Joey Magidson
This weekend, John Krasinski‘s IF has hit theaters. At the same time, Francis Ford Coppola‘s Megalopolis has debuted at the Cannes Film Festival. On the surface, these movies would have nothing in common with each other. However, they do share one thing. Both of these films are big swings from major filmmakers. So, for this weekend’s Awards Radar Community Question, I wanted to ask about big auteurial swings. Are you in favor of them or do they exhaust you?
If you love a big swing, you’re not alone. I’ve long said that I’ll always take an interesting failure over a vaguely successful flick that’s bland and middle of the road. I’m notorious for going hard for an auteur’s bigger swing that doesn’t connect. After all, who loves Cameron Crowe‘s Elizabethtown more than I do? If you’re in a similar boat, don’t be shy about saying so.
On the other hand, if they’re frustrating, that’s cool too. Just look here at my IF review, not to mention Ari Aster‘s Beau is Afraid (panned here last year) to see that I don’t always go along with an auteur’s big swing. Sometimes, they plain just don’t work, and it’s a chore to sit through. Telling us won’t negate anything about your cinematic credentials, I can assure you of that much.
The time to chime in is now! Are you into these sorts of big swings or is it more of a thing critics dig on more than audiences? Either take is valid, so long as you let us know. So, have at it…
What are your feelings on big swings from auteurs? Let us know!
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