Some grumpy Tweets about Babyteeth (2019) (work in progress)

Some grumpy Tweets about Babyteeth (2019) (work in progress)

More views of - or before - Cambridge Film Festival 2019 (17 to 24 October)
(Click here to go directly to the Festival web-site)

20 August

Some grumpy Tweets about Babyteeth (2019) (work in progress)

A cinematic / shooting style that openly wants to be unconventional - and is, initially, over-burdened with silence¹ - might have been wearying to all to sustain, but Babyteeth (2019) does not do so, and 'simmers down' to be despairingly conventional in this and many other ways.

— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) August 21, 2020

² In the closing credits³ - which, in 'the good old days' of packed cinema-screens, so many were in a near-anxious hurry to avoid (and so miss a 'play-out' track as weird as for Proxima (2019) !) :https://t.co/S556MmUUJh

³ Not IMDb : a 17-word summary is stuffed with error !

— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) August 21, 2020

If you want to Tweet, Tweet away here

Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

La banca prossima qui vicino ? Non è ! : A review, by Tweet, of Proxima (2019)

La banca prossima qui vicino ? Non è ! : A review, by Tweet, of Proxima (2019)

More views of - or before - Cambridge Film Festival 2019 (17 to 24 October)
(Click here to go directly to the Festival web-site)

17 August

La banca prossima qui vicino ? Non è ! : A review, by Tweet, of Proxima (2019)

'Next' is what the film-archetype of a casting-director irritatedly shouts...

Proxima (2019) :

Because they never said anything about Proxima Centauri, and it is just the same word as in 'La prossima volta' (in Italian), i.e. 'Next [or another] time'

[Other cinema misdemeanours, maybe, but one misdirected oneself here] pic.twitter.com/wZrBpUzkol

— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) August 20, 2020

As one reported earlier on Proxima (in an e-mail to Cambridge Film Projects) :

Rehashing too many competitive / 'who gets to do what and why' elements from First Man (2018) ; often just reminding of films such as In a Better World (2010) or, more so, A Thousand Times Goodnight (2013) ; and with huge elements of implausibility vis-à-vis what happens with Sarah's (Eva Green's) and her crashingly badly named daughter Stella - though the performance by Zélie Boulant, playing Stella, was easily one of the best things about Proxima !

For #UCFF, Gosling's being centrifuged to many Gs in First Man (2018) was part of breaking the credibility-barrier passim - a need to remind oneself, all along, that unmistakable Ryan Gosling¹ was meant to be Neil Armstrong :

In Proxima (2019), Eva Green got 9G, but we didn't² !

— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) August 17, 2020

³ In a different sort of device, which is more gyroscopic, Gosling pulled his Gs here :https://t.co/Lq5tcjwrvm

— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) August 18, 2020

If you want to Tweet, Tweet away here

Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)