I came into the film without any knowledge that this film is a musical. I failed to see the obvious foreshadowing to it. The casting of the singer Björk for the lead character, the word "Dancer" included in the damn title, the beginning of the film, where Björk's character prepares to dance in a stage-play. All of that went over my head. And when the first musical number started I was pleasantly surprised.
Tony Scott famously didn't care about the time travel plot of Déjà Vu which freaked out the writers of the film. As they said, he cared more about the action and surveillance aspects of the movie. He famously cared a lot about surveillance, as visible from his previous Jerry Bruckheimer collaboration Enemy of the State. And that means, that a sort of sci-fi surveillance movie, marks Déjà Vu as the closest thing Tony Scott did to Steven Spielberg's Minority Report.
2016's Steven Spielberg movie The BFG ( or the Big Friendly Giant ) is about a relationship between a little girl ( played by Ruby Barnhill ) and a giant old man ( played by Sir Mark Rylance in his second collaboration with Spielberg ). At some point the movie becomes about a conspiracy to manipulate the Queen of England herself ( played by Penelope Wilton ) to use her help, so that haters of BFG's relationship with the girl will be defeated with military force. So obviously it begs the question: Is this movie actually about Jeffery Epstein?
In some regard Lithuanian cinema world is small. The directors work on each other's movies. That would naturally raise questions about incest. Quite contrary, this mixing of "blood" leads to provocative and intriguing movies, not stooping down to the best of European cinema.
Good film directors tend to take upon themselves projects that risk being misunderstood sometimes. An artist can't just draw the same drawing over and over. He wants to experiment. Director Michael Mann is famous with his films about crime. And the realistic depiction of what crime and police work actually looks like. But if you are doing this over and over, you tend to become interested in something else. Which is terrible for a director who has fans with certain expectations.
Maïwenn Le Besco's 2011 film Polisse tells a story about a "child protection unit" in French police. The film is written by Maïwenn based on real life cases that she researched with a real "child protection unit". So the film has no bullshit in it. And yet given Maïwenn's personal life, this begs the question: Was this movie secretly a hate letter to Luc Besson? Was this film the greatest "fuck you" in the history of French cinema?
In James Cameron's Avatar humans are attacking the forests of Pandora, bulldozing and killing indigenous population of the planet, to get to the natural resources their tribes are sitting at. The military is literally playing a role of guards, for the bulldozers, because the indigenous have become sort of very upset with humans, that terrorize their land. This is sort the plot of Eli Roth's horror film The Green Inferno, just Roth makes it way way more viscerally.
It is known that the best films from Alfred Hitchcock were done during the days of the code. The restrictions on nudity and graphic violence gave us iconic Hitchcockian moments like the shower scene in Psycho, where Hitch pulls of a totally kosher psycho-sexual ejaculation of ultra-violence. When the code gave way to the MPAA rating system, Hitchcock didn't really know how to react, producing mediocre films, giving way to directors like Brian De Palma who stepped into his shoes, to give us, more-modern Hitchcockian thrillers like Dressed To Kill. But by the end of the 80s, as De Palma stepped down from this Hitch-immitation role, and before Robert Zemeckis ultimately took this title with his 2000 film What Lies Beneath, there was also Paul Verhoeven and his psycho-sexual thrillers, like 1992 Basic Instinct.
Luc Besson is known to be a little bit of a pervert. But I'm about to argue that, in addition to liking young women, he also has a sort of a fetish. And while with directors like Quentin Tarantino the fetish is something rather understandable ( Quentin likes feet ). Luc Besson seems to be turned on by... well... fish. And specifically by Dolphins. His 1988 film Le Grand Bleu is a love triangle between a young woman, an amphibian man, and a Dolphin ( which the film presents to be a mermaid ).
There are two modes for Michael Bay: The playful mode of him having fun. This is the Bay of Bad Boys and Transformers. And a serious mode. That is the Michael Bay of films like Ambulance, Pearl Harbor and 13 Hours: The Secret Soldiers of Benghazi. The latter of which is his most serious film ever.
Somehow, for all these years I avoided the first ever Die Hard movie, even though I had watched the sequels. And even though the sequels are varying in quality, the first film is a fucking masterpiece.
Paul Verhoeven is to some extend a legendary film-maker. RoboCop, Total Recall, Starship Troopers, Hoolow Man. Movies you have probably seen and seen again. Yet it seems like his movie Showgirls perhaps was made with a miscalculation on his part.
It seems like the entire world of film-enthusiasts came together and decided to bully one person for no reason what so ever. And that one person is Michael Bay.