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The Neon Demon (2016)
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When aspiring model Jesse moves to Los Angeles, her youth and vitality are devoured by a group of...
The Neon Demon NWR Nicolas Winding Refn Elle Fanning
Smashbomb (4683 KP) created a video about The Neon Demon (2016) in Movies
Jul 13, 2017
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Neon's Nerd Nexus (360 KP) created a post
Dec 23, 2019
Neon's Nerd Nexus (360 KP) rated The Neon Demon (2016) in Movies
May 13, 2019
A diamond in a sea of glass
Number 1 in my #top10 favourite films of all time is 'The Neon Demon'
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Not only my #favourite film of all time #theneondemon is all my #passion, my #addiction & my #love for cinema as well as everything that #inspires me, excites me & drives me in life all crammed together into one cinematic masterpiece. In fact this film is so #perfect & such an #obsession of mine I think about it on a daily basis & even have my phone & alarm clock themed around it. Directed by #nicholaswindingrefn (the greatest director of all time) & just like #OnlyGodForgives #neondemon is visually immense, beautiful, intimidating, full of mystery & #emotion. Every scene is rich & stylish with clearly a lot of care/thought put into every single one wether it be the colours or placement of everything it contains. This film invokes & awakens so many emotions with me every single time I watch it & every time it ends I feel I've learnt something new about not only the film but about myself too. With next level acting & such an unnerving yet spellbinding soundtrack 'The Neon Demon' almost sends sends shivers down my spine & catapults me into a hypnotic state of immersion still to this day. I doubt any film will ever replace this film as my top spot & although its slated by pretty much everyone the sheer depth of it & the #horror, #inspiration, courage, enlightenment & joy I personally get from it makes me feel so alive that if I met #nwr I think I'd just burst into tears of gratitude.
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#neon #drive #beauty #beautiful #arthouse #art #thursdaythoughts #ellefanning #ryangosling #modeling #model #fashion #filmcritic #glamourous
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Not only my #favourite film of all time #theneondemon is all my #passion, my #addiction & my #love for cinema as well as everything that #inspires me, excites me & drives me in life all crammed together into one cinematic masterpiece. In fact this film is so #perfect & such an #obsession of mine I think about it on a daily basis & even have my phone & alarm clock themed around it. Directed by #nicholaswindingrefn (the greatest director of all time) & just like #OnlyGodForgives #neondemon is visually immense, beautiful, intimidating, full of mystery & #emotion. Every scene is rich & stylish with clearly a lot of care/thought put into every single one wether it be the colours or placement of everything it contains. This film invokes & awakens so many emotions with me every single time I watch it & every time it ends I feel I've learnt something new about not only the film but about myself too. With next level acting & such an unnerving yet spellbinding soundtrack 'The Neon Demon' almost sends sends shivers down my spine & catapults me into a hypnotic state of immersion still to this day. I doubt any film will ever replace this film as my top spot & although its slated by pretty much everyone the sheer depth of it & the #horror, #inspiration, courage, enlightenment & joy I personally get from it makes me feel so alive that if I met #nwr I think I'd just burst into tears of gratitude.
------------------------------------------------
#neon #drive #beauty #beautiful #arthouse #art #thursdaythoughts #ellefanning #ryangosling #modeling #model #fashion #filmcritic #glamourous
Neon's Nerd Nexus (360 KP) created a post
Dec 10, 2019
Gareth von Kallenbach (980 KP) rated The Neon Demon (2016) in Movies
Aug 6, 2019
A combination that looks like it may be a vapid display of glitz and garbage, the trailers for “Neon Demon” don’t dare give away just how far this film will take audiences.
Completely unique, the psychological thriller goes to dark places – necrophilia, cannibalism, and the solitary confines of the human mind.
The film stars Elle Fanning as Jesse, a sixteen year old girl from a small town who decided to go to LA to become a model. Without any parents, Jesse is completely on her own in a seedy wonderland.
She stays by herself in a dingy motel. Keanu Reeves plays the grubby motel manager, Hank. His role in the film is more of a supportive one, but he still plays a major part in the overall story and feel of the film.
Of course, Jesse meets all kinds of odd people as she dives into a world that is so shallow it could break her. Makeup artist Ruby (Jena Malone), and supermodels Gigi (Bella Heathcote) and Sarah (Abbey Lee) are characters the audience will love to hate. Malone, Heathcote, and Lee have done a great job becoming their characters. They incite visceral disdain, perhaps laced with admiration.
There may be a few moments where it feels like the plot is going nowhere fast, but I highly recommend resisting the urge to lose hope. The whole is greater than the sum of its parts in this case.
It’s not a stretch to say that Director Nicolas Winding Refn has created a piece of cinematic art.
The combination of finely selected camera technique, psychedelic lighting, and a cerebral soundtrack is like watching a beautiful nightmare.
Best described as “Clockwork Orange” meets “Top Model,”
Completely unique, the psychological thriller goes to dark places – necrophilia, cannibalism, and the solitary confines of the human mind.
The film stars Elle Fanning as Jesse, a sixteen year old girl from a small town who decided to go to LA to become a model. Without any parents, Jesse is completely on her own in a seedy wonderland.
She stays by herself in a dingy motel. Keanu Reeves plays the grubby motel manager, Hank. His role in the film is more of a supportive one, but he still plays a major part in the overall story and feel of the film.
Of course, Jesse meets all kinds of odd people as she dives into a world that is so shallow it could break her. Makeup artist Ruby (Jena Malone), and supermodels Gigi (Bella Heathcote) and Sarah (Abbey Lee) are characters the audience will love to hate. Malone, Heathcote, and Lee have done a great job becoming their characters. They incite visceral disdain, perhaps laced with admiration.
There may be a few moments where it feels like the plot is going nowhere fast, but I highly recommend resisting the urge to lose hope. The whole is greater than the sum of its parts in this case.
It’s not a stretch to say that Director Nicolas Winding Refn has created a piece of cinematic art.
The combination of finely selected camera technique, psychedelic lighting, and a cerebral soundtrack is like watching a beautiful nightmare.
Best described as “Clockwork Orange” meets “Top Model,”
Gareth von Kallenbach (980 KP) rated Live By Night (2017) in Movies
Jul 12, 2019
I’m a sucker for a Prohibition-set yarn. It’s a fascinating period in history and typically yields excellent filmmaking with gritty, no-nonsense performances, gorgeous production design and hard-boiled action. It was De Palma’s The Untouchables that hooked me. Some would call it a guilty pleasure; and sure, Morricone’s score is a little over-the-top, De Niro is more caricature than character actor as Al Capone and I’m not going to argue that Connery’s Oscar was a “sympathy vote”, but it’s got everything I mentioned above in spades and for me it’ll always be the high benchmark of the Prohibition era gangster epic. Ben Affleck’s fourth turn as director has done nothing to change my position on that.
Live by Night is an uninspired mess, from voice-over laden start to disastrously predictable end, bringing nothing new or exciting to the table. Beat for beat, its weak script moves from one sigh-inducing cliché to another, reaching clumsily for moments of high emotion that ring hollow and false. If anyone needs any further proof that Matt Damon did all the heavy lifting on the script for Good Will Hunting, they need look no further. It feels wrong to come down so hard on Affleck after his back-to-back successes as a director, but this is more akin to the first work of a blundering novice, and also certainly not what we’ve come to expect of a Dennis Lehane adaptation (see Mystic River, Shutter Island and Affleck’s own incredible directorial debut, Gone Baby Gone). His decision to wear so many hats on this project, producing, directing, sole screenwriter and lead actor, has to be the reason for this stumble. The script desperately needed another set of eyes and the part of Joe Coughlin was clearly written for someone younger and more capable of performing with the subtlety needed to play someone who has to traverse the number of moral dilemmas he’s faced with. Hopefully, this inevitable failure will be what convinces Affleck that his place should be behind the camera directing other people’s scripts and guiding other people’s performances.
Speaking of the performances, there is a massive curve in this collection of acting that swings wildly from the cartoonish to the nuanced. To start with, we have Matthew Maher as a KKK member out for his cut and Robert Glenister as an Irish mob boss, both of whom are supposed to be playing dangerous and threatening but can’t do any better than laughable and two-dimensional. Then there’s Chris Messina and Affleck himself as the hoods on the rise, their chemistry is ill-advised at best as they both seem to think they’re in a buddy comedy as opposed to a serious piece of gangster melodrama A favorite of mine, Brendan Gleeson, sadly leaves the screen within the first twenty minutes and that left me with only the inimitable Chris Cooper to look forward to. The subplot involving him and Elle Fanning, as his born-again daughter speaking out against Coughlin’s sinful ways is not without problems of its own, but at least they sell it. That should be no surprise on Cooper’s part, but now between this and The Neon Demon last summer; Fanning is firmly on my radar as one to watch. My hope was that we were going to get some tremendous battle of wills between her and Affleck’s character akin to Paul Dano and Daniel Day-Lewis’ conflict in There Will Be Blood, but that was definitely asking too much. Fanning’s role, like Gleeson’s, is unfortunately cut short just as it gets good.
I guess The Untouchables is starting to sound less like a guilty pleasure and more like a masterpiece when compared to this regrettable misfire.
Live by Night is an uninspired mess, from voice-over laden start to disastrously predictable end, bringing nothing new or exciting to the table. Beat for beat, its weak script moves from one sigh-inducing cliché to another, reaching clumsily for moments of high emotion that ring hollow and false. If anyone needs any further proof that Matt Damon did all the heavy lifting on the script for Good Will Hunting, they need look no further. It feels wrong to come down so hard on Affleck after his back-to-back successes as a director, but this is more akin to the first work of a blundering novice, and also certainly not what we’ve come to expect of a Dennis Lehane adaptation (see Mystic River, Shutter Island and Affleck’s own incredible directorial debut, Gone Baby Gone). His decision to wear so many hats on this project, producing, directing, sole screenwriter and lead actor, has to be the reason for this stumble. The script desperately needed another set of eyes and the part of Joe Coughlin was clearly written for someone younger and more capable of performing with the subtlety needed to play someone who has to traverse the number of moral dilemmas he’s faced with. Hopefully, this inevitable failure will be what convinces Affleck that his place should be behind the camera directing other people’s scripts and guiding other people’s performances.
Speaking of the performances, there is a massive curve in this collection of acting that swings wildly from the cartoonish to the nuanced. To start with, we have Matthew Maher as a KKK member out for his cut and Robert Glenister as an Irish mob boss, both of whom are supposed to be playing dangerous and threatening but can’t do any better than laughable and two-dimensional. Then there’s Chris Messina and Affleck himself as the hoods on the rise, their chemistry is ill-advised at best as they both seem to think they’re in a buddy comedy as opposed to a serious piece of gangster melodrama A favorite of mine, Brendan Gleeson, sadly leaves the screen within the first twenty minutes and that left me with only the inimitable Chris Cooper to look forward to. The subplot involving him and Elle Fanning, as his born-again daughter speaking out against Coughlin’s sinful ways is not without problems of its own, but at least they sell it. That should be no surprise on Cooper’s part, but now between this and The Neon Demon last summer; Fanning is firmly on my radar as one to watch. My hope was that we were going to get some tremendous battle of wills between her and Affleck’s character akin to Paul Dano and Daniel Day-Lewis’ conflict in There Will Be Blood, but that was definitely asking too much. Fanning’s role, like Gleeson’s, is unfortunately cut short just as it gets good.
I guess The Untouchables is starting to sound less like a guilty pleasure and more like a masterpiece when compared to this regrettable misfire.