nearly canned multiple times during production as the producers saw how much greta would not budge on the feminist messaging. but despite that it did come out. case in point: we'll examine coyote vs acme; ARE THEY REALLY TRYING TO DELETE AN ALREADY COMPLETED FILM, A FILM THAT HAD MILLIONS POURED INTO IT FOR A GADDAMN TAX WRITE-OFF????????? this world is bleak for movie fans(and everyone else too {i-i} ) and i was just gushing about my director crush greta gerwig
(i also never made any appeal to move the movie up the list it makes sense where it is, this is a direction review and education channel. not a social commentary channel)
I've learned more from you than I have from film school, and for that I am eternally grateful.
That's exactly what Oppenheimer needed: More dancing.
Thanks for clarifying the key problem with Poor Things' script. I tend to focus on structure and pacing above all else (even above thin, single-purpose dialogue) and while I found the character development in the boat act to be rushed, and the the paris/brothel sequence to be overlong, I couldn't quite put my finger on why much of the middle of the film felt so vacuous.
Brilliant!! Please don't dumb down, I loved Oppenheimer and The Holdovers, and enjoyed your analysis of these great screenplays.
But we don't care about Robert Downey Jr's character at all, nor really feel his motivation. Amadeus's Salieri is a rich entertaining character that we understand from the start, hanging on his every word. Oppenheimer is a jumbled up mess that pivots toward politics while refusing to show the consequences in Japan.
what
i learn things from your videos, that you're not even trying to teach. my point being thank you for making such quality content that the quality exceeds what the original author intended to create.
So glad to see my thoughts on past lives articulated so well. I have been telling everyone it felt Like a first draft of a screenplay
My favorite scene from Oppenheimer is when Oppenheimer meets with his security agent and tells him a bunch of things. The scene is intercut with him talking to Matt Damon's character right after on the train and with the security guard at the hearing much later. All at once we see the conversation, the immediate future, and the long term consequences of that discussion. It is not only brilliant writing but brilliant editing.
If Maestro does poorly during Awards season then we can say with pride that great critics like Moviewise warned us. "The Snoopy scene" alone doomed this film.
I know it has not been nominated but what did you think about Killer's of the Flower Moon screenplay?
It's a pretty controversial one. Some people praise it, others loathe it.
Btw, I really liked your video! Very insightful
Great video as always!!
Past Lives is average at best. I don't know why people like the movie so much. Nothing special.
Thank you for another wonderful video! This is definitely one to think about and mull over. (Got to use the right words.) I've seen none of the movies so far, but plan to watch at least three of them this year. The most intriguing one is Oppenheimer, of course. But I'm also interested in Poor Things, a movie that seemed to come out of nowhere and is in the theater right now.
It's a little surprising that Maestro is so self-consciously artistic. I was thinking of doing a double feature with it and last year's Tár, but I guess just being about classical music isn't enough of a common feature for an interesting comparison. I'd still like to see Tár with something else, but maybe a contrasting film instead of a similar one.
another great video ! thank you
I thought Kitty's unhappiness was well established. When we first meet her she wants out of her marriage and her role as a housewife. Later we find out that this is her third marriage and that her second husband died in the Spanish civil war. It s clear that staying home with a kid while her husband does groundbreaking experiments isn't going to solve her problems.
What movie is this?
Oppenheimer
It's looking more and more like Oppenheimer will dominate this event, unless some upsets come from Holdovers, Poor Things or KOFM. Me personally I wished Godzilla Minus One got nominated in more categories lol
You bring up some good points, and may convince me to give it another chance. Unfortunately Oppenheimer was directed by Nolan who has boring compositions and just endlessly gives us scenes of people talking with shot reverse shot. Compare one of the trial scenes in Oppenheimer to the wake in Ikiru, or Christmas dinner in Fanny & Alexander. I don't hate nolan I think he's made some good stuff, but his direction is so bland sometimes.
That’s 99% of modern directors. Seems unfair to blame just Nolan for bland compositions and framing when virtually nobody else(Spielberg the exception) is doing it either. Certainly none of these movies are doing it. I agree with it even though I loved the flick, just weird to voice that critique in a video about screenplays not direction, Imo.
I thoroughly agree. I put Christopher Nolan in the category of a mediocre director who sometimes makes good movies.
I've come to accept poor shots, but my main gripe with Nolan is that he tends to get hung up on inconceivable ideas, then tries to make it seem like the characters understand them. He backs away from this in Insomnia and Batman Begins, and those are 2 of his best films
I think Oppenheimer is an excellent film, but honestly I suffered a bit due to the length and quantity of the dialogues, sometimes superfluous, other times repeated. It seemed a bit like the opposite extreme of skeleton screenplays to me.
It remains of a high standard and no one doubts it, but in my opinion a skimming would have been good. In addition to the fact that the editing, constantly changing shots, didn't help me much to concentrate on the words.
I love your analysis over everything, however, I disagree about Oppenheimer. I know I'm the minority report on this topic, but I found Oppenheimer to be over-bloated, juggling far too many characters who despite spending nearly 4 hours with still felt like they needed more fleshing out. The amount of information felt overwhelming for the speed at which it delivered it. It felt like a HBO miniseries crammed into a feature length film.
I see it as a highly experimental work and I absolutely applaud the effort. It told many parts masterfully, but I never felt like I could completely wrap my head around the gargantuan amount of plot and characters. Perhaps that was the intention, to which I can only say "fair enough", but for me it was an appreciated, yet flawed experiment.
Im 15 and I can keep up with the videos. I think if you wanna learn, you just learn. I love this channel.
Superb analysis as usual and, as usual, I want to argue with some of it. OK, quite a lot actually, but I'll rein myself in. Mostly, I'm just willing to risk being the idiot who'll admit to liking 'Maestro.'
The key is just that Felicia is the protagonist. It didn't matter - to me, but I also think, pretty much objectively - what score Leonard had been composing when he walked in and announced that he'd completed it. What mattered was that he was acting as if everyone was supposed to drop everything and be thrilled - and instead, Felicia rushes from the room and jumps fully clothed into the pool. This clearly bespeaks a desire to shut the moment out, maybe especially a need to _silence_ it, and perhaps even a desire to die. Somewhere in the temporal vicinity, Leonard, amidst the opulence of their country pile, tells a friend how completely in despair she is - all as if it's just some terrible inevitable effect of the pain of existence.
But the specifics of aqll of _that_ have been amply set up: the woman who, at a time when gay men mostly had to be closeted, meets and falls for a gay or strongly gay-leaning bisexual man and, with the best will in the world, makes a devastatingly bad bargain with life. She tries to make work something that cannot. She gives up her own artistic dreams to be wife to this guy who can never love her properly, while his artistic career goes to the godlike stratosphere.
You say a lot of the time you don't know what's happening or why. I say, what I've just described is going on in just about every scene, and the arc is from the initial hope that it can all be made to work to the discovery, far more crushing than expected by either character, that it can't and is a coffin for their feelings. You say we're constantly asked to believe in Leonard's genius without justification. I say all this, especially the garden lunch scene you cite in support, is precisely about Felicia having to listen to such stuff throughout the marriage because the world believes it. And you say Don Draper would have puked at the dialogue during the Thanksgiving parade, well, I say, the dialogue is stilted but rings true precisely because it's being spoken by two urbane, uptown NYC Brahmins who can't express their feelings properly, but we've still been given more than enough to get what's going on. And while that last point is, admittedly, a little subjective, most of all, I'll add that. yes, the film feels chaotic and even sort of senseless, complete with dialogue that's often hard to follow, but all that is great to me. It feels like the life of someone in a morass of pain - except that we, unlike them, also, as a golden thread running through it, have the information we need to understand that pain.
I loved Past Lives and I never once thought the two main characters were meant for each other. In fact, my favorite scene in the film was between Nora and her husband. I took it as being about taking space to grieve for "what ifs" and moving on with the decisions you've made in life. But to each his own. That said, I totally agree about Barbie.
To get Past Lives is to get that is about her and the husband… still, for me nothing ever felt like much of a big deal… I liked return to Seoul much more
Thanks for the cool and straight to the point section of the video, more stuff like that, please!
Danke!
Danke sehr!
you should make a video one day about the soviet union films or European films in general, but soviet films I'd be more interested as they influenced modern films with editing style and the structure. I'm actually currently working on my film project about Dziga Vertov and Sergei Eisenstein (and more) so it would be a real treat to see a video about topics like this(:
That would be fun, I’d just need to come up with a fresh take
Fast becoming my favourite movie channel. Thanks for all the great content.
You should do a video about best directing too. It would be nice, and probably your favorite movies of the year
Best Directing is coming in two weeks! I’m considering doing the Moviewise Awards after the Oscars as well
@@Moviewise Great news! Hope you do the Moviwise Awards, i'll be there to watch it
Wow, you actually made me want to see two of these movies. That’s two more than I’ve wanted to go out to see in the last eight or nine years.
I guess I haven’t totally given up on mainstream films after all.
Just starting the video, but I totally agree with you on Past Lives, don't get why people say the script is masterpiece.
I’d be curious to hear your thought on the killers of the flower moon screenplay. You bring an insightful-ness that Ive never heard before from anyone else
You routinely verify my inner voice. I was taken in by Zone of Interest, thinking I was missing something. Glad I mostly stayed away from theaters last year. It sounds like they were extra stupid. Even when holding back, your fall down on the floor funny inserts are still in just the right place. Vulcanic = 👍. Do not dumb down. Americans think of you as our long lost English teacher (with an accent). Loved Oppenheimer and your appraisal.
I don't agree with everything and I haven't seen a couple of these, but I'm happy to agree with "Barbie" and "Past Lives." Amid the fun, Barbie starts with a compelling dramatic question, "You guys ever think of dying?" That pulled me in, but I soon was lost because the story became about women vs. men. This is why America Ferrara and Ryan Gosling are nominated, not Margot Robbie. Barbie's fundamental concern was addressed by a sweet scene with an old lady, and scenes with Ruth, her maker, who makes a secondary monologue. That's all. As for "Poor Things," I get what you say, but the picture was such a delight to watch.
I think Oppenheimer had three affairs in the film. There was a passing reference to a long relationship with an associate's wife in Pasadena. Saw the film for a second time and caught some things I missed the first time. The viewing also cemented the film's greatness as, even though I knew was about to happen, I was still enthralled throughout. My wife agrees about your Barbie criticism.
It’s a shame that the actual best script of the year (All Of Us Strangers) got snubbed…..
Strongly disagree with a lot of these takes. A lot of movies that you call have ‘skeleton screeenplay’ seem to be ones where the director doesn’t spoonfeed you the information and you are forced to engage with the film beyond what is shown. It doesnt imply that something is missing from the film, rather the focus/depth is found in different elements compared to other films
Also that sequence in schindlers list, isnt the same thing as entirety of zone of the interest
Why is it oddly satisfying to be one of the first 20 to watch a video on RUclips?
Because you are an egomaniac and had to notify others. Had you been in the first 15 you would have mentioned it. Had you been one of the first 10 you would have mentioned it. What makes you think it matters to anyone else? Next time you feel as though you 'need' to mention something similar, try throwing a bottle of ketchup at one of your walls then sit and watch the aftermath slowly trickle down, you may discover the same dull satisfaction.
@@hpoonis2010 Bad day or are you always this insufferable? Why don't you remove that broom handle from where the sun don't shine and learn how to lighten up and take a joke.
@@hpoonis2010I’m gonna assume writing this comment was a source of gratification far greater than the one OP experienced sharing an innocuous warm feeling.
Can someone help me identify the filmmakers referenced at 3:00. I got Dillman and Haneke, but don't know the others. Thank you!
I hear Tonino Guerra but not sure about "Krasna Horkaya"(?)
László Krasznahorkai, longtime writing collaborator of director Béla Tarr, a brief clip of one of whose films was shown.
@@kelvinp.coleman563 @johnnzboy Thank you!
Which Tonino Guerra film is shown @3:07?
Love your stuff! May i give you a video idea: compare why does the 1960 french movie Breathless works, and why doesn't work it's 1983 cheap remake? especially the "love scenes", chemistry, camera use and the endings. Looking foreward for your next hit video :D
Have you watched Monster by Koreeda. Would love to know your thoughts on the screenplay of the film?
My favorite movie of the year
Of the ones i've seen, Oppenheimer and The Holdovers were the best. Poor Things, i found more visually appealing, the story kindof went over my head. Maestro was an exhausting mess.
I feel like you didn't get what 'Past Lives" is about. There's an element about it being about a person from your past unlocking a different part of you, through language and culture.
Finally someone agrees with me about Past Lives
Yeah, but I still can't wait to see it.
I also agree, that movie is super overrated
Please make a video explaining your thinking behind your remark of Jacque Rivette's On Abjection. That would be fascinating.
Rivette defends that some subjects must always be treated by filmmakers in specific ways, so Pontecorvo deserves contempt for making a pretty shot in a holocaust movie. I disagree with any attempt to dictate how a filmmaker should make a film, including moral reasons. That’s all.
@@Moviewise That’s very clear. Thank you.
I beg you do not dumb your videos. You're the best movie channel ever.
16:50 Was this 'paler shade of grey' vs. 'darker shade of grey' duality part of the conceit of 'American Prometheus' as well? Also, wasn't the Salieri-Mozart rivalry unfounded really?
PUHHHLEEEEZ SMART UP YOUR VIDEOS to cut the dead weight! 😉 Sorry that line about dumbing down content, I'm stealing (borrowing) that! Love this channel.
Hilarious I didn't read any other comments, looked down and there all saying the same thing. 😁
I'm glad I subscribed to the channel.
I actually loved Past Lives- could have been a little shorter, but it’s a solid, quiet art-house drama. Not for everyone, but definitely something I connected with emotionally. Maestro, on the other hand, is an absolute mess…
When I saw praise for that monologue in Barbie, my head started spinning. The entire last act of that movie was a mess (except for I’m just Ken and the end with old lady, that was nice)
The video is excellent! I completely concur with your perspective on "Oppenheimer" and "Anatomy of a Fall." While "Past Lives" may follow a straightforward screenplay, its narrative remains steadfast in its focus. The film carefully constructs a powerful moment when Nora is seated between her husband and Hae Sung. The profound impact of "Past Lives" on its audience can be attributed to its meticulously crafted yet uncomplicated cinematography and the nuanced acting performances delivered by the cast.
Great video. 👏
its great to see another person that thought the childhood scenes in past lives were bland as hell and ruined the premise of the film
Can you review Monster, directed by Hirokazu Koreeda?
Easily my favorite film of the year, I liked it better than all these nominated films.
I'd be delighted to hear your thoughts on Glazer's other films like Under the Skin.
Granted, you have such an easy and thorough time skidding your opinion from the mainstream and even consensus amongst critic/reviewer news outlets. I get your forte is really covering the bonafide canonical classics, and granted, I adore that kind of video. But I'd be amissed to never hear this lavish, satirical, contradictory rhetoric you're so good at building to as well. And perhaps not just with the run-of-the-mill Oscar bait and Film Twitter fixation of the month. But with the diversity of the contemporary cinema's range of curiosities and experiments! I'd love it if you could at least do one of these screenplay roundups for one of the previous years of the major IFF's. Cannes, Berlin, Venice, Toronto, Locarno, or Rotterdam. Maybe a US independent festival on terms of Sundance, Tribeca, Independent Spirit, or SXSW. Covering a historic year in one of these festivals that you feel deserves acknowledgment would be really interesting. May I suggest Cannes year of '68 or Sundance year of '92? And if you really wanna be adventurous with your channel... go onto Criterion Channel or Mubi and create discourse out of something that you think you'd like to that would otherwise not get the chance.
I leave off with a question. What do you feel is your gravity towards cult genre films? As someone who seems to be so concerned with film craft fundamentals, I don't see you much taking to the world of cheap slashers, giallo, spaghetti westerns, poliziotteschi, crime, sci-fi, kaiju, blaxploitation, chanbara, pinku eiga, tokusatsu, edgier anime, and wuxia, right? I feel like watching those you need a stomach for what pleasures your better judgment tells you not to have. A craving for the absurd, salacious, and radically unique (if not always "good"). Am I wrong about you on that front?
With less added preamble, what do you think of experimental films and experimental documentaries?
Just got out of Zone of Interest.
Moviewise nailed it
Please do some Mad Men analysis. You seem to like it and I think it is the greatest tv show of all time.
Qualitywise this is easily one of the 3-4 best film theory and analysis channels all over RUclips and you're definately catching up with every new upload. 😊 You deserve a lot more subs but I don't think going for click bait and less quality is the right way. 😮 What if we viewers start a little support action... In case everyone of the 34.000 subscribers recommend this channel somewhere on RUclips or elsewhere and just attract and guide one or two new interested viewers here this could make the first RUclips award for 100.000 subs. 😇😜
Can you mention the other best critic/analysis channels?
3 of the this year’s nominations were about writers… that is a very weird coincidence
I strongly disagree with most of your takes in this video. However, this is a well-made video, and you defend your opinions well.
What did you think about ‘Killers of the Flower Moon’ screenplay?
For people who want to see an excellent depiction of the banality of evil, specifically the banality of Nazi evil, I recommend the short film Hope Dies Last. You can find it on RUclips.
Thank you. At least someone in the internet says the same thing as me about barbie script.
You're funny! Instant subscribe
I'm intrigued that you positively highlight the juxtaposition of the two 'trials' in Oppenheimer, because I found that a weakness. It took a film that purported to tell the antihero story of the man who built the bomb and then struggled to live with having done so, and turned it into a redemption arc for a tragic hero. I found that rather tedious, and I'm genuinely confused why the film gets so much praise.
There was even a line that undercut the whole point of the film and suggested the writer didn't believe what he was saying, or changed his mind about what film he was writing during one of the drafts. When Oppenheimer became distraught at the news of his mistress's suicide, his wife said something along the lines of: "You don't get to betray me/do something terrible, only to have me [i.e. the audience] feel sorry for you when you start feeling bad about it."
I accept there was some good writing within the script, but the story completely lost me.
Other movies channels: this movies great
me:it's good
Moviewise: this film bad
me: its bad.
Entirely disagree with your analysis of Past Lives. For me it's strength was in how our expectations and wants for the characters changed throughout. In the beginning I wanted the two main characters to be together, but that slowly shifted until, by the end, I was in the same position as the main character-saddened at the departure of a friend, but still satisfied with the person she was with. It was, for me, about the big "what could have beens," without making value statements, just accepting life as it is.
I kind of liked Barbie's script for the cleverness of how it makes non-sensical lines appear natural (perhaps more to the credit of the actors than the writers), but Gloria's "it's hard being a woman" monologue was painful. But here's what I noticed about that monologue: who liked it? My mom, who doesn't really watch movies. A bunch of other middle aged women. I can't relate to what being a woman feels like, as a guy in his late twenties, but come on, there was no subtetly whatsoever. FFS Poor Things delivered the better feminist message by far
Oppenheimer was better than Barbie.
I have nothing substantial to add but I comment so you get more exposition you deserve
That whole scene. That was my favorite scene. Do you know why? Fights between married couples are just that ridiculous. These people are people in the arts having a ridiculous fight. And just so you know its supposed to be ridiculous, there is a Snoopy floating past the window. We are not supposed to learn anything from the specific lines in their argument. It's absurd. And the Snoopy's not random. There was a Snoopy earlier in the film just in case you missed it. It's not a biopic, it's about a marriage. Describe the flick again but pretend you are talking about a long, fraught marriage, not a person. Nobody today can commit to anyone or anything for more than five minutes so they have no idea what it looks like to commit to someone for decades. That's what the movie is about. And if you think Bergman did it better, well, good for you.
wait Asteroid city didn't get a nomination?
Best Margot Robbie performance of the year ... too spicy?
@@jmgonzalez4 chances are...
Thank you. I was waiting for this. I wish I had the same feelings about Oppenheimer. I thought it wasn't engaging at all. But maybe I need to give it another viewing. What were your thoughts on the screenplay for Killers of the Flower Moon and should it have been nominated for Best Adapted Screenplay?
Now I await your rankings of the nominated directors.
Not to be selfish but don't become popular. It's clearly not worth it and I don't want to see armies of film bros regurgitate quotes from you out of context and miss the point entirely.
The thing with that monologue in Barbie is, NOAH ALREADY WROTE IT.
Judy Dench even won an Oscar for being on screen less than 10 minutes because of it. So embarassing and on the nose pandering.
The argument between Leonard and Felicity on Thanksgiving... and other arguments, I don't quite get what they were supposed to be saying. Felicity is pissed about Lenny's lovers, even though she signed up for it. Fine. But sometimes it seems like she's saying he needs to have relationships with men/be more out of the closet....maybe? Or is it more general, like he's Mr. Happy Extravert but secretly a mess and he's not dealing with it? It seemed like it was being obtuse about it-- these two creative people have some kind of existential angst, some of it's about their respective sex lives, or practical marriage stuff, or one spouse being in the limelight, but a lot of it's mysterious existential creative genius angst that the audience isn't supposed to understand? I didn't hate the movie but that kind of thing made it a slog.
No they shouldn't cut the other kids in Holdovers, without them the sript would be to banal and less natural. This midpoint is brilliant.
Paul Giamattii is a fucking jewel of a character actor.
And never do The Thing your friends suggest. When i started writing books in 1999-2000 when i was 15-16, this was advice I would get all the time. dumb it down and you'll be more successful.
Whether or not it would work is largely irrelevant, if you're making art for its own sake, because you have something to express, whether or not you make money from it is largely irrelevant. That I'm able to make a living as a writer is pretty awesome, but I would never attempt to consciously change the way I write to appeal to anyone. I write for the same reason people have always done so, it is a compulsion, an obsession, and I have a love for the craft … whether it enriches my bank account is irrelevant. You will find success when you connect with the right audience man. Don't sell yourself short mate.
Loved your both clever and fun analysis as always. Didn't like Oppenheimer, especially its' screenplay that much though.
Do not dumb your channel down!…please
Amazing
Never change
if the rest of the video aligns with my thoughts about the films, I'm going to send you my screenplay, just to get my point of view on my screenplay if it wasn't written by me.
you snubbed across the spider-verse like academy snubbed the batman for best cinematography but i'm still down
American Fiction shouldn't have been sold on that premise if it didn't want to explore it
Yep. Great critiques.
You might've sold me on American Fiction.
Best channel on youtube by far. I don't know how you do it. Keep em coming.
PS. I thought Oppenheimer was midwit fodder.
Everything you praise Oppenheimers dialogue for is everything I despise about it. This dialogue 'style' is also charateristic of all his films. It's nauseating to listen to.
Oppenheimer somehow did not win best adapted screenplay despite winning 7 oscars. It feels like the obvious choice so it’s strange that it lost
I have to disagree with your script analysis here, you're overly encased in the classical box. A script can have different structures other than going from A to Z in a purposely and logical way with an introduction, climax, conflict and end. This is just the classical Hollywood way of writing, but if this was the only way then masterpieces of cinema like "The Mirror" from Andrei Tarkovsky, "Wings of desire" by Wim Wenders or "My neighbor Totoro" from Miyazaki would not fall into this category. Film is an art form and sometimes a script needs to read more like an aimless journey that feels more like a poem than a novel. That doesn't mean that any aimless movie is therefore a piece of art though. Maestro is the clear example of how to do that style of script writing wrong.
In my opinion anatomy of a fall and poor things are better scripts with better commentary on life and more to say than Oppenheimer. Nolan is not bad, but he's painfully overrated.
barbie feels like a doll play. A little girl is playing with dolls, the barbies. And the movie is the visualization of the child's fantasy. Maybe that's why the screenplay is so cartoonish, in particular the speech of the character played by America. It's mirroring a child's psychology. The child is not shown to leave the space to the viewer. Isn't that a play within a play or a meta-narrative ? It doesn't count to you ? Anyway, it makes Barbie very special, I would think. That's how I more or less understand it.
Other reviewers of May December commented on its "humor" but you didn't mention that at all. Interesting.
BTW, I started watching it and was bored. Turned it off after 15 minutes. And I don't remember anything slightly humorous about it.
There isn’t