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Loser: The cult of Nicolas Winding Refn If a horror movie regurgitates an eyeball in the forest and no one sees it, did it make a sound? The Neon Demon” was a spooky-arty L.A. style-world nightmare that played like the very first and last collaboration among Stanley Kubrick, Herschell Gordon Lewis, and Calvin Klein. It was some sort of surreal” stunt (translation: a lot of it did not make sense), but as soon as people got to see it outdoors the Cannes Film Festival, it turned out that nobody gave a rat’s eyeball. Coming right after Only God Forgives,” The Neon Demon” indicates that Refn, for all his talent, is becoming a vainglorious postmodern huckster — the Lars von Trier of blood pulp. Really, although, he’s a fantastic filmmaker, at least when he’s accessible and humane (as he is in Drive” or the galvanic Pusher” trilogy). He’s the last director who need to be content material to tease his audience, since that is really a way of getting superior to them.
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Loser: Efficiency Capture A lot of people beat up on Steven Spielberg’s The BFG,” and audiences mostly shunned it, even even though it was a meticulously choreographed and executed fantasy. But possibly that was part of the issue. The easy truth could be that no a single wanted to see a movie about a tottering British giant who looked like Liam Neeson’s grandfather and spoke in Dickensian gobbledygook as well coy for Harry Potter. But it really is the way that he came at us by means of the miracle” of motion capture that gave The BFG” its slightly detached rubbery aura. There is clearly a location for this technologies (just appear at Gollum), but it may possibly be that the spot is not front and center.
