• Earthearthearth



    The movement from figurative to color abstraction is very well executed and the ways Sharp abrasive score plays over the movie relationship with landscape as both catalogue and mix of space and image surfaces is impressive.

  • Pure Blood

    Pure Blood


    Fables of exploitation.

  • The Black Wogs, Your Neighbors

    The Black Wogs, Your Neighbors


    Far more direct address than any of the other Hondo movies I've seen. It deals with colonialism, African experience in France and the ways capital consensus make it is impossible to have an open discourse about it on mainstream French avenues in a series of different ways that remain always exciting in how they add into each other. A movie open wounds and constant discovery that keep reinventing itself while never missing its pointed anger.

  • Ghostbusters: Afterlife

    Ghostbusters: Afterlife


    Cynical and dull. Still probably better and less corrupt than Ghostbusters 2. It is both far too serious to be funny and lack in ahy stakes to work straightforward.

  • Les Ministères de l'art

    Les Ministères de l'art


    A very affectionate portrait of the post New Wave French filmmakers made up close by Philippe Garrel as interesting in the images it produces of each artist as it in the ways Garrel's insider historiography functions.

  • Mr. Handsome

    Mr. Handsome


    One of those very over the top Hong Kong comedy that is very proud of how lowbrow they go. 80s Hong Kong is the only place Richard Ng could be treated as romantic lead (and it is also probably only industry with multiple comedies about bigamy in a two year period). Likable cast, sometimes charming, not funny, directed with only occasional inspiration by David Chiang a long way from Chang Cheh, the excesses have their pleasures. Alex Law wrote it the same year he co-wrote An Autumn's Tale.

  • Paper Moon

    Paper Moon


    A very good piece of manufactured sentiment. Much like What's Up, Doc the effort shows throught and given the source material is less mannered than screwball,, it comes off worse. As pure expression of the newed to disappear into fictional world that animate a lot of Bogdanovich's work it does reach a few highs.

  • Stranded



    Minor Borzage from the early code days. It is an opposites attract romance set against the building of the Golden Gate Bridge that is take over by some very confused politics. She is a social worker, he is a radical capitalist who thinks she is wasting her time on "people who already failed" and because US is going through New Deal he will learn the error of his ways without really changing at all. Every mechanical beat in the writing…

  • Four Letter Words

    Four Letter Words


    Sean Baker's first film. It is very derivative of mid 1990s indie American cinema in both form and theme, very Liinklater lite. There's stabs at authenticity that suggest his late movies, but the characters self absorption don't find enough counter to keep the movie going and this stage he hasn't quite find a facility with actors that kind makes the multiple grotesque aactions absorbing even if the interest is there. File under curious formative work.

  • The Tender Bar

    The Tender Bar


    There’s few things less interesting than a centerless memoir and there’s times here one even feels bad for Tye Sheridan given how little Clooney offers him to work with. The movie is happy to coast in very bland working class nostalgia. Most Clooney directed movies are bad, and a couple is embarrassing so, but this stands out in how little ambition it has. Affleck’s performance as the cool uncle is the movie clear reason to exist and his constant shift between the Boston average dude number he has deployed through the years and more typical movie star charisma does work if the strings remain very visible.

  • Mask



    There's some wonderful stuff here (Sam Elliott, most of the biker scenes, lots of the more hangout moments, the grandparents awkward visit) and there's a nice emotional openness to how most the action is framed. It still feels a little self-defeating as most of what is best about it relates to crafting a personal world for its main character (like most Bogdanovich movies), but every prestige mainstream move in it goes towards the opposite direction, it wants blandness because it mistakes that with its lessons. And I know it is a minority opnion but I think Cher knocks the move off-center far too often.

  • The Battle at Lake Changjin

    The Battle at Lake Changjin


    The Battle at Lake Changjin has the good sense to stick to a combat picture and the action is consistent pretty good, well staged and packed with impressive moments. The human drama is minimum and dull as expected, the scenes showing the American side are very amusing at least at first (there's a bit too much cutting to people running the war on both sides when the real good stuff is very much on the front). From a dramatic stand…