• Ten Skies

    Ten Skies

    Favourite skies:
    Sky 1 - because it was so tense. I wasn’t prepared for holding my breath fearfully when the title card appeared, then the few seconds of blackness before the sky, like being at the top of one of those vertical wooden slides you’re afraid of as a child. Then the stomach drop as you’re thrown over, falling through the clouds.
    Sky 4 - because it had a giant, galloping spaniel in the middle of it for a while.…

  • Bird on a Wire

    Bird on a Wire

    I had absolutely no notion whatsoever that I’d seen this before, up until suddenly about halfway through there’s the scene in which Goldie Hawn is attacked by the cockroach in the shower, and all of sudden I thought “…no way - that’s from THIS movie??”. That scene I remember vividly. That and her line a few minutes later - “I just took a shower with the cockroach from hell…etc”. And that is ALL I remember from the entire film. Nothing…

  • Gold Diggers of Broadway

    Gold Diggers of Broadway

    Just the surviving 10 minutes of course - footage primarily composed of one big musical number - screened as an aperitif before the feature, Mervyn LeRoy's GOLD DIGGERS OF 1933. And there was enough vim and joyful invention in this single number - dancing, staging, set design, all - to suggest that had we seen the full film it would not have suffered badly in comparison to the later picture, which considering the magnitude of Busby Berkeley's achievements in particular…

  • Gemini Man

    Gemini Man

    Seen in 3D, what I am reliably informed was 2K 120fps, and much to my surprise I thought it looked terrific. Not cinema as we traditionally know it, and it’s not real life either - not how human eyes (mine anyway) perceive the world. It’s its own thing. And I’m perfectly happy for that to sit side by side with normal movies as the occasional fairground attraction. The high frame rate, I’m pretty sure, helped to make this the first…

  • The Laundromat

    The Laundromat

    I didn’t like much about this, sadly. Found it glib, cynical, ugly, not very funny or perceptive, and kind of mean spirited. I expect Soderbergh might say this suits the material, it being an exposé of sorts of cynical, mean spirited people. That doesn’t seem like a very sensible approach though, especially if your film aspires to become a rabble-rousing call to arms, and what with Meryl Streep’s deliberately didactic climactic speech it appears that it does. But the film…

  • Ready or Not

    Ready or Not

    I was NOT ready for the amount of shallow focus. Having just spent 14 hours with La Flor I probably should’ve been. Is there any other mode of filmmaking now? I’m going crazy. But the actors commit and I had some fun with this and found the setup exciting, which is why it aggravated me so much in the end, all that squandered potential. They increasingly seemed to make the least interesting choice at turn after turn, the biggest of…

  • Blue Black Permanent

    Blue Black Permanent

    "It is a dream now, but it wasn't then" - I love films about memory, and this is top drawer.

    I like how the artist doesn't seem to age. Feels very appropriate somehow. A spirit preserved by the purity of his expression and the marks he leaves. Something to hang onto.

    Pair with Je t'aime, je t'aime / We Ourselves / Paperhouse...?!

  • La Flor

    La Flor

    Screened over 3 days at the ICA. It has its moments, but this ended up being something I liked a lot more in theory than in practice. The biggest disappointment is feeling that I now know way more about Mariano Llinás’ abilities, limitations and predilections as a filmmaker than I do anything about the talents and range of these four actresses. At the end of a 14 hour movie purportedly about them (per Llinás’ own onscreen introduction: “I’d say the…

  • Cheyenne Autumn

    Cheyenne Autumn

    What on earth are Wyatt Earp and Doc Holliday doing in this movie?

  • Junun

    Junun

    Screening preceded by 4 x PTA 35mm music videos (Michael Penn, Try; Aimee Mann, Save Me; Radiohead, Daydreaming; HAIM, Valentine), a programme which sideswiped me slightly because Philip Seymour Hoffman turns up in the first one. Would you believe me if I told you he gives a great performance? He's in the Magnolia-based Mann vid too. So sorely missed.

    Anyway, birds are cool and Nigel Godrich looks like Lanthimos. These are the JUNUN takeaways my frazzled mind can muster at the moment. Would watch again.

  • Rosie

    Rosie

    Sarah Greene’s cream parka begins to take on a similar strength of its own to Marion Cotillard’s iconic pink vest from TWO DAYS, ONE NIGHT - a film that ROSIE reminded me a little of. Another human inquiry, social problem film about an ordinary woman on a wrenching quest, physically taxing and with intimately painful emotional dimensions, struggling from day to day and door to door, trying to take care of herself and her family, trying to retain her pride.…

  • Everybody Knows

    Everybody Knows

    Utterly engrossing even when it's being ridiculous, which is not infrequent because oof, this is full blown soap opera of considerable proportions. We're talking buckets and buckets of Radox. It's Melrose Place. It's Mr Burp's Bubbleworks. There's also a quite hilariously telegraphed plot twist. I am always, always that guy who never saw the thing coming that everyone else saw coming. And I saw this coming an hour out. Definitely has its qualities though, and two of them are on the poster.