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  • Alone



    Hyams is an exceptionally effective technical filmmaker who deserves more (and bigger) projects, and the opening segments especially showcase his knack for the efficient handling of tension and space. The use of ultra-detailed digital video cameras is especially effective in crafting spaces and situations that feel discomfitingly possible. The script gives little of substance to work with, unfortunately, especially in the middle third, but the digitally-sharp textures of Jules Wilcox’ dirt-smeared face in the final minutes is a fascinating and powerful piece of imagery to close on.

  • Nobody



    Fully dedicates itself to its tropes of thwarted masculinity and genre violence, and it seems like director Naishuller is having a great time with snappy montage and some solid visual gags. Characters are all thinly sketched and there’s hardly a thought spared for subversion or theme, but there’s more than enough pleasantly creative violence to sustain its breezy runtime.

Popular reviews

  • Allied



    There are oceans of meaning behind Marion Cotillard's eyes.

    Feels like Zemeckis-does-Hitchcock, but the sad reality is that he really doesn't. The second act is strongest, but the rest lacks tension and is largely bland.

  • Gradations I-II

    Gradations I-II

    Watched in:sent (no subject) and Gradations I-II in succession. I was caught by the way that the recurrence of images within a broader abstraction become touchstones, foundational pieces from which attention can launch into image- and sound-scapes that might otherwise hold no associations. Inversely, the recurrent images themselves feel redefined and opened by the abstraction that surrounds them, pulling them through negative and positive space and situating them in a larger aesthetic context, opening the possibility for meaning behind what images (tombstones, angels, wintery limbs) may otherwise portend. The whole is broken down into pieces, and the pieces gain meaning by their persistence into attention.