Andrew Dignan

Andrew Dignan

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Favorite films are the best "new to me" films watched the previous year (one film per decade).

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  • The Bridges of Madison County

    The Bridges of Madison County

    ★★★★

    The book’s schmaltzy reputation kept me away for years (I’m also just not a huge fan of the genre in general) but Eastwood’s understated approach is exactly right for this, emphasizing plain-spoken--almost clumsy--directness, pregnant silences and just an unadorned sensuality which all adds up something quite moving. Arguably would be an even better if it ditched Francesca’s entire interior monologue which is where (I assume) Waller’s more purple prose remains intact and only reiterates, in more flowery language, the more…

  • The Woman in the Window

    The Woman in the Window

    ★★

    This review may contain spoilers. I can handle the truth.

    A junk literature adaptation if there ever was one, derivative not only of Hitchcock but detritus like THE GIRL ON THE TRAIN. The sort of thing you flip through in between screaming at the kids to stop splashing one another in the pool and gulps of Sangria (or whatever the non-bored housewife variation on this might be) which has now been made into a long-delayed, would-be prestige thriller that’s utterly daft yet weirdly joyless and inert. With the film announcing…

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  • The Amazing Spider-Man 2

    The Amazing Spider-Man 2

    ★★

    When I was a little kid, growing up solidly middle class, I had a lot of toys. But my parents, mindful of the expanding clutter that comes from the accumulation of “stuff,” presented me with an ultimatum: if I went long enough without playing with my toys then I’d have to get rid of them before I could get any new ones. They didn’t care what I did with them: throw them out, sell them at a yard sale, give…

  • Baby Driver

    Baby Driver

    ★★½

    This review may contain spoilers. I can handle the truth.

    A crushing disappointment really*, all the more so as I appear to be out of step with the rest of the internet on its lousiness. Wright’s way too accomplished a filmmaker for this to be a total wash but the film strives for a tricky confection of tones and what it arrives at is curdled. If HOT FUZZ took a comical premise and populates it with deadly serious characters, this tries the inverse, setting the film in a world of…