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Sweet story, stunning visuals, and a helluva campaign for IMAX.
Roger Deakins: holy shit. Gender and race: hmmm.
Is the legacy of the art my generation grew up on really that we simply regurgitate it?
The Elvis Impersonator of musicals: it clearly loves the thing it’s trying to be, while missing the very point.
A look at the colours and compositions in music videos for The Carters and Rihanna, ads for fashion labels Givenchy and Yves Saint Laurent, and feature films such as Enter the Void and Spring Breakers.
As a political thriller, it’s somehow both lean and languid – and while this would be a compliment for almost any other genre, here perhaps it doesn’t always work in the film’s favour.
Neon Noir lives in its tactile visuals.
Shout out to Gosling’s black top. How does he make that thing look like it belongs in a smart casual setting?