L'ANNÉE DERNIÈRE À MARIENBAD (FR'61): Tried to abstain from 'why/what' but afraid I didn't entirely succeed; gorgeous women, b&w; f'n organs
— Olli Sułop̶ui̕st͏o (@osulop) March 7, 2014
NEED FOR SPEED (US'14): Fast cars, almost legible cinematography, lumps of meat discussing vapidly, going across America. Coulda been worse.
— Olli Sułop̶ui̕st͏o (@osulop) March 8, 2014
VANISHING POINT (US'71): Transcendent vistas, crazy driving, naked bike girl, Charlotte Rampling, inspired Primal Scream–what's not to like?
— Olli Sułop̶ui̕st͏o (@osulop) March 8, 2014
THIS IS THE END (US'13): 666 dick jokes sewn together in a self-fellating ouroboros.
— Olli Sułop̶ui̕st͏o (@osulop) March 14, 2014
THE LONG GOODBYE (US'73): It'd be a weaker film of it had any more detecting. The Big Lebowski makes more sense now, too. And the cat!
— Olli Sulopuisto (@osulop) March 20, 2014
GRAND BUDAPEST HOTEL (UK/DE'14): Overloaded in every way, fashion, and direction. It's not a bad thing, mind you. Hints of renewal?
— Olli Sulopuisto (@osulop) March 25, 2014
RAID 2 (ID'14): Infernal Affairs or The Godfather it ain't.
— Olli Sulopuisto (@osulop) March 27, 2014
WETLANDS (DE'13): Her transgressive physical pleasures get a deflatory psychobabble explanation.
— Olli Sulopuisto (@osulop) March 27, 2014
POMPEII (CA/DE'14): An eruption of volcanic auteurism.
— Olli Sulopuisto (@osulop) March 28, 2014
NOAH (US'14): Bible – The Preposterous(ly enjoyable) Action Movie with British Accents and Some Murder
— Olli Sulopuisto (@osulop) March 31, 2014
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