Fadew

20/01/2024

True cinematic neorealism seeks to immerse audiences in the subjective realities of characters, and Synecdoche achieves this goal in a way that few other films ever have or likely ever will. It gets under the skin and implants questions and reflections that linger there, hauntingly, forever.

Synecdoche, New York is quite simply one of the greatest cinematic achievements in the history of the art form. A towering work of profound existentialism and formal daring that demands admiration. While not an "easy“ or accessible watch by any means, it is a deeply rewarding film that repays repeat viewings with new insights.

Kaufman has crafted something here that is a transcendent artistic triumph, with its piercing insights into human nature, the elusiveness of truth, and the search for meaning, exemplifies the very highest aspirations of cinema as a medium for philosophical reflection and will stand the test of time as one of the true grande dames of the art form.

One of the greatest grande dames of the art form | Revisiting Charlie Kaufman's Masterwork Synecdoche, New York

10/01/2024

In 1956, New York Times critic Bosley Crowther's review of Alfred Hitchcock's "The Man Who Knew Too Much" started off by declaring the legendary director had "shamelessly reverted to an old story and to the cinematic style that made him famous in the Thirties." This bold lead implied Hitchcock had taken an uncreative approach by revisiting a previous film of his, eventually failing to resist the confession that he understood the temptation—even masters cannot always resist reworking formulas that secured their fame.

James Stewart and Doris Day in Technicolor make for an appealing lead couple as Dr. Ben McKenna and his wife Jo, find themselves embroiled in an international conspiracy while on vacation in Morocco with their son Hank (Christopher Olsen). The polished actors effortlessly slide into their everyman roles of parents whose lives are thrown into chaos by disturbing outside forces. Their frantic efforts to save their kidnapped son from assassins provide the propulsive force driving the film's plot.

Stewart and Day are perfectly cast in their everyman roles of an American couple thrust into extraordinary circumstances beyond their control. Their natural rapport and charm establish them as likable and grounded characters from the beginning. When darker forces disrupt their family vacation, Stewart and Day sell the panic and desperation of parents who will stop at nothing to protect their child with deeply felt and compelling performances.

Their strong on-screen chemistry also adds an extra layer of dramatic tension, as we become invested not only in the survival of their son but also in preserving the joy they had found together before tragedy struck.

Though the central premise of a child's abduction may seem dated or exploitative to modern viewers, Hitchcock frames the story with a light touch that highlights the humor and heart in Stewart and Day's characters over melodrama. Their charming and natural performances enhance the flick's enjoyability. While many Hitchcock films derive tension from strange or unlikable protagonists, here he roots us firmly in the parents' anxiety and determination through his stars' grounded and authentic charisma.

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"Even masters cannot always resist reworking formulas that secured their fame"

06/01/2024

Bridal Abduction: An Urgent Human Rights Issue in Kyrgyzstan

06/09/2023

While "Past Lives" excels in its artistic ex*****on, it does stumble on certain narrative fronts. The film's pacing, for instance, emerges as a notable concern. While deliberate pacing can enhance the emotional resonance of a story, "Past Lives" at times crosses the threshold into languid territory. The narrative's unhurried progression, while effective in creating a reflective atmosphere, occasionally threatens to dampen engagement, causing the audience's attention to waver.

While "Past Lives" excels in its artistic ex*****on, it does stumble on certain narrative fronts

24/08/2022

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16/01/2022

There are two essential conclusions about biblical creationism: It is a religious myth that reflects superstitions that emanate from our distant past dating back many millennia, and it is a continuing fundamentalist Christian menace to science education in America.

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Creationism is a religious myth that reflects superstitions that emanate from our distant past dating back many millennia

26/11/2021

How many humans have been worshiped as gods? How many have declared themselves to be the “chosen one”?

17/11/2021

The religiosity of America fascinates me. I am intrigued by the idea of millions of people in an advanced nation believing that they have a “relationship” with an imaginary friend and believing that this imaginary friend is answering their prayers.

In the United States, something like 76% of the population believes in God, and seventy percent of the population identifies as Christian.1

Three-quarters of the U.S. population believes that the Bible was at least inspired by God, and 28% (more than 89 million people) believe the stories in it are literally true.

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We need to educate children and teenagers to the point where they can think critically for themselves and can understand the absurdity of religions