Melliebooxoxo's Reviews

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Here's my review for Watcher, I really loved it. Does anyone have recommendations for similar films??
Watcher Movie Review
The film “Watcher,” directed by Chloe Okuno, is a powerful exploration of female anxiety that is expertly crafted to appeal to feminist sensibilities. The film’s narrative centers around the concept of “to-be-looked-at-ness,” which was first theorized by Laura Mulvey. This idea suggests that women are often objectified and sexualized in cinema, catering to the male gaze. “Watcher” takes this idea and elevates it to a new level of commentary on the male and female gaze.

The cinematography in “Watcher” is outstanding and plays a crucial role in conveying the film’s themes. The framing of the protagonist, Julia, is done in a way that feels suffocating and isolating. This technique effectively creates a sense of unease and anxiety, which reinforces the film’s central message about female oppression.

The film’s protagonist, Julia, played superbly by Maika Monroe, is suffocating under the weight of her to-be-looked-at-ness. She is an ex-actress who moves with her husband, Francis, to Bucharest, Romania, where she becomes increasingly obsessed with a silhouetted figure in the building across from theirs. She is convinced that a man is watching her and possibly even following her, and this feeling is compounded by the presence of a local serial killer who has been targeting women her age.

Director Chloe Okuno demonstrates her skill in creating a layered and complex portrayal of female anxiety. The film goes beyond a mere homage to Hitchcockian cinema and instead becomes one of the most compelling depictions of female anxiety in recent years.

The concept of “to-be-looked-at-ness,” as theorized by Laura Mulvey, is central to the film’s exploration of female identity. Julia’s worth is reduced to her appearance, and the film showcases the ways in which her personhood is disregarded in favor of her superficial qualities.

Julia’s lack of fluency in Romanian only adds to her isolation, making her feel like an outsider in her own home. The men around her, who are able to communicate with each other effortlessly, struggle to take her seriously due to her language barrier. This frustration is magnified as she is forced to confront a potential threat to her safety, further highlighting her vulnerability and isolation.

The cinematography of the film is masterful, with Okuno utilizing framing and lighting to heighten the sense of suffocation and isolation that Julia experiences. The viewer is drawn into her perspective, feeling the same claustrophobia and fear that she does.

The scene in the strip club, “Museum,” is a clear example of the objectification of women in society. Women are reduced to mere objects on display, dancing behind windows as if in a museum exhibit. This commentary on the dehumanization of women is a powerful statement on the dangers of collectivism and the objectification of the individual.

Yet, the film is not without hope. The character of Irina represents the power of female solidarity and individualism. Irina becomes Julia’s ally in the fight against the stalker, and their pledge to look out for each other is a shining example of the strength of individualism and the power of human connection.

The film offers a powerful critique of the cultural expectations placed upon men and the resultant ignorance that ensues. The husband’s descent into skepticism is a consequence of the toxic societal norms that dictate his worldview, rather than any inherent malice. This portrayal stands as a cautionary tale of the perils of such cultural conditioning, and the damage it can inflict upon the female psyche. By challenging the male gaze, the film forces viewers to confront their own biases and to reassess their relationship to women as objects of pleasure. Through this process of self-reflection, audiences can begin to recognize the harm that they have caused and take the necessary steps to rectify their behavior.

The film’s cinematography captures stunning shots of Bucharest’s architecture and landscape, using light and shadow to create a sense of unease that adds to the film’s tension. The haunting score perfectly captures Julia’s increasing paranoia, and the result is a remarkable and courageous film that defies conventional cinematic tropes. Through its nuanced portrayal of female anxiety and the male gaze, “The Watcher” challenges viewers to confront their own biases and reassess their relationship to women as objects of pleasure. Its tactful and subtle commentary is a testament to the film’s ingenuity, making it a pinnacle of feminist cinema. In my estimation, “The Watcher” is a work of art that deserves nothing less than 4 out of 5 and should be watched by anyone who seeks a deeper understanding of the feminist perspective.
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Honest Film Reviews



I think I'm going to just put all of my reviews in this thread if that's okay.
Here's my John Wick Chapter 4 Review
One of the great things about 2014’s John Wick was how refreshing it felt, instantly standing out in a glut of generic, uninspired action movies. Screenwriter Derek Kolstad presented an efficient, streamlined revenge story with hints of a larger underground world. Director Chad Stahelski (along with uncredited co-director David Leitch) drew on his decades of experience as a stunt performer and coordinator to deliver expertly choreographed fight scenes that didn’t rely on special-effects cheats and weren’t edited into incoherence. Star Keanu Reeves found the perfect role for his laconic, contemplative screen presence. The stylish, inventive movie even made room for an affecting meditation on grief and vengeance.

The result was an unexpected hit that’s since launched an increasingly bloated franchise, culminating in the repetitive, tiresome John Wick: Chapter 4. With a running time of nearly three hours (more than an hour longer than the well-paced original), Chapter 4 is a self-indulgent mess, lost in the byzantine assassin underworld that has become the focus of the sequels, full of arcane rules and factions. While Leitch moved on after the first movie, Stahelski has spent his entire directing career at the helm of the John Wick franchise, and his previously bold style has become calcified, losing much of its ability to surprise and delight.

It’s not Stahelski’s fault that success has brought him numerous inferior imitators, but it does mean that there is a higher bar to clear for Chapter 4’s action sequences to command the same attention as in the previous movies. Stahelski takes a more-is-more approach, packing Chapter 4 with set pieces that stretch out interminably, featuring little variation. Even the movie’s most impressive action sequence, a battle amid the traffic circling Paris’ Arc de Triomphe, loses momentum as it seemingly refuses to end.

While Reeves’ formerly retired hitman was once out for revenge against one specific criminal who killed his dog and stole his car, he’s now pitted against the entire elaborate international assassin community, whose ruling body known as the High Table has marked him for death. With its dedicated luxury hotels, secret armories, strict training academies and rigid hierarchy, this criminal network has a more robust infrastructure than most midsize nations, and Chapter 4 introduces even more esoteric regulations and official representatives.

John’s main antagonist this time is the Marquis Vincent de Gramont (Bill Skarsgård), a High Table member tasked with Wick’s elimination. With help from his previous allies Winston Scott (Ian McShane), manager of New York City’s assassin-exclusive Continental Hotel, and the Bowery King (Laurence Fishburne), overlord of a deadly cabal of the unhoused, John attempts to invoke an ancient High Table tradition so he can defeat the Marquis and clear his obligations.

While John’s grief over his dead wife has long since lost its emotional power, Stahelski and screenwriters Shay Hatten and Michael Finch shift some of that weariness and melancholy to Caine (Donnie Yen), a blind assassin who’s forced into an agreement with the Marquis in order to protect his daughter. Caine is a worthy opponent and friend for John, and Yen adds a welcome element of genuine humanity, along with his requisite action badassery.

Anything heartfelt is quickly drowned out by the sheer volume of the monotonous, meaningless action, though, including a retroactively touching final appearance from the late Lance Reddick as the Continental’s taciturn concierge. The sustained popularity of these movies indicates that fans are eager for higher body counts and more ridiculous world-building, but it’s still disappointing to watch a once scrappy, ruthless revenge thriller become the hitman equivalent of the cartoonish Fast and Furious franchise.



I think I'm going to just put all of my reviews in this thread if that's okay.
Indeed it is. I'll rename the thread accordingly. Ping me or Sedai if you want it to be something else.