Media Log
Threads (1984)
Exhausting every superlative is barely justice to how harrowing this experience is -- 'threads' isn't a disaster flick, it's a kitchen sink nightmare into an almost tangible reality, one unflinching of pounding the abject primal fear directly into your sensory temples. It's so claustrophobic, every frame is like having a mouth full of earth and a potent stench of charred corpses. No heroes, no saving grace. It's just a hopeless descent into humanity's darkest hours. This is the type of film to really shift your perception of the world and cinema.
Avatar 2: The Way of the Water (2022)
If its predecessor had the "depth of a puddle", in comparison this is Oceanic, a welcome pit stop after the intensity prior -- yet also delivers on (more refined) splashes of chaos. In Cameron's own fashion, he subdues the colossal expectation & fanfare looming above it, surprisingly not doubling down on violent spectacle instead proving commitment to his universe. Laying a crosshair on your heart (an idea OG Avatar would sneer at) & providing the Na'Vi more individuality, I can respect. However, a pervasive hollowness is still present? I feel the structure is largely a detriment, in a sort of self-insulting way (you can predict the outcome within 30 minutes, once again) & numerous unconvincing set pieces leaking with plot holes, alongside some odd retcons ... but as any $460m budget offered at a blockbuster auteur's disposal would imply, it is another technical marvel, albeit unconvincing in execution for me! Stokes somewhat stronger viewer investment in the central conflict than Avatar (2009), but equally forgettable experiences.
Babylon (2022)
Bloated, interminable tirade -- either a compliment or a criticism. Initially okay, surreal vignette approach felt exhaustive but a lil enjoyable. Hate to echo the overstated sentiments regarding its final act, but Chazelle winking & nudging & gagging at the viewer to Fist Bump The Air and scream "masterpiece!" without earning an ounce of praise is painful, montage in question bordering on American Film Theory 101. If I divvy it between two halves, the former is tolerable, but the latter collapses on its own weight & highlights this film is simply too long for it's own good! I suppose Robbie's typecasting is sad, and Brad Pitt method acting as Cliff Booth faces similar faults ... it all harks back to other films executing this style more coherently. Shame, a worthy period piece touching on a tragic downfall is buried within, but it's a seriously ham-fisted attempt.