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  • Pigs and Battleships

    Pigs and Battleships

    "Pigs and Battleships, however, is not some dry anatomisation of Japan’s post-war ills (like, say, Nagisa Oshima’s bitter Night and Fog in Japan, made just a year before), but an energetic genre piece, full of rampant criminality and doomed romance, which remains rambunctiously entertaining from beginning to end. In one scene, Sakiyama, the Japanese-American mediator between the Japanese yakuza and the US Navy, complains that while he came over to help the Japanese understand Americans like Jefferson and Lincoln, in…

  • Home

    Home

    "At the beginning Home seems rooted in almost documentary-style naturalism, as Meier plays fly-on-the-wall (or cat-on-the-road) to the intimate specifics of this family’s structure, with Agnès Godard’s cool camerawork keeping everything and everyone at a studied distance. Soon, however, the film is travelling a more allegorical by-way, mapped out in surrealism and psychosis. As the family negotiates the median strip between private and public, it risks losing its own vitality and coherence, but in ignoring, resisting or excluding the change that the opened highway offers, it also risks choking on its own insularity. "
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  • They Look Like People

    They Look Like People

    "...down in the basement the film's dual status as indie buddy movie and psychological horror converges into one. This climactic sequence, unbearably tense but also profoundly moving, takes friendship to its outer limits, while presenting the most alarming aspects of mental illness in the most sympathetic of lights."
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  • Li'l Quinquin

    Li'l Quinquin

    First published by Little White Lies

    "Let's roll!" declares bungling, twitching Commandant Van der Weyden (Bernard Pruvost), of the National Police, as he and his partner Lieutenant Carpentier (Philippe Jore) investigate the grisly discovery of human remains inside a dead cow laid out in an old, barely accessible war bunker. Yet with ever more corpses emerging, the mobility implicit in Van der Weyden's catchphrase contrasts with Carpentier's habit of making seven-point turns or driving in circles. This undynamic duo, much…