Philippe illustrates their insights with endless rolling montages of movie clips, and of course by pinpointing the key visual examples of Lynch/”Oz” connection. In “Lynch/Oz,” Philippe essentially gives the movie over to the seven writers and (mostly) filmmakers he has chosen to explore the interface between Lynch’s disarmingly concrete dream logic and the fairy-tale backlot kitsch surrealism of “The Wizard of Oz.” Each of the essayists delivers, in voice-over (we never see their faces), a 15-to-20-minute digressive rumination on the subject at hand: what they love and respond to in “The Wizard of Oz,” what they love and respond to in Lynch, and the places where the two intersect. He’s the invisible critic, the one off-camera. But Philippe himself has done the shaping. In the past, the insights that percolate through his movies have been drawn from the voices of critics, directors, actors, and other film-world luminaries who are only too happy to take on the role of sure-I’ll-be-a-pundit-for-a-day. Maybe that’s why this is the first of Philippe’s documentaries that feels a touch academic. The very premise of the movie - it attempts to coax out the subterranean connections between the work of David Lynch and “The Wizard of Oz” - is a lofty and rather abstract critical perception: an argument in the form of an intuition. “ Lynch/Oz,” which premiered at the Tribeca Festival, is his latest movie-as-meditation, and this one isn’t just a piece of film love in documentary form. Can “The Chain Saw Experience” be far behind? But whether or not he continues to mine the consciousness of horror, Philippe has now taken a detour down a special rabbit hole. Philippe’s films are such unique and elevated expressions of cinemania that it took me a while to realize that he had basically made a quartet of documentaries about the four key horror landmarks of the last 65 years. And “Leap of Faith: William Friedkin on The Exorcist” featured the fabled director explaining how he created the legendary demon thriller. “Memory: The Origins of Alien” tried, and mostly succeeded, in deconstructing the shock and awe of the “Alien” chest-bursting scene. In “78/52: Hitchcock’s Shower Scene” (his best film), he penetrated the metaphysics of “Psycho,” starting with the shower scene but extending to the entire film, taking a movie that’s famous for its fear and showing you how its true pleasure and mystique lies in the intricacy with which we watch it. In “Document of the Dead,” Philippe made a grounded but heady exploration of “Night of the Living Dead” and what the rise of the zombie movie in the late ’60s was all about. He shares the obsession, and as a filmmaker that allows him to overlap the role of superfan, critic, and historian in a way that’s candy for a certain breed of film freak. He makes movies about movies - that is, movies about our obsession with movies. Philippe, who was born in Switzerland and is based in Denver, has carved out a neat niche for himself. All that being said, if you're an adventure-game fan who likes slower story-based games, you should find Oxenfree an engaging sub-$20 download to play over a rainy Sunday afternoon.The documentarian Alexandre O. The music also adds to the atmosphere, but the voice acting is hit and miss (plus, teens don't talk like this). As Alex, you can decide what to say and how to act and choose the people you want to help - interestingly, there isn't always a "correct" choice or one that doesn't have any repercussions. The pacing is off, too, because some areas of the game are slow and drag on, while at other points some significant events take place in a short period of time.Īlong with beautiful hand-painted 2-D environments, the real charm in Oxenfree is the character development. It's also strongly recommended that players use a game controller, because the keyboard and mouse controls aren't the most intuitive. Some of the navigation is tedious, too, such as hopping over obstacles, climbing up or down rocks, or walking down twisting paths, as it all takes time, though it's likely required to let all the dialogue sequences play out. This mystery title is a fun, unique three- or four-hour adventure - with an enjoyable story and characters to unravel - but those with little patience won't likely appreciate the thousands of lines of dialogue to wade through.
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