Χάρτινη Τίγρη

Karsten4.0

Simply one of the coolest shoot-outs i’ve ever seen, I didn’t know you could still make em like that. The best Miles Teller has been in a really long time

davidehrlich4.5

It’s the final weekend of summer in 1986, upwardly aspirant Jewish families across Queens are still crowding around country club pools to make sure they get their annual money’s worth, and — in a little less than two months — the Mets are going to win the World Series for what might be the last time in team history. But nebbishy engineer Irwin Pearl (Miles Teller) doesn’t know that yet. He doesn’t know that this is his golden age. He doesn’t know that this is as good as it’s ever going to get. What Irwin knows is that greed is good. That the income gap is widening at an unprecedented rate, that economic mobility is slowing to a crawl, and that his giant older brother Gary (Adam Driver) — a divorced ex-police officer who swans around the city like a majestic bird in a blue Mercedes — has started to make him feel even smaller than usual. What Irwin knows is that his mother-in-law wants him to move the family to Great Neck, that the older of his two bickering teenage sons wants an expensive party for his 18th birthday, and that his beautiful wife Hester (Scarlett Johansson) wants fewer things to worry about. Irwin isn’t the overly ambitious sort, but a man can only live in the suburbs of Mt. Olympus for so long before it starts to feel like the gods are taunting him to claim a small piece of it for himself.And so the stage is set for James Gray’s deft and devastating “Paper Tiger,” a Jewish-American tragedy in a teapot that — like all of the writer/director’s best films — is both sweepingly mythic and hauntingly personal all at once. That double effect, once a magic trick that Gray’s movies would manage to pull off by the time they ended, has since become the de facto starting condition of his singular auto-cinema, which continues to pick at his formative wounds by processing them through the classics. As indebted to Aeschylus as “Ad Astra” was to Joseph Campbell, or “The Lost City of Z” was to Henri Rousseau, “Paper Tiger” begins with a telling quote from the ancient playwright’s most famous text: “Let there be wealth without tears; enough for the wise man who will ask no further.” Even more telling, however, is the opening shot that follows, which surveys the same reedy marshland — or at least one identical to it — from the end of “We Own the Night.” It’s no surprise that a project first conceived as a direct sequel to 2022’s “Armageddon Time” should point back to Gray’s previous work, but never before has it been so clear, so fast, that he’s trying to process his own, highly specific experience by assimilating it into the curriculum that first taught him how to make sense of the world. The more acutely self-referential his films get, the more broadly they speak to the soft and immortal agony that propels their characters forward. ~this review continues on IndieWire~

Sydney🚀3.0

Peepaw cinema of the highest order, looks insane and has two scenes I will take with me (turns into a horror movie for one and a Mann film for the other). Ultimately charmed by it even if it leaves a lot to be desired. We do not deserve Adam Driver and neither does this movie really