Brian Schmid

Brian Schmid

I love HALF BAKED and SPACE JAM.

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  • Repast

    Repast

    Devastating, underseen masterpiece deserves a place among the Japanese-domestic-drama canon; a story of existential dissatsifaction, irrational jealousy & profound, intractable sadness with another great Hara performance and an unintentionally crushing, apparently studio-mandated "happy" ending.

    Hara plays a neglected housewife trapped in a banal, loveless marriage where all she does is housework, and is plunged into existential envy and frustration when her flighty, attractive young niece shows up and spurs her husband into rapt attention.

    Like the best films of this genre,…

  • Nomadland

    Nomadland

    An ungainly documentary/fiction hybrid, placing a famous actress into a genuine gathering of vagabond poverty, having all of the particulars speak apparently off-the-cuff and use their real names and situations, feels artificial and somewhat invasive. The movie only feels genuine during these sequences (even as Zhao has clearly cut around them to spotlight digestible platitudes as much as possible (tell me the ten commandments of stealth parking, damnit!), and perpetually cutting away from these lively people to focus on McDormand's…

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  • Syndromes and a Century

    Syndromes and a Century

    ★★★★★

    "Normally I sing about teeth and gums, but this album is all love songs"

    With SYNDROMES & A CENTURY, Apichatpong Weerasethakul sorta-makes his own version of Tarkovsky's MIRROR: a fractured, beautiful, cyclical autobiography in cinema. Tarkovsky's film was concerned with the whole: inward-facing, but dealing with lost innocence, a desperate search for God and the scope of human existence. Early in on his film, Weerasethakul seems much more interested in the part, the details, the specifics, the ground-level, the things you…

  • 100 Girls

    100 Girls

    Neil LaBute’s one great film, the incendiary and brilliant IN THE COMPANY OF MEN (1997), is a film about a pair of ignorant, mean-spirited upper-middle-class white misogynist men ranting their frustrations I all but despised for 98% of its runtime before its climactic revelation made me recontextualize the entire film up to that point, entirely for the better. Writer-director Michael Davis (SHOOT 'EM UP)’s 2000 college sex comedy 100 GIRLS has much the same content for its first 98%, but…