43/40
Anora, a young sex worker from Brooklyn, impulsively meets and marries the son of an oligarch. When news gets to Russia, her fairytale is in jeopardy as her parents head to New York to have the marriage annulled. Sean Baker said he was already a fan of Mikey Madison’s work after seeing him in 從前，有個好萊塢 (2019), to the point of rewatching it just to watch his scenes. While that film was in its early stages, he saw Madison in 驚聲尖叫 (2022) with his wife/longtime producer Samantha Quan. As they were leaving the theater, he immediately wanted to contact her agent about the role. In a scene in Vegas, a character refers to “McCarran Airport.” Although Las Vegas International Airport has been known as McCarran International Airport for decades, it changed its name to Harry Reid International Airport in late 2021. Igor: BE! STOP! SCREAM! Introducing Half in the Bag: 2024 Stragglers (2024). The Biggest Day – Robin Schulz Rework Performers: Take That, Robin Schulz, Calum Scott Writers: Gary Barlow, Howard Donald, Jason Orange & Mark Owen, courtesy of Polydor Ltd. (UK) under license from Universal Music Enterprises. Sean Baker is up there, and Chloe Zhao is one of the most humane and empathetic directors of our generation. His take on outcasts and his keen ability to show the limits of the American dream solidify his position as an important, much-needed artistic voice. His latest film, ANORA, proves that he is much more of a character/atmospheric filmmaker. than a plot. What starts as a promising drum-beat comedy with a typical snarky edge devolves into a complete slapstick farce in desperate need of an editor, with some scenes slogging around to the point where I wanted Paul Simon to jump up and sing, "I’m on my way/I don’t know where I’m going/But I’m on my way…" Blake Edwards’ work here seems to have a subliminal effect, making such excesses a little more understandable; a film like VICTOR/VICTORIA could be a masterpiece if there weren’t so many of them. Still, the comedy often feels more contrived than a natural product of the characters’ eccentricities, and the touching but abrupt final scene would have been better if some of the gimmicks had been swapped out for a moment, with the main character’s body exposed. Mikey Madison undoubtedly maximizes what he can maximize with a sheltered character (added). The nuances provided by Baker’s regular screenwriter Chris Bergoch seem to be lacking), and so do the supporting cast, especially Baker’s regular collaborator Karren Karagulian. But after loving Baker’s last two films, which were less plot-driven and more atmospheric, empathetic studies of neglected American communities, this one was a huge disappointment. There are several scenes in the film where a seemingly lonely and melancholic maid is forced to clean up the excessive mess left by the spoiled rich men she works for. I think a movie about his story would have been much more interesting in the end.
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