Tagged with french films

Review: Reality, 2015, dir. Quentin Dupieux

Review: Reality, 2015, dir. Quentin Dupieux

“If a viewer can expect anything from a Quentin Dupieux film titled Reality, it’s willful surrealism. Reality and reality pass each other like two ships in the night, and one of those ships is an impish gallimaufry stitched together from bits and pieces of Magnolia, Holy Motors,Inception, Hitoshi Matsumoto’s oeuvre, and the vast canon of … Continue reading

Goodbye to Language, 2015, dir. Jean-Luc Godard

Goodbye to Language, 2015, dir. Jean-Luc Godard

“Jean-Luc Godard has made his new film, Goodbye to Language, in much the same spirit as Tarō Gomi’s seminal children’s book Everyone Poops: no matter what differences may set us apart from one another, we’re all united through our undeniable human need to defecate. It’s the greatest of equalizers.” (Via Paste Magazine.)

Review: The Artist, 2011, dir. Michel Hazanavicius

Review: The Artist, 2011, dir. Michel Hazanavicius

Observing a highly-lauded film often proves to be a challenging experience. Most film writers are well aware of the weight of expectations when it comes to honestly confronting their feelings on a movie that’s been fed to them through the Internet hype-machine and reassembled as something perhaps greater than it is in actuality. There are, … Continue reading

Review: Point Blank, 2011, dir. Fred Cavayé

Review: Point Blank, 2011, dir. Fred Cavayé

Like it’s lead, Point Blank has no time to waste. With a mere eighty four minute running time, it’s not hard to understand why. With time being such a precious commodity, hapless everyman Samuel (Gilles Lellouche) hurries at every turn, and Fred Cavayé’s film follows suit. Point Blank distinguishes itself with boundless energy, an economy … Continue reading

Review: The Illusionist, 2010, dir. Sylvain Chomet

Review: The Illusionist, 2010, dir. Sylvain Chomet

For all of its moving excellence, The Illusionist may be almost as enrapturing for the turmoil surrounding its creation as it is for its artistry. Two arguments, one originating from writer Jacques Tatischeff (from here on out referred to affectionately as “Tati”) family and the other from director Sylvain Chomest (of 2003’s The Triplets of … Continue reading