• Duel



    damn, young spielberg really went HAM on his reel huh

  • The Father

    The Father


    dementia: an epic tale of sound! and fury! featuring academy award winner anthony hopkins and academy award winner olivia colman

  • The Birth of Love

    The Birth of Love


    One of my favorite critics here said this movie has the best shots of people walking and I must disagree with him...they are OK at best. There is construction of mood, an arrangement of symbols here that reveals itself in interesting ways, how the idea of family surfaces, and how Leaud's character (and his amazing face) snakes around the narrative, the neurotic, bitter, but also genuinely open foil to Castel, only appearing to make Castel more dramatically alienated from himself…

  • We Are

    We Are


    no palace has ever been wobblier...and let me tell ya, that cloud ain't so wonderful anymore!!! loosens up a bit with the navel-gazing neuroticisms and delivers a brutal and tender ending to the "W" trilogy. definitely my favorite of the three. Ferraro score really slaps.

  • Secret Things

    Secret Things


    Psychosexual masterpiece about alliances and dalliances: no matter who you are or what you do there is always a bigger, meaner, hungrier dog just lurking around the corner, waiting to declare holy war on your empire, and piss the living shit out of your lamp post.

    Brisseau goes for a doll-house approach here; every scene is a room the characters walk through one way or another and sometimes I feel like the sort of compartmentalised, segmented way the characters move…

  • Lane 4

    Lane 4


    This catatonic coming-of-age lurches a good amount in narrative damp spots, but ultimately earns its moody world-building by eventually getting to a surprising conclusion that doesn't feel misplaced, which I think you know, ultimately makes it successful film. But even if the film ultimately is about pre-teen alienation, wouldn't have minded a little bit more specificity in some of Amanda's interactions with her parents or her friends. Fernanda Chicolet is a national treasure and, as usual, is criminally under-utilized!!!!

  • Get the Goat

    Get the Goat


    creative and fun national twist on the "buddy cop" movie; Edmilson Filho is quickly becoming one of the best comedic actors around, delivering physical comedy, deadpan jokes, and the over-the-top regional tics and mannerisms for the crowd in the bleachers with striking consistency and variety. Nachtergaele is strikingly miscast as the straight-man of the duo, but the jokes come loose and fast and the plot keeps on messing around with genre conventions, that he doesn't get in the way of the whole endeavor

  • Palm Springs

    Palm Springs


    dang they really went for the timeloop thing...and nailed it huh

  • The Warriors

    The Warriors


    my first walter hill, so I guess I really didn't know what to expect but dang this was wacky in all the right ways. it seems like hill just got all the tropes from all gang/mob movies, cut all the fat, amped the bravado, turned up the glam and let it all wild the fuck out. that "parlay" scene between the warriors and the orphans is one of the funniest things i've ever seen.

  • The Empty Man

    The Empty Man


    death stranding written and directed by gore verbinski

  • Blow Out

    Blow Out


    Travolta is the perfect avatar to move through a De Palma film, really just maximizing the slickness of it all, but there is a sort of jaded romanticism here that feels slightly unearned. the brutality of the politics of image-making are felt, and I love De Palma for really sticking his hand out there and making such a beautiful movie for the guys working behind the curtain, but all of the other characters besides Travolta just feel a little bit…

  • Closer



    this movie existed in my vague memory as a floating natalie portman pink wig, so I was very surprised to see that it was directed by mike nichols (!) and also has jude law and clive owen sexting on AOL chatrooms (!!!)

    nichol's borderline endearing takes on toxic masculinity are taken for a very theatrical spin here. portman/law/owen/roberts absolutely kill it, but Nichols’ steadfast commitment to the quips works against them. of course it boils down to the text, and…