Favorite films

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  • Star Wars: The Last Jedi

    ★★★★½

  • Star Wars: The Force Awakens

    ★★★½

  • Star Wars: Episode III - Revenge of the Sith

    ★★★★★

  • Star Wars: Episode II - Attack of the Clones

    ★★★★

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  • Twin Peaks: The Return

    Twin Peaks: The Return

    ★★★★★

    over the summer, i’ve been binging the entire TWIN PEAKS saga with my sister, me rewatching, her experiencing this world for the first time, and now we've just finished THE RETURN. how does one even go about articulating their thoughts on this season, let alone detailing everything that happens in it? it’s a colossal body of work (18 whole hours!) of such narrative intricacy, one so thematically dense and actively resistant to standard television conventions/structure, audience expectations/desires, and nostalgia that…

  • Miami Vice

    Miami Vice

    ★★★★★

    [theatrical cut]

    i didn’t expect another masterwork from the Mann himself after HEAT, yet here we are. the obvious superlative: this remains the most beautiful-looking digital film ever, especially considering its era when digital cinematography was somewhat at its inception (not too informed on that, tho). everything from the nightlife to the vacationing is bathed in the visual textures of grain/camera noise, presenting them at their grittiest or most raw; simultaneously persisting is a sensitive and romantic entity backing its…

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  • Possession

    Possession

    ★★★★★

    nightmarish, visceral horror imbued with such insurmountable despair; moments of tranquility are few and far between. POSSESSION is an abrasive and violating experience. the complex emotional torments and internal conflicts/turmoil inflicted by marriage are externalized, brought to the very surface, and manifested in grotesque, heightened, and extremely absurd forms that rare filmmakers like żuławski can execute without diminishing both the terror and intrigue.

    and isabelle adjani, man.

  • New Rose Hotel

    New Rose Hotel

    ★★★★★

    a sleek, cryptic cyberpunk mood piece with flourishes of neon/fluorescent hues, surveillance tapes, fuzzed images, and half-remembered memories, all commixing into one. ferrara perfectly constructs a dystopia in which everything has become diminished, reduced to corporate activity and hollow transactions; any remnants of deeper connections are lost and forgotten. gibson’s core vision: the dissolution of love by technology and capitalism; fully realized and translated here. the last half-hour, which is essentially x’s stream of consciousness played out, assembled from outtakes…