Benicio’s that guy, fukkin’ hilarious in this. Thought the characters for the most part flowed with the material given to them and the espionage elements gave its story a needed kick that would’ve otherwise made its lull moments in the latter half more noticeable, ala Asteroid City.
Wes’ cinematography will always pop to a point where I think charm is never an issue with his stuff, IMO. More-so finding the right balance between his deadpan humor and emotional shifts, which I thought he nailed with Korda here.
We had a little Basquiat reunion with Wright showing up and he definitely could’ve been utilized more. I remember feeling the same way after Asteroid City, homie should get a lead role of his own in whatever’s next. I’m also surprised it’s taken this long for Cera to pop up in one of these films, he seems tailor made for Wes’ stuff.
Had watched Ballerina later on yesterday and am still thinking about this one. Can see why folks are burnt out with his post-Budapest stuff, but I like how these films are still very much Wes and yet he’s always reinventing his wheel in some capacity. And if any filmmaker can hit on the emotion, beyond anything else, I’m satisfied. Sinners did that. This one did. PTA will definitely do that come September.
Wes’ cinematography will always pop to a point where I think charm is never an issue with his stuff, IMO. More-so finding the right balance between his deadpan humor and emotional shifts, which I thought he nailed with Korda here.
We had a little Basquiat reunion with Wright showing up and he definitely could’ve been utilized more. I remember feeling the same way after Asteroid City, homie should get a lead role of his own in whatever’s next. I’m also surprised it’s taken this long for Cera to pop up in one of these films, he seems tailor made for Wes’ stuff.
He stays having the whitest films ever, yet I’ve never seen him start off a film the way he did here. shyt caught me off guard with that explosion and had me paranoid every time Cera’s character would sit in the same cursed spot, lol.
The way it had the camera whip around the room upon Liesl’s slaps, a pick-up game of basketball to seal a business deal, seeing Del Toro and Cumberbatch throwing hands up and down those stairs…fukkin’ absurdity.
The way it had the camera whip around the room upon Liesl’s slaps, a pick-up game of basketball to seal a business deal, seeing Del Toro and Cumberbatch throwing hands up and down those stairs…fukkin’ absurdity.
Had watched Ballerina later on yesterday and am still thinking about this one. Can see why folks are burnt out with his post-Budapest stuff, but I like how these films are still very much Wes and yet he’s always reinventing his wheel in some capacity. And if any filmmaker can hit on the emotion, beyond anything else, I’m satisfied. Sinners did that. This one did. PTA will definitely do that come September.