Steve Erickson has written 7 reviews for films rated ★★★★★ .

  • Hannibal

    Hannibal

    ★★★★★

    IMPORTANT NOTE: This is not a review of Ridley Scott's film, which I have never seen. There's no other space on Letterboxd to write about the TV series, whose final episode I watched today. That's what I'm reviewing.

    First season: "this is a pretty good murder-of-the-week procedural"
    Second season: "this is excellent"
    Third season: "Holy shit, this has become one of my favorite TV shows ever!"

    I'm not crazy about THE SILENCE OF THE LAMBS; in fact, I criticized it…

  • Le Bonheur

    Le Bonheur

    ★★★★★

    When I first saw LE BONHEUR at a MOMA retro of Agnes Varda's films in the '90s, the ending was greeted with a mixture of cheers and boos from women in the audience. At the time, I loved the film (it's still my favorite Varda) and thought the latter misunderstood its ironic denunciation of male selfishness and sexist definitions of happiness. But it's now been neglected in favor of less prickly works like CLEO FROM 5 TO 7 & THE GLEANERS…

  • Vitalina Varela

    Vitalina Varela

    ★★★★★

    I saw God, and I'm an atheist.

    Full review here: www.gaycitynews.com/lisbon-mostly-in-dark-shades/

  • Resurrection Of The Little Match Girl

    Resurrection Of The Little Match Girl

    ★★★★★

    Best onscreen text of the 21st century: "Lara, as in Croft. But lesbian."

    #justiceforjangsunwoo

  • The Song of Styrene

    The Song of Styrene

    ★★★★★

    Resnais took a commercial assignment and made the capitalist equivalent of MAN WITH A MOVIE CAMERA (mixed with a Donen or Minnelli musical.) Who knew there was any beauty, poetry or music in manufacturing plastic?

  • Mouchette

    Mouchette

    ★★★★★

    Bresson's closest intersection with neo-realism? It shares DNA with Rossellini's films about children and went on to influence SATANTANGO, ROSETTA and possibly even KES.

  • Punch-Drunk Love

    Punch-Drunk Love

    ★★★★★

    Damn. I saw this 4 times in 2002-3, but I'm not sure I've seen it since then. I don't know if its combination of an extremely sour, angry and harsh version of Adam Sandler's usual man child persona - emphasis on the "punch" - qualifies as a critique of the worst aspects of American masculinity, especially since his redemption in the arms of a woman isn't exactly realistic, but this film constructs a world that feels unique and lived-in even…