Perplexity, surrealism & absurdism in a musty, shabby & filthy atmosphere. Many signs inaugurate early on the sheer queerness of whatever revolves around Barton Fink - his own madman's facial expressions, a pitiful & empty hotel, faint sounds that obsessessively bother only him, dubious characters & personalities in Hollywood. But the viewer can still hang in this mess, and somehow (with a little effort) make some sense of what's happening. It's only towards the last third that the increasing contradictions explode into no(n)-sense. The only - and cheap - way to read the movie would be that most of these irreconciliable scenes are in fact dreams or hallucinations. Disappointing.
This is the rose-colored glasses. This is the pot of gold at the end of the rainbow. This is an ideal world where, in the legal profession, if you hold the moral torch, all winds blow your way. And how I wish it were true.
3.5新“丧尸片”新黑人电影（假如这个分类没有偏见的话）新惊悚喜剧视听极其纯熟乃至华丽对线索的铺陈都相当工整延续Get Out的诡异氛围和高强度（魂不守舍式）表演风格升级成一场持续高能的狩猎游戏不过哪怕每场戏的节奏都相当精彩观众也没法让情绪一直保持在高点 与前作相比表达似乎更加强烈：不对外进攻以争取黑人群体的共鸣这次干脆在内部开战甚至无差别攻击（手拉手运动）当然小明视频免费永久在线还有从不出现的警察（Fuck the police）问题在于主题激烈不代表更有力度对真相的揭露以及细思极恐的反转都不够自洽狂暴、勇猛的母亲形象并不坚固（可能不是一个缺点）但看完以后一个最强烈的感受还是：乔丹·皮尔是和斯派克·李站在一起的他们看到问题、提出问题也试图解决问题一个值得关注的电影人
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