GRAVITY fails in a very American way: the lone individual triumphs over nature, energized by her sense of self-value. Americans have a history of bringing our own banalities into space with us.
Evil will stay evil. This is true in all the Coens’ work, and it may be why their movies always seem linked up with the Fates: because, unlike most of Hollywood movies, they are about life on earth.
Ben Lerner’s LEAVING THE ATOCHA STATION and Dan Beachy-Quick’s AN IMPENETRABLE SCREEN OF PUREST SKY are grand narcissistic projects. But if that sounds like a slight, you haven’t listened to these books.
Hugo traces a history of movie technology, but it also gestures towards something far more elusive and far-reaching: a modern history of the desire for pictures that come to life.
Like Morrissey, Oscar Wilde views his world with a humorous disdain, raising an eyebrow and a cigarette at its vanities and minor injustices. But, also like Morrissey, he seems to be performing his discontent like a character actor.