• Thief

    Thief

    ★★★½

    Few debut features are as refined and stylish as Michael Mann’s Thief. A neon drenched adventure through a densely lit cityscape centred around a man who is a professional at what he does, but ultimately places his job above everything else, failing to maintain relationships and live a “normal” life. Everything about it screams “Mann”, yet the dreamy nature of some of his other works isn’t quite here, leaving few scenes feeling somewhat plain even when the visuals are distinct…

  • Free Guy

    Free Guy

    ★½

    to quote ihe, “As a gamer, I liked it :)”

  • Midsommar

    Midsommar

    ★★★½

    Again, Ari Aster examines grief and it’s effects, except this time, he seems to forget to focus on this subject as the grip of this mysterious cult takes hold of the narrative. 

    Hereditary’s themes managed to last the entire duration and stay within the entirety of the story, but with Midsommar attempting to utilise some of the same themes within context that heavily takes influence from older horror pieces, I can’t help but think that this felt a little uninspired.…

  • GoodFellas

    GoodFellas

    ★★★★

    Murky colours, fluid direction and a classic soundtrack build this monumental deconstruction of the American dream through one of the most purely entertaining crime dramas of all time. It would be impossible to find a scene in which the films displays any downtime because it’s one of the most intoxicatingly swift films I’ve ever seen. Every scene contains kinetic energy that’s only made stronger with genius tracking shots and music that often plays into the following scene, creating a seamlesss…

  • No Time to Die

    No Time to Die

    ★★★½

    A mostly exquisite send off to the Craig era of Bond films. For something like this to have the length that it does is ambitious and I can say with confidence that it worked out because just about everything deserved to be in this, minus the unfortunately expository, slower scenes of the second act. Just about every cast member pulls their weight, delivering very good performances with some even exceeding expectations. Rami Malek is surprisingly extremely believable as the slow-talking,…

  • Pulp Fiction

    Pulp Fiction

    Perfect film to watch for the last day on my summer holidays. Sucks you in immediately and keeps you in without necessarily keeping you on the edge your seat and is a great stress reliever. Starts with a bang and what ensues is some of the most iconic characters in cinema participating in violent hilarity. Despite the actual high stakes in the film, it always feels laidback, but without losing it's sense of drama and tension.

    Classic.

    thanks for reading :)

  • Koyaanisqatsi

    Koyaanisqatsi

    ★★★★½

    Recently I watched Koyaanisqatsi for the first time and was blown away. Everything in the audio and the visuals was mind blowing. However, it was the day after that I realised that the version of the film I saw played entirely in REVERSE. Though this made be realise just how dense the film was. Despite not seeing the film how creators intended for it to be seen, interpretations of each scene kept invading my head as I saw it unfold.…

  • Cars 2

    Cars 2

    ★★½

    Cmon it’s not thaaaaaaat bad

    reasons why Cars 2 is not that bad:
    -weezer 
    -tow mater
    -james bond car

    Kachow

  • Once Upon a Time… in Hollywood

    Once Upon a Time… in Hollywood

    ★★★½

    A lot of the time, to me at least, Tarantino’s films have served as tributes to previous genres and films from a time before his. Jackie Brown pays homage to Blaxploitation flicks from the ‘70s, the Kill Bill duology seem to pay tribute to classic Japanese samurai films and Django Unchained is his take on the classic spaghetti western genre. 

    This film feels like Tarantino at his most respectful in terms of paying homage. Essentially, it’s a love letter to a long…

  • The Master

    The Master

    ★★★★

    From what I’ve seen from Paul Thomas Anderson so far, his films seem to have this underlying intensity that keeps me so absorbed for his films’ fairly long runtime. It seems to come from the performances he can get out his actors (which are some of the best and most magnetic I’ve ever seen), the dialogue (which is some of the most fascinating writing I’ve witnessed on film), the music (which is consistently enhancing every scene it’s in) and the…

  • The American Friend

    The American Friend

    ★★★★

    The American Friend is an outstanding European, neo-noir thriller. It’s one that seems to play out as a series of brilliant moments and sequences rather than actual scenes. I say this because the film flows so tremendously well that it’s difficult to pinpoint when scenes begin and end, however, it’s certain character moments and longer suspenseful sequences that stand out here. The reason as to why it’s hard to figure out when scenes begin and end could be down to…

  • Come and See

    Come and See

    ★★★★

    Come and See may not be quite as shocking or disturbing as it’s reputation may suggest, but it is certainly a very emotionally draining experience that holds back little to no punches. 

    Not only is it the horrifying acts committed that can get under the skin, but the reactions and faces of the actors are some of the most expressive and visceral in any film I’ve seen. Dialogue is unnecessary since the faces can tell you all and much more.…