• The Scar

    The Scar


    MoMA, DCP

  • The Eve of Ivan Kupalo

    The Eve of Ivan Kupalo


    What can I say, I'm a sucker for pastoral folk cinema. Though I may not recognize the cultural references in full, it's more than enough for me to be mystified by the lush, bucolic imagery.

    Ilyenko's MAVKA: SONG OF THE FOREST was one of the most memorable repertory viewings I've had in the last couple years, and now after this equally beguiling film, I feel like I'll be delving deeper into his work this year.

  • Io Island

    Io Island


    Film at Lincoln Center, DCP

    Not quite the enigmatic fever-dream that you'll find in some of Ki-young's other 70's work like PROMISE OF THE FLESH or THE INSECT WOMAN, but pretty damn close. A time-shifting, psychosexual rural folk horror that features necrophilic insemination. WTF else do you want?

  • Ilana Glazer: The Planet Is Burning

    Ilana Glazer: The Planet Is Burning

    Utterly embarrassing.

    I really liked the first couple seasons of Broad City, but around the time Hillary Clinton did her cringe-inducing walk-on, the show had possibly become the laziest, self-satisfied piece of shit on cable.

    For all the people who claim that Amy Schumer doesn't have jokes and just says random shit about her pussy, I suggest they give this one a go. See what half-assing it really looks like.

    60 minutes of woke pandering and loaded, self-congratulatory applause lines.

    Ilana Glazer, you're dismissed.

  • Totally Fucked Up

    Totally Fucked Up


    MoMA, 16mm

    That's right, Gregg Araki on beautiful 16mm. Not my favorite of his films, but all the quintessential GA elements are here - existential despair, subcultural exhibitionism, garish 90's aesthetics, and of course James Duval.

    Perhaps America's most misunderstood auteur. If we're allowing TV series on Letterboxd now, consider this my petition for the excellent and overlooked Now Apocolypse.

  • Peppermint Soda

    Peppermint Soda


    MoMA, DCP

    Utterly charming. Can't believe I put off watching this for so long.

  • The Lighthouse

    The Lighthouse


    It's not that Pattinson is bad per se, but against Dafoe he's borderline embarrassing. Doesn't help that Dafoe gets to deliver dialogue is so impressively crafted in that salty, Eugene O'Neill-esque dialect.

    Anyway, the first hour of this was great, but the second half goes through motions that confirm that yes, this is exactly what you expected going in: men drink and fight, someone has a secret, and someone dies a gruesome death.

    I've got no beef with Eggers though.…

  • Watchmen


    I'm not so sure I'm down with TV series being on Letterboxd. It seems like the ones that are here have been deemed "cinematic" enough through some ambiguous criteria.

    Anyway, Watchmen was 'aight. It tastefully explains and expands upon Moore's original story in a way that reminded me of what Twin Peaks: The Return did for its original incarnation.

  • Parasite



    A much funnier watch than I expected, and far and away the best of I've seen from Bong, who I've generally been indifferent about.

    However, as much as people are lauding Parasite for having some vaguely insightful statement about class, it's thesis is pretty thin and shitty. Basically, it's that rich assholes are justified to think of poor people amoral backstabbers who will even fuck each other over to get a piece of your pie.

    If you're cool with that…

  • A Bread Factory Part Two: Walk with Me a While

    A Bread Factory Part Two: Walk with Me a While


    I was kind of on the fence with the first segment of this, and unfortunately it's all downhill after that. Without the impending approval of the competing arts space that drives the first part, A Bread Factory loses what little steam it had.

    Plus there are musical segments.

  • A Bread Factory Part One: For the Sake of Gold

    A Bread Factory Part One: For the Sake of Gold


    I feel like this would have been better served in a theatrical setting, where its stilted humor and peculiar universe might have been easier to adjust to with full attention. At home, I never quite found myself absorbed in it over the course of this initial two-hour segment.

    A Bread Factory's heart is certainly in the right place, but its appraisal of the art world, local politics, and non-profit businesses only hits the mark half the time. The other half…

  • The Last Black Man in San Francisco

    The Last Black Man in San Francisco

    White people are even gentrifying movies about gentrification.
    People who like this should be ashamed of themselves.

    No stars because I turned it off after 45m.