Word: viewers
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...stripping Macha of his money and power, while Green is left trying to figure out who his mysterious employers are. Ritchie’s take on the crime world has, as usual, some fascinating moments. His slick style of directing, with its quick cuts and seamless transitions, makes the viewer feel the breakneck speed and confusion of the seamy underbelly. And unlike his other films, Ritchie uses this one to to analyze the philosophical aspects of crime. Namely, he delves into what makes a “winner,” primarily through a chess allegory. But the primary flaw...
...newly released “Greatest Hits” album, he recalls the golden days of first crushes and dreams of fame. This, of course, is before he goes badass “gangsta” on us and reveals gritty images of prison life to the viewer. But you won’t find gyrating booties or a waterfall of hundred dollar bills in this video, only Polaroid-style photo shots of Nas and his crew chillin’ through the years, while a mishmash of handwritten notes flutters across the screen. The video begins in silence, with...
...fall in some embarrassing way. The film aspires, I suppose, to sober Chekovian comedy - could that tree analogize to a Cherry Orchard? - but it is actually no more than an invitation to wallow in ill-defined neuroses. "So true, so sad," one imagines an impressionable viewer murmuring. "Let me out of here," one imagines most people saying...
...Torres named all of his works “Untitled,” and frequently gave a second name in parentheses. “Untitled” (Placebo – Landscape – For Roni) has two parenthetical names, which both suggest the psychological dialogue between the viewer and the piece. Placebos, typically sugar pills parading as medicine, only affect the body through the patient’s belief that the pill is an actual cure. A victim of AIDS, González-Torres was constantly facing thoughts of his own mortality. His work is both sensual...
...becomes glaringly apparent that the script simply isn’t up to snuff. Like his occasional writing and production partner Wes Anderson, Baumbach has the tendency to leave the story up to atmosphere rather than the plot or characters. While Anderson compensates for this by overwhelming the viewer with moving scenes of joy, sadness, and hope, Baumbach’s vision concentrates too much on characters to leave them so exposed. The script begins to go south shortly after Kidman’s husband, John Turturro, makes an unexpected visit. Suddenly, Baumbach seems to pour every hateful word...