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  • True Grit

    True Grit

    ★★★★

    This review may contain spoilers. I can handle the truth.

    the symbolic order of frontier justice. it is in the name of the Father when [one] pursueth, bonds of pain repurposed to commercial theatricality—an elegy to the returning soul, disappearing over the hill and gone, but not forgotten, and never forgetting. the conceptualization of essential evil an empty signifier relating the intersubjective naturalization of the externalized value-form. fire and myth is a story relayed to the viewers amongst themselves.

  • Star Wars: Episode I - The Phantom Menace

    Star Wars: Episode I - The Phantom Menace

    This review may contain spoilers. I can handle the truth.

    it's a vast and empty (pseudo) space out there. institutional tautology and symphonic elegy, rigid adherence to cyclical dialectics that disrupts intersubjective passivity to the affected jedi, watching in horror as death is fulfilled as an emotional condition for the spiritual rejection of dasein (found in the body of the evil) and metatextual pastiche. it's a pattern to be repeated in revenge of the sith, except here a complete severance (both of darth maul and in familial displacement) produces reconciliatory…

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  • Tenet

    Tenet

    This review may contain spoilers. I can handle the truth.

    i understand the impulse to accept the movie on its own terms, but i find that there is nothing interesting to think (or feel!) about causality. tenet is constantly dulled by its own essentializing self-direction—unanimity in character, historicism and space a fundamental necessity to its own metanarrative project. liberalism is hip because women need the freedom of constraint; just state violence is merely transnational masculinity against a specified vulnerability to violently shutter any chance at emotional conclusion. in so doing…

  • Dunkirk

    Dunkirk

    This review may contain spoilers. I can handle the truth.

    the liminality between time and space feels much less subjective when paired with its own "objective history". title cards structure an un-structured story; times denote untimely, trundling, sequential events—of course it's only the fact that they're sequential at all that allows the narrative any benefit of the doubt. very much not a fan of nolan's rigid, macroscopic framing that leads to a confused selection of characters, each one less distinguishable from the last: walking political ideologues. let alone the complete…