To this day, Luchino Visconti's The Leopard remains my favourite film of all time and her impact on the golden age of Italian cinema won't ever be forgotten.
You may have noticed that I have recently been sharing my thoughts on some newer films in shorter videos, hopefully you have been enjoying these.
I have some larger scale essay videos in the works and will be returning to a more frequent posting schedule soon, so thanks for your patience and support.
In the meantime, I am quite active over on letterboxd, so if you would like to keep up with my daily reviews of everything I see, feel free to follow me over there:
There is something a little too safe about Darren Aronofsky's largely crowd-pleasing new film, Caught Stealing. It's a work that is intent on possessing a sort of punk-rocker sensibility, with much of the tone seeming to strike that frustrating Guy Ritchie brand of self-serious comedy.
Surprisingly, the picture does have more Darren Aronofsky flavour than initially expected, with Butler's central character very much in line with many of his other trauma and addiction riddled protagonists.
Butler is clearly the star of this all though, in what seems to be a work crafted specifically for him as a sort of star-vehicle. It's also hard to be too critical of a studio programmer like this, when these are the exact sort of mid-budgeted projects that used to be a Hollywood mainstay in the days before streaming.
At a brisk 107 minutes it's a perfectly agreeable time at the movies, even when the script does feel a tad lightweight. Every time the film does starts to get a groove going, there's a jarring shift of tone or a wallow in character cliche that does derail things slightly.
It does seem though that the main goal here was clearly to continue Butler's elevation into leading man status, and in that regards the project is a success.
Given the studio scope and colossal budget allocated to this latest Bong Joon Ho effort, it's refreshing to know that even under such conditions, the many consistent thematic interests and cinematic impulses of Bong remain ever present.
Mickey 17 is a work that blends elements of Keaton slapstick, space opera camp and biting capitalist commentary, to form the genesis for this ambitious and big-brained tentpole swing.
With allegories that threaten to become obtrusive, there is a clear lack of subtlety here at times, with certain characters occasionally veering off into caricature. It's all obviously part of Bong's intention to take this into an absurdist realm, but when things emerge so level-headed, this gradual shift can become a tad frustrating.
Beneath this uneven, but earnest chaos, lies Robert Pattinson as the titular 'Mickey' (in fact, he also plays various other Mickey's). It's all very inspired stuff from Pattinson, who is tasked with adding some immense physicality into this role, as well as incorporating some comedic voice play to distinguish the various Mickey's.
Whilst this farcical sci-fi adventure mightn't be able to contain itself, or reach the soaring heights of some of Bong's more grounded efforts, it is still a revitalising blockbuster, boasting a distinctive voice.
It's a picture that reaches for the stars with its poignant study of morality in a capitalist world, offering up a darkly comedic look at a future where industrialist and colonialist greed has consumed us.
Again, it's all very timely and reflective stuff, Bong never disappoints in that regard.
Some thoughts after having seen Francis Ford Coppola's Megalopolis at the Global IMAX Premiere at Sydney Film Festival:
It seems almost impossible to now comprehend a reality where Francis Ford Coppola's career encompassing passion project, Megalopolis, actually exists.
As many of the films initial murmurs and reactions promised, it is every bit the kind of bombastic, self-indulgent and convention shattering work that one hopes it would be. It's exactly the sort of artistic statement that could only emerge from the mind of someone with every possible tool and creative liberty at their disposal.
As its opening titles indicate, Coppola's fusion of the past with the future, is a complete 'Fable' in every sense of the word. And like all great fables, Megalopolis is filled with numerous complex themes, presented under the guise of a fictitious and mythical story of sorts.
Coppola's work is intent on its many discussions and pursuits of morality, philosophy and the mystical, with many of the characters seemingly existing in their own sort of personal ideology bubbles. Each character in this tale has their own beliefs and foundations, and this presents itself on screen in a truly remarkable way, with every actor bringing something of their own into their respective performances.
There is of course evidence of self-portraiture in Megalopolis. Particularly the extent in which Cesar’s ambition and dreams, do mirror that of Coppola’s own artistic pursuits and his clear belief that the ruins of our own world are not yet irredeemable.
It's this somber and earnest thematic thread that in crucial moments, manage to ground the constant chaos on-screen. All of which culminates in a frankly transcendent final image that shows where the real passions of this aging artist truly lie.
One really cannot quantify Coppola's on-screen work here, it's honestly a cinematic experience that one will never forget seeing for the first time. There are moments that just leave one's jaw agape with shock and awe, and just when Coppola assumes you have settled, he throws something else your way to shatter your preconceived filmic notions once more.
For all its pursuits however, this is at its core, a story of a man playing creator against all of natures many odds. This seems fitting as Coppola is of course attempting to do the very same here. His gigantic self-funded opera has finally landed on the biggest canvas possible and that on its own is a miracle.
But what is yet another miracle, is the creativity, passion and inventiveness he crafts this with. Coppola directs this with such vitality and determination that it seems like the work of a director during the prime of their career.
As a complete work, it truly pushes the boundaries of cinema and the way we perceive it to be, with one particular moment, having the potential to likely reshape how theatrical films are presented forever.
It's honestly a celluloid fever dream, the kind you never quite thought you'd see and will most definitely never see again.
Apologies for the lack of new essays, I assure you more are on the way soon. In the meantime, feel free to check out my Letterboxd, where I post my thoughts on every film I see.
The Cinematheque
The Cinematheque
If you have seen it, what did you think of Paul Thomas Anderson's newest masterwork, One Battle After Another?
2 months ago | [YT] | 1
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The Cinematheque
Rest in Peace to the great Claudia Cardinale.
To this day, Luchino Visconti's The Leopard remains my favourite film of all time and her impact on the golden age of Italian cinema won't ever be forgotten.
What is your favourite Cardinale performance?
2 months ago | [YT] | 1
View 0 replies
The Cinematheque
Hi fellow cinephiles!
You may have noticed that I have recently been sharing my thoughts on some newer films in shorter videos, hopefully you have been enjoying these.
I have some larger scale essay videos in the works and will be returning to a more frequent posting schedule soon, so thanks for your patience and support.
In the meantime, I am quite active over on letterboxd, so if you would like to keep up with my daily reviews of everything I see, feel free to follow me over there:
letterboxd.com/WillLeese/
3 months ago (edited) | [YT] | 3
View 0 replies
The Cinematheque
Thoughts on Caught Stealing -
There is something a little too safe about Darren Aronofsky's largely crowd-pleasing new film, Caught Stealing. It's a work that is intent on possessing a sort of punk-rocker sensibility, with much of the tone seeming to strike that frustrating Guy Ritchie brand of self-serious comedy.
Surprisingly, the picture does have more Darren Aronofsky flavour than initially expected, with Butler's central character very much in line with many of his other trauma and addiction riddled protagonists.
Butler is clearly the star of this all though, in what seems to be a work crafted specifically for him as a sort of star-vehicle. It's also hard to be too critical of a studio programmer like this, when these are the exact sort of mid-budgeted projects that used to be a Hollywood mainstay in the days before streaming.
At a brisk 107 minutes it's a perfectly agreeable time at the movies, even when the script does feel a tad lightweight. Every time the film does starts to get a groove going, there's a jarring shift of tone or a wallow in character cliche that does derail things slightly.
It does seem though that the main goal here was clearly to continue Butler's elevation into leading man status, and in that regards the project is a success.
3 months ago | [YT] | 5
View 0 replies
The Cinematheque
Some thoughts on Mickey 17 -
Given the studio scope and colossal budget allocated to this latest Bong Joon Ho effort, it's refreshing to know that even under such conditions, the many consistent thematic interests and cinematic impulses of Bong remain ever present.
Mickey 17 is a work that blends elements of Keaton slapstick, space opera camp and biting capitalist commentary, to form the genesis for this ambitious and big-brained tentpole swing.
With allegories that threaten to become obtrusive, there is a clear lack of subtlety here at times, with certain characters occasionally veering off into caricature. It's all obviously part of Bong's intention to take this into an absurdist realm, but when things emerge so level-headed, this gradual shift can become a tad frustrating.
Beneath this uneven, but earnest chaos, lies Robert Pattinson as the titular 'Mickey' (in fact, he also plays various other Mickey's). It's all very inspired stuff from Pattinson, who is tasked with adding some immense physicality into this role, as well as incorporating some comedic voice play to distinguish the various Mickey's.
Whilst this farcical sci-fi adventure mightn't be able to contain itself, or reach the soaring heights of some of Bong's more grounded efforts, it is still a revitalising blockbuster, boasting a distinctive voice.
It's a picture that reaches for the stars with its poignant study of morality in a capitalist world, offering up a darkly comedic look at a future where industrialist and colonialist greed has consumed us.
Again, it's all very timely and reflective stuff, Bong never disappoints in that regard.
8 months ago | [YT] | 5
View 0 replies
The Cinematheque
Thanks for 10k subscribers everybody!
I assure you, there are more videos on the way soon and I have big plans for the channel in 2025.
In the meantime, feel free to check out my Letterboxd, where I post my thoughts on every film I see.
letterboxd.com/WillLeese/
10 months ago | [YT] | 6
View 0 replies
The Cinematheque
Some thoughts after having seen Francis Ford Coppola's Megalopolis at the Global IMAX Premiere at Sydney Film Festival:
It seems almost impossible to now comprehend a reality where Francis Ford Coppola's career encompassing passion project, Megalopolis, actually exists.
As many of the films initial murmurs and reactions promised, it is every bit the kind of bombastic, self-indulgent and convention shattering work that one hopes it would be. It's exactly the sort of artistic statement that could only emerge from the mind of someone with every possible tool and creative liberty at their disposal.
As its opening titles indicate, Coppola's fusion of the past with the future, is a complete 'Fable' in every sense of the word. And like all great fables, Megalopolis is filled with numerous complex themes, presented under the guise of a fictitious and mythical story of sorts.
Coppola's work is intent on its many discussions and pursuits of morality, philosophy and the mystical, with many of the characters seemingly existing in their own sort of personal ideology bubbles. Each character in this tale has their own beliefs and foundations, and this presents itself on screen in a truly remarkable way, with every actor bringing something of their own into their respective performances.
There is of course evidence of self-portraiture in Megalopolis. Particularly the extent in which Cesar’s ambition and dreams, do mirror that of Coppola’s own artistic pursuits and his clear belief that the ruins of our own world are not yet irredeemable.
It's this somber and earnest thematic thread that in crucial moments, manage to ground the constant chaos on-screen. All of which culminates in a frankly transcendent final image that shows where the real passions of this aging artist truly lie.
One really cannot quantify Coppola's on-screen work here, it's honestly a cinematic experience that one will never forget seeing for the first time. There are moments that just leave one's jaw agape with shock and awe, and just when Coppola assumes you have settled, he throws something else your way to shatter your preconceived filmic notions once more.
For all its pursuits however, this is at its core, a story of a man playing creator against all of natures many odds. This seems fitting as Coppola is of course attempting to do the very same here. His gigantic self-funded opera has finally landed on the biggest canvas possible and that on its own is a miracle.
But what is yet another miracle, is the creativity, passion and inventiveness he crafts this with. Coppola directs this with such vitality and determination that it seems like the work of a director during the prime of their career.
As a complete work, it truly pushes the boundaries of cinema and the way we perceive it to be, with one particular moment, having the potential to likely reshape how theatrical films are presented forever.
It's honestly a celluloid fever dream, the kind you never quite thought you'd see and will most definitely never see again.
1 year ago (edited) | [YT] | 14
View 2 replies
The Cinematheque
Apologies for the lack of new essays, I assure you more are on the way soon.
In the meantime, feel free to check out my Letterboxd, where I post my thoughts on every film I see.
letterboxd.com/WillLeese/
1 year ago | [YT] | 1
View 1 reply
The Cinematheque
Sorry for the delay!
I am back with a new essay on one of my favourite directors of all time, the great Takeshi Kitano.
Enjoy!
3 years ago | [YT] | 1
View 0 replies
The Cinematheque
Rest in Peace - Monica Vitti ❤️
3 years ago | [YT] | 8
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