" She Came To Me " is worth it. Beyond. Forget the shadowy perfection of character; but the sentiment. The sentiment of life. Life is not perfect, but in the end...
A life not in the form of right angles or nominal could be oblique. Oblique cinema is funny, but muddied. Cracking a smile is a win. The cast did so. Winning, loosing or drawing; cracking the sentiment is profound in " She Came To Me ". The sentiment is that endurance and intuition mean nothing. The end journey... This film is not cluttered. This film is not what persists, but what stains lives'. It was fast paced and in the end allowed for a crackle in between the lips. The sentiment of love was there. The sentiment of a life to live was there, as well.
Reviews
4 Reviews
Living
(2022)
Why Not? At A Fine " Skyscraper " Height vs. " Skylight " Heights!
13 February 2023
Contemporary not in...old really in...title solved...and yet...
" Living " is hindsight and it is a harkening tale of change. That is true, but bleak is not alive in the cinematography. More. Much more...peril was intent and even known...hence, "Living " was set, but a peculiar reset.
Mr. Williams confided amongst what he wanted...all his life and the " four glassmen " helped...not a wink of Heaven or Hell mentioned. Thus, ok...truth!
Mr. Middleton was serving in touch and purpose.
The exact locations of where tipping points occur and " playgrounds " build is not there, hence peculiar.
A rare oddity in film is the opposite reaction, whether it be a spliced Super8..that was the title solved...why not... a skyscraper is made of glass...and hand-work...a fine skyscraper height is now, over and hindsight...thus credits enunciate...performance and peculiar perfections.
The film was odd, but odd is redefined when death is imminent, then such realities occur...that is "Living "...this is good.
For two reasons, this film is not gentrified.... Skyscrapers of papers; office ins and out were in hence, retrospectively shown and rebuilt.
Primarily, the look of London has not changed. This is perfection.
Secondarily, the look of mankind / womenkind has not changed. This is perfection.
To conclude, films that are films will remain despite an allegorical " Living ". Hence, death.
The skylights and cities of lights...that exist are stage left and stage right at perfection.
Old really in...contemporary not so much.
Mr. Williams confided amongst what he wanted...all his life and the " four glassmen " helped...not a wink of Heaven or Hell mentioned. Thus, ok...truth!
Mr. Middleton was serving in touch and purpose.
The exact locations of where tipping points occur and " playgrounds " build is not there, hence peculiar.
A rare oddity in film is the opposite reaction, whether it be a spliced Super8..that was the title solved...why not... a skyscraper is made of glass...and hand-work...a fine skyscraper height is now, over and hindsight...thus credits enunciate...performance and peculiar perfections.
The film was odd, but odd is redefined when death is imminent, then such realities occur...that is "Living "...this is good.
For two reasons, this film is not gentrified.... Skyscrapers of papers; office ins and out were in hence, retrospectively shown and rebuilt.
Primarily, the look of London has not changed. This is perfection.
Secondarily, the look of mankind / womenkind has not changed. This is perfection.
To conclude, films that are films will remain despite an allegorical " Living ". Hence, death.
The skylights and cities of lights...that exist are stage left and stage right at perfection.
Old really in...contemporary not so much.
Landline
(I) (2017)
Ms. Quinn and Ms. Slate at a middle ground!
15 September 2017
Hark; the epitome of light and what is missing from films is at a new high. Not so much the cinematography, but the essence of filmography is normal. What separates this film from others in its' category is the bond. A mother, a daughter, and a first daughter. The despondent father is cruical to the first daughter (Ms. Slate). Mother is down-trodden so she turns to both. Being alive and the exact opposite of the willing suspension of disbelief carried this film; ever-expansive unto a world of "non-Westside New Yorkers". In the view of how transgression erects itself; not one person but Ms. Quinn. In her role; the passion for the "live" life excels her aura. First daughter is the care-giver in this whopping tale of family, feuds, and freshness. It is in the opinion of the author of this Review that Ms. Slate wins. Costuming was accurate and the sexual scenes were bountiful and hilarious. Real People Doing Real Things. Real People doing real things.
The Circle
(I) (2017)
Duck Season Versus The Circle
7 May 2017
To Whom May It Concern:
Seeing how I haven't written a review for a film in about 12.5 years; The Circle was quite interesting, illuminating, and illustrative. The beginning was as enticing as the mundane features that capitulated the audience; at least for the preliminary hour. The sub-structure of this film reminded me of the rhetoric of the "Disfruita" scene in Duck Season...I have properly labeled this striking parallel to The Circle for a various amount of reasons. First, The Circle was automatonic. Second, The Circle was auditory. Thirdly, The Circle was astounding. As with the Black and White features of Duck Season; the overall stability of the mechanized "pelicula nueva" deemed relevant the wide (positivity) "mundo" that encapsulates the audience. The delivery that the actors and actresses unveiled substantiated "la verdad" that most mimics the opening scene of The Circle. The colors and use of visual "real-world" cinematography escalated the emotions that carried The Circle to a necessary height; broadening the senses of the onlooker. As with the plot development of Duck Season; The Circle was quite a recollection of the inner thoughts of that under-fortiduous scene; whereby "una mujer primitiva" encounters "un hombre primitivo". Seeing how I haven't written a review for a film in about 12.5 years; The Circle was quite interesting, illuminating, and illustrative. The beginning was as enumerable as the mundane features that capitulated the audience; as least for the preliminary hour.
Seeing how I haven't written a review for a film in about 12.5 years; The Circle was quite interesting, illuminating, and illustrative. The beginning was as enticing as the mundane features that capitulated the audience; at least for the preliminary hour. The sub-structure of this film reminded me of the rhetoric of the "Disfruita" scene in Duck Season...I have properly labeled this striking parallel to The Circle for a various amount of reasons. First, The Circle was automatonic. Second, The Circle was auditory. Thirdly, The Circle was astounding. As with the Black and White features of Duck Season; the overall stability of the mechanized "pelicula nueva" deemed relevant the wide (positivity) "mundo" that encapsulates the audience. The delivery that the actors and actresses unveiled substantiated "la verdad" that most mimics the opening scene of The Circle. The colors and use of visual "real-world" cinematography escalated the emotions that carried The Circle to a necessary height; broadening the senses of the onlooker. As with the plot development of Duck Season; The Circle was quite a recollection of the inner thoughts of that under-fortiduous scene; whereby "una mujer primitiva" encounters "un hombre primitivo". Seeing how I haven't written a review for a film in about 12.5 years; The Circle was quite interesting, illuminating, and illustrative. The beginning was as enumerable as the mundane features that capitulated the audience; as least for the preliminary hour.
Tell Your Friends