mylkione
Joined Jun 2012
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mylkione's rating
Tarantino correctly places this film in the erstwhile 'revengematics' sub-genre, popularized during the social upheaval of the 1970s. Death Wish stands in stark contrast to other features like Taxi Driver. Bronson exercised a more even, moralistic tone in his features compared to Scorsese's and Schrader's nihilistic dystopia.
The best feature of Death Wish is the soundtrack. Those are elements of Hancock's 1974 album THRUST. One hears motifs from Spank-a-Lee, Actual Proof and Palm Grease. It's Hancock proper not the Headhunters album that preceded this release.
Bronson eventually fell into the Reaganomics exploitation flicks of the 80s, which featured such execrable elements like Chuck Norris blasting entire Vietnamese villages waist deep in water, Lee Marvin's obnoxiously untrimmed eyebrows, Clint Eastwood performing the part of a gunnery sergeant, which, considering his very limited, non combat military experience in the navy (or merchant marine) is an insult.
The best feature of Death Wish is the soundtrack. Those are elements of Hancock's 1974 album THRUST. One hears motifs from Spank-a-Lee, Actual Proof and Palm Grease. It's Hancock proper not the Headhunters album that preceded this release.
Bronson eventually fell into the Reaganomics exploitation flicks of the 80s, which featured such execrable elements like Chuck Norris blasting entire Vietnamese villages waist deep in water, Lee Marvin's obnoxiously untrimmed eyebrows, Clint Eastwood performing the part of a gunnery sergeant, which, considering his very limited, non combat military experience in the navy (or merchant marine) is an insult.
It's not at all an overstatement to suggest Kwan's film will be seen as the emotional encapsulation of a strange time in history. The primary narrative of a family's fight and the quotidian impact of the fractures within, are simple foundations for a poignant introspection of social undoing. This film tries to pull us all back from the brink; the fear, the hate, the spite, we all engorge upon. The intersectional personal stories are meant both as sincere examinations of the contemporary moment and also points reifying the brinksmanship we all engage in. Reviews will tank the movie simply because of its LGBTQ pointing sup-plot, others will lionize this content and ignore other nuances, perhaps of heteronormative qualities. None of this matters...Nothing matters. We really all are insignificant pieces of crap. Or desperately lost people who suffer the conceit of consciousness, abetted by time and history. But if all of that makes you feel alone, maybe you aren't But unity doesn't arrive through magnifying the grief of our struggles. Peace might come in letting go, and maybe being kind. We're all so convinced fighting defines your value. Sure, it does to a degree. But we might want to constantly evaluate that.
