Tyrone Evans Clark

Catharine 2021-12-27 08:02:04

A few years ago, I accidentally walked into an art gallery in Caochangdi, Beijing. It was a solo exhibition of an artist, mainly oil paintings, so I could see...

Clara 2021-12-27 08:02:04

Not artists themselves, but prigs like gallerists, art critics, curators, these who have power to peg art works and destine artists' futurity, are scathingly dinged in Dan Gilroy's third feature, VELVET BUZZSAW, a glossy critique on the contemporary art scene with a name ensemble headlined by his...

Natalie 2022-04-21 09:02:51

The resurrection of the "Lead Yellow Film", various ways of dying are more spectacle than works of art, and the text itself does not have much meaning.

Arden 2021-12-27 08:02:04

American popular horror films seem to have always acquiesced in the framework and narrative context of the populace, and there are few genre films with an upper-class perspective. The advantage of "Velvet Circular Saw" is that the "art industry" it is involved in is still a fresh theme of genre films. Whether the film tries to intervene in Vanity Fair or the discussion of the artwork itself, the spectacle "upper society" can always provide audiences. The sense of excitement and space for reverie, scripts have great writable value. However, Gilroy wrote the script based on the solidified logic of the genre, which led to the old and lazy plot without any surprises, and the story lacked the sense of distance it should have with the audience. The execution is also unsightly, the scenes and creativity are presented rough and casually, the audiovisual atmosphere is completely inexhaustible, and the characters often expose the traces of exaggerated performances. The gap between the film and the director’s predecessor, The Night Crawler, reflects the fact that most Hollywood directors rely on ready-made movie scripts and lack the ability to create personalized images. ★★