• Birdman or (The Unexpected Virtue of Ignorance)

    Birdman or (The Unexpected Virtue of Ignorance)


    The camerawork is fucking insane - the logistics and attention to detail required for the dynamic continuous take, particularly in the cramped spaces of dressing rooms and busy New York streets and bars, and with the innumerable reflective surfaces in the aforementioned, is mind blowing to comprehend. The periodically diegetic score is unnerving, reflecting Riggan’s chaotic, disquieted mind well.

    The whole cast is very good but Keaton and Norton in particular really understood the assignment.

    My only gripe is that the story is not quite as profound as it aspires to be.

    Finally, will somebody please get this man a fucking psychiatrist!

  • The Man Who Had His Hair Cut Short

    The Man Who Had His Hair Cut Short


    The titular haircut happens within the first five minutes.

    Then we see a PM (dubiously performed in a churchyard) which affects our protagonist so profoundly I can only say that he would not have survived the first week of medical school, in which we immediately entered a room full of partially dissected bodies preserved in formalin. 

    The moral of the story, which was obvious from the start, is driven home in the surrealist final act: my guy needs to let…

  • That Sinking Feeling

    That Sinking Feeling


    So bleak and so funny. So much hair and those flares!

  • The Battle of Algiers

    The Battle of Algiers


    Sheesh it got pretty damned realistic towards the end there.

  • Who's Afraid of Virginia Woolf?

    Who's Afraid of Virginia Woolf?


    The façade of suburban bliss is shattered by late night alcohol consumption, leaving the raw, desperate discontent bare for all to see.

  • Seconds



    I love unsettling cerebral cinema and this one really went the extra mile in laying bare the hopelessness of the human condition with an air of melancholy enhanced by Goldsmith’s score.

  • The War Game

    The War Game


    Fuck me. 

    That was terrifyingly realistic, not least because it was so authentically ‘60s working class British. I’m pleased they repeatedly reminded us that all of these things have been seen before, just not right on our doorstep. It’s not so easy to distance yourself when you see streets like yours, hear the names of places just down the road and hear colloquialisms of your country uttered in the context of a disaster like Hiroshima, for example, which actually happened, to human beings like us.

  • Come Drink with Me

    Come Drink with Me


    Unironically overchoreographed Wuxia turns out not to be my thing…

  • Shoplifters



    The blood of the covenant is thicker than the water of the womb.

  • Masculin Féminin

    Masculin Féminin


    When it was actually Brigitte Bardot 👁👄👁
    When Paul actually left the screening to lecture the projectionist on the appropriate aspect ratio for the film 👁👄👁
    When Catherine stands her ground with her assertion to Robert that her personal life is none of his business 👁👄👁

  • Juliet of the Spirits

    Juliet of the Spirits


    I don’t believe there is one colour under the sun that does not feature in this bizarre, hedonistic? surrealist tale of spirituality, sexuality, luxury, mistrust, flamboyance and fashion with a more mature performance from a more demure Giulietta Masons (that is in comparison to her co-stars). There is so much to see and hear, I think I might need to rewatch it at some point as I’m bound to have missed so much!

  • Fear and Loathing in Las Vegas

    Fear and Loathing in Las Vegas


    “I felt like a fucking Nazi but it had to be done”

    Who needs drugs when you can just watch a Terry Gilliam movie? Pecorini’s creativity with lighting, lens distortion, colours, and who knows what else, has us tripping along with Duke and Gonzo. The colours and textures of the sets, costumes and props are so realistic and brash that it’s a sensory overload, but one that’s so precisely defined that it’s like an orgasm as opposed to a panic…