Gemini Screen 4 articles



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  • Katz, who also wrote Gemini, keeps the clock ticking but also rarely passes up on an opportunity to gently poke generic conventions for a laugh. Kirke's game, but special mention has to go as well to Nelson Franklin for his amusing turn as a frustrated screenwriter.

  • Winding hills, gated homes, seedy bars—elegant all, but fascinating most in their near unremarkability, like the broadly pretty appeal of an Instagram filter. An elegant and very 21st century-appropriate detective who-dunit, Gemini and its non-judgmental insouciance etches Kirke and Kravitz’s characters and their relationship into sharper relief and proves highly quaffable, even when the film's conclusion tumbles clumsily into place.

  • Katz's latest, Gemini, once again tells the story of an ordinary nobody (Lola Kirke, marvelous) pitched without warning into a pulpy, lurid whodunit, a larger-than-life noir teeming delightfully with hardboiled detectives, unseemly paparazzi, and double-crossing femmes fatales. An uncanny, exquisite synthesis of naturalism and genre, the film is a heady cocktail of high style and lo-fi whose sum effect is irresistible.

  • Katz’s cool-toned city setting suggests the architectural awareness of a film like Los Angeles Plays Itself, Point Blank and a sprinkling of early Curtis Hanson, with its mishmash of high modernism, art deco and urban sprawl. But Katz flips the switch on the symbiotic, ambiguous relationship between the leads – looking at the power dynamic between two women and allowing them, refreshingly, to lead his neo-noir.

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