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  • Wichita

    Wichita

    ★★★½

    It's so cool to see Tourneur remove tension and replace it with distanced serenity. He sees no reason to embellish (or even dramatize, which would be more than acceptable). Why? I'm not sure yet but the effect is amazing. Scenes are centered on detailed master shots or a well executed denial of key action that occurs in real time off screen. I wish I had a thesis about what this says about Tourneur, but maybe I will after a couple more.

  • The Ballad of Buster Scruggs

    The Ballad of Buster Scruggs

    ★★½

    This review may contain spoilers. I can handle the truth.

    Buster Scruggs: An entertaining character and performance, but the psychopath/society dichotomy is too pat. The ending suggests a harmonic passing-of-the torch between kindred spirits.
    Near Algodones: The weirdest one, also the least successful because Franco's character feels more like a mood than a person.
    Meal Ticket: Wish the two leads spoke to each other at least once; feels like a treatise on mythological cruelty without a thought to spare for the people involved.
    All Gold Canyon: The paradise framing device…

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  • Milla

    Milla

    ★★

    This review may contain spoilers. I can handle the truth.

    The apparently relaxed and laissez-faire method that Massadian employs within scenes made me think of another film whose director doesn't premeditate the beginning or ending of scenes: ¾. I thought to myself: why does Metev's film work so well for me while Massadian's doesn't? If we don't count the expressive and romantic direct addresses from Leo (or the live music performance, poem recitation, and grieving dream sequences -- that's a lot to put aside but I think it's clear, based…

  • Days of Heaven