whatmotivatedmeuptothenewdirector'sfestivaltocatch'martinfrost'tonightwasthebrutalreviewthatitgotyesterdayfromtheleadcriticofthenewyorktimes,brutaldismissal,tobemoreaccurate,'thelesssaidaboutitthebetter',shesaid,andifiguredthatanymovieabletoteachMsDargisthevirtueofsilenceforevenafewcolumnincheswouldbeworththetrip andworththetripitwaswearebroughtintoaparadiseoflimpidlybeautifulvisualtexturestheoakenrhythmsofacountryhouseensconcedinaspringtimeparklandofluxurianttreesandluminousskiesbestowthesoothingnaturalblessingneededbythemaincharacter,martinfrostDavidThewlis,awriterrubbedrawbythemechanicsoffinishinganovelinnewyorkcityThewlismakespalpablethecasualtyofintrapsychicmachinerysawedintodaemonicreverbagainstthebanausichivethenparadisemorphsintopurgatory,leavenedcomedically,inDante'ssense,bythepostmodernangelicvisitationsofClaireIreneJacobsandAnnaSophieAuster unfortunately,tomytaste,theverbaldimensionsofthefilmareflaccid,thelogicmorefancifulthanimaginative,thenarrativearccrippledbysomeirredeemablycreakyplotting,especiallyatthecrucialinitiationoftherelationshipbetweenmartinandClairewheretheseedsofcommonsensearethrowntothemagpiesoftheatricality butsobeguilingisthewillfulvulnerabilityofauster'sfantasy,andtheedgyinterplaythatitpotentiatesbetweenThewlisandJacobs,andthecamera,andlaterSophieAuster,andthebroadcomedyofaruraleverymanMichaelImperioli,thatitisverypleasanttobecarriedalongonthevisualfoamofuncertainsensualdelight,eddyingintoafeelingthatthisfilm'soddlylouchelighttouchisuniquelyadeptattracingsomegravelineamentsofthehumanheart goinnocently
2026-02-07 14:53:08，最后更新于 1月前