“As I walk along, I wonder
A-what went wrong with our love
A love that was so strong”
There’s an ebb and flow to life and love. There are the hedonistic, weightless highs, the moments when you dance like there’s nobody watching and playfully chase each other around your apartment. There are the uncertain lows, the moments when you question what it is you’ve gotten yourself into and whether or not you can figure it out. Song to Song is a beautifully exhausting attempt to wade through that thicket, an attempt because that’s what Malick has made a career out of: carving out a spiritual and creative journey in which solutions come secondary to the transcendent highs achieved in the process. His newest project does reach some of those highs, but it definitely loses its way the longer it runs. Though the introduction of new characters and relationships stays true to the transient nature of life, it doesn’t quite anchor a story that’s more plot and character based than one might expect. Malick can be tedious in a good way, but the opposite is true as well.
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Get Out Review
12 FebEvery so often, a film comes along that is so bold in its ideas, so unrelenting in its intensity, that you just have to allow yourself to be swept up in its grasp. Even given its flaws–mainly an occasionally shaky setup and an over-abundance of jump scares–Get Out is that type of film. It’s a deliriously entertaining ride through comedy, horror, action, and social commentary, and it knows exactly how to blend the four without detracting from any. Via a creative form of social critique, Peele does what horror filmmakers do best: draw from the everyday fears of our times and take them to the extreme. However, he also has a knack for transitioning between tones, and that’s where the beauty of the film lies; for instance, the comedy that oftentimes breaks up the intensity in various scenes actually contributes in a way to the overall intensity. That’s the only way I can describe it, as it’s best experienced firsthand.
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