120 BPM (Beats Per Minute) (Robin Campillo)ġ4. Resident Evil: The Final Chapter (Paul W.S. The Meyerowitz Stories (New and Selected) (Noah Baumbach)ġ0. The Work (Jairus McLeary and Gethin Aldous)Ħ. On the Beach at Night Alone (Hong Sang-soo)Ģ. It is a snapshot rather than a permanent fixture.ġ. ![]() The following list is formed from the reds, oranges, greens, and blues (plus a few more) that I have seen at time of writing that were commercially released in New York City in 2017. With the exception of Twin Peaks: The Return, there was practically no film where my love was not complicated in some way, and it seems equally due to the films as it is to the year at large. ![]() When I look at my list, the overall quality of the films themselves was perhaps no poorer than in the monumental selections of the past two years, but there was a certain bewilderment, a malaise that put me at a distance. 2017 was, to put it mildly and flippantly, an utter oddity of a year in so many ways.
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