Victor has written 32 reviews for films rated ★★★★★ .

  • Don't Look Now

    Don't Look Now


    It’s hard to believe I put off watching this for so long, but I suspect having a few decades of love and loss behind me only enhanced the experience; if nothing else, I had no trouble relating to a protagonist whose misdirected perspective proves disastrous. Roeg lets his schematism overtake emotional realism in a couple of scenes, but his two fearless leads — especially Julie Christie, who’s uncannily open and engaged — more than take up the slack. Definitely worth the wait.

  • Adult Material

    Adult Material


    Best money shot ever.

  • The Crimson Petal and the White

    The Crimson Petal and the White


    Those hearts of gold really ought to come with an operator’s manual.

  • The Wolf House

    The Wolf House


    “I don’t like to sleep. I dream things.”

    Better than your best worst nightmare.

  • Hadewijch



    Achieves surprising parity with Viridiana, which I also just watched for the first time, in how it draws a circuitous line from fervent devotion to well-intentioned but misguided zealotry. Unlike Buñuel’s heroine, though, Dumont’s Céline sidesteps symbolic weight in favor of an intensely personal exploration of opaque, ultimately catastrophic solipsism — it’s the quietest and least overtly confrontational of his films that I’ve seen so far, and seems to be the start of his pivot away from violent miserabilism to vulgar humanism. A couple of weeks out it’s become my favorite of his movies.

  • Black Christmas

    Black Christmas


    When this cut to moaner-cam POV I was prepared for it to confirm my belief that if you’ve seen two slasher movies you’ve seen one slasher movie too many, but I was happily shocked to discover it’s one of the scariest, most visually inventive and meticulously conceived horror films I’ve seen in years instead. Still not going to watch Porky’s, though.

  • The Hourglass Sanatorium

    The Hourglass Sanatorium


    Has does a remarkable job of capturing the uneasy warmth and rambling anti-logic of Schulz’s stories, and sweetens the pot with frequent visual callbacks to his drawings. For all that, he takes a darker, more fatalistic approach to the source material’s indifference to linear narrative — in no small part, I’m sure, because he knew how it ended for Schulz. Where the author seemed content to drift through and get lost in his dream landscape, Has anticipates the pit-trap at the center of its ever-regenerating concentric circles.

    Profoundly disorienting cinema, and a standard for literary adaptations.

  • Too Old to Die Young

    Too Old to Die Young


    Sometimes you get the Tocqueville you deserve instead of the one you want. *spits*

  • Bacurau



    It’s been a long time since I’ve contemplated a future worth supporting. Get it done, Bacurau!

  • Coming Out

    Coming Out

    Good-guy Godzilla isn’t my favorite Godzilla, but this is a notable exception. Loved the specs, too.

  • Rebooted



    A must-see for monster kids.

  • Lilly



    Inadvertently timely, wrenching but cathartic. Kodak gets a shout-out. Does Jodie Mack ever sleep?