Favorite films

  • Yi Yi
  • Chungking Express
  • Millennium Mambo
  • 35 Shots of Rum

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  • The Last Days of Disco

    ★★★★½

  • Night Is Short, Walk on Girl

    ★★★★½

  • The Hand of God

    ★★★★

  • Petite Maman

    ★★★★

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  • The Last Days of Disco

    The Last Days of Disco

    ★★★★½

    growing to love whit stillman

    his films really embody that youthful, thus necessarily naive, pseudo-intellectualism that noah baumbach could only pastiche with "kicking and screaming"
    (which is something i only realise after i finish my second stillman film)
    (weirdly, that doesn't make me like early baumbach any less!)

    it didn't quite "click" as much as "metropolitan", which i suspect is because it was missing that really juvenile side of it, which is something i've (hopefully) already lived through... on a…

  • Night Is Short, Walk on Girl

    Night Is Short, Walk on Girl

    ★★★★½

    one of the best comfort films in existence comes in clutch once again

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  • Peninsula

    Peninsula

    ½

    this is a disgrace to the cannes badge

    yeon sang ho just recycles all the themes he milked to death in "train to busan", (self-sacrifice, familial connection, people going mad in the face of peril, and past guilt causing jarringly rapid character development)
    adds even more people crying and calling out in slow motion, lazily slaps it together and calls it a film

    the only thing good about "train to busan" was the train, it itself was a blatantly tearjerking…

  • Still Walking

    Still Walking

    ★★★★★

    got to see this on the big screen today, as part of a special programme commemorating the closure of my favourite cinema in korea

    i'd loved it even the first time I saw it, but now that it's intrinsically tied to my very own cinema paradiso moment, it'll be that much more of an important film for me

    kore-eda's big-screen families revel in their imperfections, which is possibly the most human trait. and for that, kore-eda's family portraits hit a sort of dignified relatability that no other contemporary filmmaker manages with quite the same level of assuredness