I cannot believe that David Ehrlich's review of 'The Witch' actually reveals two major plot spoilers that the trailer goes at pains to keep ambiguous. If you haven't seen the film yet and don't want it spoiled then please avoid this review - shame on Time Out for letting this slip through.
Oh and FYI, rounding off your review by saying you were dissapointed that you didn't get to see a character get "50 Shaded" is not only a demonstration of your lack of understanding of the premiss of this film, but also tells us way more about your personal life than we need to know.
The most noticeable visual technique would be the odd fade-out/fade-ins that occur four times in the film. At each of the four points, Julie is in transition, deciding whether or not to push back the memories of her life before the accident, or to acknowledge them-- jumping between a painful reality and an emotionally devoid trance-like state. The first instance occurs when she is recuperating in the hospital, and the blue light is all around her. A reporter then shows up, who wants to interview her about her late husband. Julie turns down the reporter's request, denying the existence of the past. The second instance occurs when she meets a boy that found a necklace at the crash site. The boy offers to tell Julie about the moments just after the crash, but Julie does not want him to tell her. The third instance occurs when she is making the realization that her goal of liberty from the past is a hollow one-- she feels remorse having let a cat kill some baby mice that were infesting her apartment-- a necessary act. The final instance of the fade-out/fade-in would be when Julie decides to meet her late-husband's mistress. At this point, Julie is well on her way to embracing the past and to continue the legacies which she has so far ignored.
I received flak for my comments, which was unsurprising because I had criticized a movie that other people love, raising questions about pleasure and a director whose desire felt more at stake than that of his characters. Some critics decided that I was really complaining about pornography, which was surprising because, while the movie uses some of that genre’s conventions, it’s clear that the sex was pantomimed. In June, Owen Gleiberman, from Entertainment Weekly, wrote in which he took issue with my comments and those of Julie Maroh, who wrote the graphic novel on which the movie is based. By that point, she had weighed in on Mr. Kechiche’s adaptation, calling it “coherent, justified and fluid.”
During her search for liberty, Julie learns valuable lessons from the different people she meets. She visits her institutionalized mother, who suffers from Alzheimer's. Her mother is representative of the extreme of liberty that Julie seeks. Because of her condition, she cannot recognize Julie as her daughter-- a metaphor of the lack of meaning in relationships if there is no acknowledgment of shared history. Her mother spends her day in a hollow existence, 'seeing the world' on her television-- an illusion of freedom. She is free to see the world, but unable to interact with the images on the screen due to the lack of emotional connection with the events around her. This also ties in to the scene in the hospital at the beginning of the film, when Julie is watching the funeral of Patrice and Anna on a small television. The television, while bringing the world and a sense of liberty to the viewer, is also a distancing device that isolates. In the end, in a short scene, Julie watches her mother from outside the window of the old age home, and then turns around to begin continuing the loose-ends of her life from before the accident.
Since others are pressing for improvements to this site, I might as well put in my bit. Where is the box to search for reviews of older films?? I used to use this site to check out older films now available on DVD and it was very good, but I haven't been able to do this for a while now. Surely TimeOut has a huge bank of reviews so what is the point of hiding them?. If the site is being upgraded in response to these comments can you please give us back our search box for old reviews?
Then Viselman saw Madea Goes To Jail and the pieces began to come together. According to the article, Viselman found himself “marveling at the way the audience shouted advice to the characters and generally made the screening a community event instead of a solitary two hours.” The marketing visionary had stumbled upon a potentially life-changing idea: What if someone made a film that encouraged children to do all the things they weren’t supposed to do in a theater? What if he made a movie where kids were asked to get out of their seats and sing and dance and wobble and wiggle and act like children? What if someone made an interactive children’s film where the audience was as much a part of the show as the characters onscreen?
Peled got unprecedented access to a blue jeans factory...It's a vérité portrait of adolescents who are instantly recognizable, though their sweatshop environs strike us as nearly unendurable."
"Pic's degree of access and intimacy is surprising, even more so when closing intertitles reveal Chinese authorities did try to shut down the filmmakers several times...Engaging in character and narrative terms...Much of is charming, because its subjects are...Micha Peled's docu makes a stronger case against worker exploitation than any news item could."
"The Best Documentary of Toronto 2005?
The Oogieloves In The Big Balloon Adventure opens with the titular puppet-y oddballs shattering the fourth wall, Pirandello-style, and addressing the theatrical audience to crow that the film they are about to see is the “greatest movie ever.” At the risk of being harsh, the film does not live up to that billing. The Oogieloves then give the audience instructions. (Boo! Boo! Instructions!) But these aren’t the soul-crushing, joy-killing kind of instructions that tell you what not to do; they’re the sort of instructions that empower children! We are told that whenever we see butterflies gliding across the bottom of the movie screen we are to get up out of our seats, dance, and sing along to whatever annoying, clamorous ditty is being shrieked by the characters onscreen.
This is one of the best of many recent documentaries about globalization."
"Heartbreaking yet boldly essential...fairly balanced and richly human."
"Compelling...gives the phrase 'sweatshop' a whole different perspective."
"The tacit fury of ."
"What if, when you stuck your hand into the pocket of a new pair of brand-name jeans, you pulled out a letter from one of the exploited workers who had slaved and sweated over your denim?
Not only are other aspects of Chinese society changing as it's economy changes...but the changes in China are being felt in the West and vice versa...Hopefully, American viewers of this film will think more critically about the jeans they wear, their own industrial history, the phenomenon of globalization, and the human cost of providing goods at ever-lower prices."
"This eye-opening documentary will have particular value for students of sociology, Asian studies, and economics.
Antony and Charles Atlas recently did an interview with about the upcoming release of TURNING. The review and interview can be seen . Additionally Antony sat down with , , , . More to come.