Don’t Stare. Don’t Blink.

Imagine having a company policy about how long you’re allowed to look at someone.  Just think about that.  Maybe you have a few guys here or there that like to stare when that coworker of yours comes in wearing a skirt that’s a size too small for her.  Or maybe you have those socially awkward men with have intense gazes who never break eye-contact when they’re speaking.  Or maybe you have employees that actually look at people when they start talking.  Well, I hope you enjoyed it while it lasted!  Welcome to #metoo! Continue reading “Don’t Stare. Don’t Blink.”

The Neon Demon (Nicolas Winding Refn, 2016)

If there is one word to describe Refn’s films, that word would probably be a synonym for “indulgence.”  From his early crime-grit violent escapades of Pusher and Bleeder, to the biopic Bronson and his later period work, each film carries in it a love for excess.  This excess isn’t even of gore or violence—these are means to his ends—this excess is of fundamental sensations.  Refn seeks to build the world that he lives in around the viewers and keep them there until long after they’ve left the movie theatre and all the colors, aesthetics, driving synthesized scores, and landscapes have faded from recent memory. Continue reading “The Neon Demon (Nicolas Winding Refn, 2016)”

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