• Old

    Old

    i need to see this again, but it clearly flips the happening on its head – wry yet its final act is made up of scenes like malcolm and cole's final meeting in the sixth sense, so many grace notes. i expected this to continue his move away from the human, but it ended up being his most coherent depiction of it since, idk, the village maybe? much to think about.

  • Lady in the Water

    Lady in the Water

    i miss your faces, how they remind me of god.

  • Jurassic Park

    Jurassic Park

    hardly resembles the exhibition of steve's air-tight montage that existed in my brain since childhood. now it's entirely possible that this is a case of my brain disconnecting a bit from how most audience perceive the narrative after a quarter-century of viewings, but it seems to me that the film takes every opportunity to place the experience over any traditional notions of coherence typically central across spielberg's career. at times this is spatial (the oft-noted contradictions of the t-rex scene),…

  • Twilight

    Twilight

    a film entirely unique for its devotion to an ideal few if any seriously engage with in art. it's no longer a question of competing visions or reinterpretation by cast and crew for me; this is a compelling instance of collaborators recognizing something valuable, even vital, in a text rarely taken seriously and committing themselves to expressing it on the screen with the utmost sincerity. they just don't make em like this anymore.

  • Inter View

    Inter View

    this may not come across in all my reviews of his work, but i really consider makino one of the odd ducks of contemporary a-g cinema. dude has a hell of a talent for composing arresting, multivalent images, but he occasionally finds himself fighting an uphill battle against his proclivity for showmanship (don't misunderstand, there are worst problems to have). i have to admit this is probably the first time his work has ever made me feel actual emotions, less intellectual probing and more adventure. i like it! one of his standouts for sure, up there with at the horizon.

  • Blissfully Yours

    Blissfully Yours

    places its rhapsodic energies not in opposition to the dark nothingness joe sees at the ground of being, nor together as corresponding cause and effect, but in perfect harmony. a double movement of restoration and deterioration initially separated by cuts but inevitably melded together like vegetables and lotion, free of conflict. i felt empty and elated at the same time.

  • Blow-Up

    Blow-Up

    l'eclisse type beat, need to let this one simmer. odd how it distanced me in the same way l'avventura and red desert did on first viewings, pre-awakening. well, given the pattern that just means this might be my favorite in a few years.

  • Mobile Men

    Mobile Men

    the pain was so intense i cried out...

  • Song 1: For Leonard Cohen

    Song 1: For Leonard Cohen

    well would you look at that i made something again. this is a quasi-followup to my last film, synth a priori, sharing many of the same formal and thematic concerns only whittled down into a concise little song for your (hopeful) viewing pleasure. i'm not one to talk much about my stuff unless responding to someone so by all means share your thoughts i'd love to engage, positive or negative.

    hope you enjoy
    youtu.be/w7sR6WA8Ldg

  • Tropical Malady

    Tropical Malady

    took me very much by surprise after beginning in a place of mild interest, the same confusion that dogged me while watching uncle boonmee threatening a reappearance. only after finishing did i finally start to catch on to how apichatpong's language works. it's difficult to articulate without betraying the film's quiet purity, but it appears to revolve around a decentralized approach, folding the ground beneath it like origami. there is no binary here, only a single thread weaving back into…

  • Crash

    Crash

    immeasurably moving, i understand

  • Charisma

    Charisma

    great film about infinite possibilities infinitely expanding outwards always, each a world apart from any qualitative judgment we might seek to confront them with. kurosawa's most potent metaphor is not the roots of the tree but the mysterious infection that some claim is evil and others good, but is in fact neither. it permeates through every plant, fungus, and person present among these trees, and of those it's man alone who is fundamentally unwilling and unable to co-exist with the…