The FBI has warned that consumption of this documentary by film students may induce new symptoms such as wanting to make another gangster film that adds nothing to the genre and doesn’t do anything “The Departed” did more meaningfully.
And so we see a difference in ideology between these two directors. Joon-ho has taken us forward and backwards, only to abandon the two altogether and move outside. Mundruczo has taken us up and down and then back up to see the world with newfound awareness.
It’s the black of night, and a lone car is stopped by American soldiers at the border of Germany after the liberation of the concentration camps. The young soldier peers inside and sees a tall, wise Jewish woman driving. In the passenger seat sits a woman with bandages wrapped around her face.
The characters are parodies and real people all at the same time, masterfully assembled. They’re not forced out of their stereotypes unnaturally, à la High School Musical’s “Stick to the Status Quo” (“I bake!”), which lacks subtlety and, to some extent, realism.
“The Visit,” the newest horror movie written and directed by M. Night Shyamalan (“The Sixth Sense”), sticks to a common schematic, bearing resemblance to “Paranormal Activity” both with its found footage style and its method of juxtaposing eerie nighttime shots and bright morning scenes