• In the Mood for Love

    In the Mood for Love


    Perhaps more than any other director, Wong Kar-Wai has shown that omission is just as powerful as inclusion. The details he leaves out in telling his stories speak volumes, providing boarders for the viewer to fill in. It's in the repeated usage of frames within frames, in how we never see the faces of Mr.Chan and Mrs.Chow, in denying us the reaction shot we so desire. The end product is so elegant and exquisite, I find I have to frequently remind myself to breath.

  • Titane



    What a wild time! So bold and engrossing, the entire crowd seemed into it. And Agathe Rousselle is absolutely transformative. I haven't quite figured out the film's evident metaphorical meanings, but I always felt like Ducournau was in control. On a base level, I laughed, gasped, winced, and jumped.

  • Dune



    Fuck yes.

    I mean, what more could you want from a Dune movie? This was so revitalizing. The visuals, the sound design, the performances, the dialogue, all totally dialed in to exactly what the story demands. Obviously it's nerdy, and dense, but it approaches its sci-fi elements with a confidence and sincerity that, as a viewer, feels so liberating. There's no winking sarcasm, no insecure preoccupation with darkness and grit. Just pure spectacle.

    All of my doubts going in have been assuaged. I await part two with bated breath.

  • Possession


    What a bizarre, but impressive movie. The camera work and editing was utterly engrossing. Although some moments I found to be sort of baffling, Isabelle Adjani and Sam Neill absolutely match this movie's energy, both are so committed. Possession clearly operates on a metaphorical level, and although I didn't quite break through its strange, dark veneer, I am looking forward to future watches.

  • Everybody Wants Some!!

    Everybody Wants Some!!


    What a delight. Richard Linklater really is the master of the hangout movie.

  • Angst



    Senselessly depraved. Seriously, I'm having a hard time finding a point to any of the suffering depicted on screen. Even if the goal was just to make the most disturbing portrait of a serial killer, I only think it was a partial success. The camera work is nothing short of brilliant. Seriously, I would almost advise checking this out for the cinematography alone. Erwin Leder is horrifying in the lead performance, but the other actors unfortunately let him down. The…

  • After Hours

    After Hours


    Such a testament to Scorsese's brilliance as a storyteller. The opening scene is a masterwork in efficient, effective characterization. Griffin Dunne delivers a perfect comedic straight man performance amidst the bizarre onslaught of characters he is subjected to.

  • Thief



    Slick and gritty, Michael Mann's debut Thief feels right at home in his filmography. He excels at depicting professionals and their process, and this movie is no different. Too bad then that I didn't much care at all for any of the characters, or anything that happened, really.

  • Copshop



    A genre mash-up neo-western pastiche with a myriad of stylistic influences, lacking in the intelligence to bring everything together into a cohesive whole. Alexis Louder is the standout, elevating the thin material, although even she can't shoot her way through the film's trite third act.

  • Once Upon a Time in the West

    Once Upon a Time in the West


    One of the greatest scores of all time.

  • Margaret



    Watched the 3-hour extended cut.

    What a movie.

  • Shang-Chi and the Legend of the Ten Rings

    Shang-Chi and the Legend of the Ten Rings


    The exact same predictable Marvel formula, this time enhanced by some great fight scenes and very capable actors. Still, like most recent Marvel movies, it loses me by the VFX heavy third act.