Tag Archives: Jennifer Jason Leigh

Fast Times at Ridgemont High Review

Taking a stroll through the stoner-clad, sex-crazed corridors of 1980s American suburbia is far too easy. Fast Time at Ridgemont High is just one of many features that look to capitulate to the freaks and geeks stuck in dead-end jobs, dealing with heartbreak and the wild ride of graduating. An ensemble like no other, with big names that would go on to bigger projects, this Amy Heckerling-directed feature pairs up the best of a generation and gives them little to do. That is the point. What is there to do at such an age? Music, film and art from generations before and after this one were all wondering what to do, and Fast Times at Ridgemont High does well to play into the hopeless and unknowable future that lies ahead for graduates around the world.

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The Woman in the Window Review

Wanting to coast along on its Alfred Hitchcock influence, The Woman in the Window does little to separate itself from Rear Window. That is fertile ground to harvest from, and if done right then there is certainly room for characters within this Joe Wright-directed piece to flourish and grow. Here is the shut-in neighbour, nosey not out of interest for others but out of boredom. She uncovers a potential murder and must work from home (like all of us have done for the past year) to solve a potential case of crime. You may know these narrative beats inside out, but it is what The Woman in the Window does with them that brings out the most interest of all. Not much is the answer, but bless them for trying.  

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The Hitcher Review

On the very loose chance I jet off around the country on some form of horrid road trip, hitchhiking will not be the way to do it. While I didn’t need much convincing of those overwhelming negatives, The Hitcher did much to quell any sense of interest or spirit to come from happenstance encounters, barrelling my way across the country. There are only so many drivers willing to put up with me at the helm of the AUX cable, and usually, they tire of it rather immediately. Still, flash us back to forty years before and find yourself on the road with Rutger Hauer. He is the titular hitcher. The man to be feared and one to escape from.

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Twin Peaks: The Return Review

As David Lynch toys with his thematics and prose, Twin Peaks: The Return takes on a strange, unique form. Continuing on the events of Twin Peaks to some degree, the eighteen-episode series has a mind of its own. Shattering the traditional conventions of television with an ensemble cast of vaguely connected events, the highs and lows of Twin Peaks: The Return all circle around Lynch’s ability to feed a narrative through a series of inconsequential, yet wholly interesting events. That is the beauty and the brainlessness of the show, with a thankfully larger deal of highs than lows. Adapting a television show decades after its initial run is no small feat, any creative should fear such a challenge, but this director and his lengthy list of cast members seem up for the challenge. 

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eXistenZ Review

Virtual Reality really does feel fresh in our minds right now. Thanks to its mainstream advent, throwing away the novelty first applied to the bulky, nauseating feeling of being in a completely different environment. As the trends of gaming now swing toward trying to impress newcomers with flash technology that can turn their living room into a battlefield or a meadow, it’s rather comforting to see that director David Cronenberg had his say on the subject twenty years ago. How dangerous Virtual Reality could become if thrown into the wrong hands is investigated thoroughly well in Cronenberg’s final 20th century outing, and is perhaps one of his strongest films.

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The Hudsucker Proxy Review

The nuances and comedic timing of Joel and Ethan Coen is detrimental to their success as directors. Their ability to weave dark humour into the fabric of relatively straight-forward pieces is fascinating to me, and how seamlessly they manage to make this connection is inspiring. The Hudsucker Proxy proves that even the best have their misfires, and this Tim Robbins led piece inspires little in the way of innovation. All the classic components of a Coen Brothers collaboration appear in broad strokes, but never in a focused enough mindset to provide something that isn’t a sweeping, rather bland statement with uninspired characters and a rather drab realisation of its script.

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Greenberg (2010) Review

Director Noah Baumbach has been riding rather a niche high these past few years. His latest endeavour with the Netflix original Marriage Story soared through audiences and critics with unanimous approval. Baumbach is no stranger to high approval ratings for his slice of life pieces of film, and try as I might to break free from middle class suburban America, I find myself stuck there once more with Greenberg 

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