Fifth about The Seventh

Terminal (2018)

Terminal: Vaughn Stein seems to think that striking visuals are an adequate substitute for a good story, or maybe even any story at all; it’s true that the plot ultimately circles around (and circles and circles and circles) to some sort of conclusion, it’s too smart, reference-heavy, self-aware and vapid to be satisfactory. The dialogue has some fragments of good banter, but it’s likewise too self-conscious. Acting is mostly in a larger-than-life key; Margot Robbie is in fact very entertaining as the femme fatale with more than a touch of insanity (the combination of her red smile and her beautiful face is all sorts of creepy); Simon Pegg deals well with the dialogue. However, the star of the film are indeed the highly stylized, extremely colorful neon-lit visuals (the cinematography is by Christopher Ross), making the most out of the otherwise limited, moody and decrepit (by design) locations, with good, retro-looking costumes and art direction completing the show.

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