• Twin Peaks: Fire Walk with Me

    Twin Peaks: Fire Walk with Me

    Almost forgot, until Laura first appeared, what an all-time bad trip this movie is. Not the kind of thing I was really in a good headspace for so thank God it was followed by a live Q&A with Dana Ashbrook and Sheryl Lee, who were so funny and gracious. I was very moved to see them.

    edit: looking at recent reviews of this film it appears that 95% of the Music Box audience this evening had Letterboxd accounts

  • Touchez Pas au Grisbi

    Touchez Pas au Grisbi

    Dieu, pardonne moi, mais il est temps de revenir à l'ancien moi.

  • Beatriz at Dinner

    Beatriz at Dinner

    A regrettable "bruh moment" among the otherwise distinguished White-Arteta collaborations.

  • Annette

    Annette

    I’m thirty years old and Hollywood has not recorded any new stock baby laughter sounds since the ones I heard on Arthur. Failed industry.

  • The Green Knight

    The Green Knight

    To be critical of the style of cinematography and composition here — heavy on landscapes and insert shots, natural light, and near-symmetrical framings with a central point of focus — should not just mean slagging off A24 stans or accusing the filmmaker of designing their own movie to be screencapped on social media. What bothers me about the style here is that it seems to cover up a lack of fundamentals. When Gawain sits down at the lord's table the…

  • Year of the Dog

    Year of the Dog

    Coming home absolutely twisted with a carful of dogs

  • Brad's Status

    Brad's Status

    There is no possible way to review Brad’s Status that will convince anyone it’s a real movie. If you start describing the plot out loud you will be set upon by hospital orderlies with butterfly nets. It is, however, a sort of Rosetta Stone for modern Hollywood storytelling, and saying that is in no way a recommendation or value judgment.

  • The River Wild

    The River Wild

    Does a very good job sucking the fun out of its cool premise (Cliffhanger on water). Super dull script and while I have often admired the scenecraft of Curtis Hanson this material really called out for the lizard-brain competence of a Renny Harlin. I appreciate that it must be daunting to film these rapids sequences on a real river but I don’t think they quite nailed it. Even still I have to say, Meryl Streep: wossup?

  • Minnie and Moskowitz

    Minnie and Moskowitz

    A movie about a cool, charismatic guy with a lot of great stories and wisdom to impart. He’s played by Timothy Carey in the opening scene and then the movie goes off and spends two hours following these other lovebirds around instead. Hope that first guy is having a good day.

  • Old

    Old

    The conceit is inherently cinematic: a movie about a scary beach that causes people to age one year every half hour becomes a sustained exercise in existential terror as life events pile up at an overwhelming pace. This is the basic promise of genre cinema, wherein excitements that would last anyone a lifetime are compressed into a couple of hours. The practical challenge is to make a linear experience out of this heap of catastrophes and to wring enough interesting…

  • Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)
  • Saint Maud

    Saint Maud

    One of the few nice themes of the last decade of cinema has been Jennifer Ehle getting steady and sometimes even interesting work.

    This sort of schizophrenia narrative is tedious but it’s filled in here with attentive details, a literary tone and a sense of imagery that develops as it goes. Ends very well.