• Test Pattern

    Test Pattern

    Despite the heavy subject matter which usually hits me like a gut punch I didn’t feel much of anything watching this and wasn’t invested in the central relationship in the way I needed to be for the story to resonate. A major disappointment after hearing such good things from colleagues.

  • The Power of the Dog

    The Power of the Dog

    On a visual and technical level it’s use of nature is a marvel. It’s compositions are movingly gorgeous. Thematically it deals with a lot of ideas that intrigue me around the performance of masculinity and what lies beyond that. The queer resonances being a big part of that and yet…I was left cold. 

    I feel Kirsten Dunst was wasted. She’s such an amazing performer and her character’s descent into alcoholism has the potential for gristle but that is not where…

  • C'mon C'mon

    C'mon C'mon

    From my Vulture review. I loved the film even more the second time I watched it and it hit me like a gut punch. I dig deep into the cinematography, acting, nature of family and more. Read my review here. 

    “Not much happens in C’mon C’mon. There’s no overly grand gestures of love. There’s no arch monologues. There’s no teary reappraisals underscored by irrevocable shifts in the characters’ lives. As Johnny travels with Jesse in tow and Viv wrestles with Paul’s…

  • The Souvenir

    The Souvenir

    Despite interrogating ideas that usually excite me, I fucking hated this. Such a beautiful bore.

  • The Invisible Man

    The Invisible Man

    Claude Rains is one of the best actors Hollywood has been graced with. One of the most skilled and dynamic artists put in front of a camera. His voice is delicious — the way he gracefully rolls words along his tongue, elongating them and making every sentence a meal. It’s a wonder! He remains an eternal fave of mine. Every bit of love I have for the film is really rooted in what he can do with his voice and his presence. (But the film as a whole is definitely dynamite and delectably dark.) 


    Also, the Invisible Man’s look? Baby, that’s iconic.

  • Last Night in Soho

    Last Night in Soho

    What the fuck was this mess? Starts off fun but falls apart when it reaches toward something meaningful and revealing to say about the way men use and abuse women. Devolves into a “damn, bitches be crazy” story that obliterates the good will it engenders. Also, kinda chuckled at the framing of Thomasin Mackenzie’s lead character as quiet, yearning, and picked on by vapid mean girls. (And not a good chuckle, mind you.) Anya Taylor Joy innocent.

    It’s a shame…this…

  • Passing

    Passing

    Review forthcoming on Vulture.

  • Nomadland

    Nomadland

    Yeah, still don’t care for this movie at all. It’s competently made but nothing about it resonates or moves me.

  • Eternals

    Eternals

    From the beginning of my Vulture review you can read here: 


    “It was supposed to be different, wasn’t it, with its commitment to real locations and imagery not wedded to the artificial? Trailers teased as much — lush jungle, water cresting over gnarled rocks, sunsets peaking through outstretched hands. 


    A reflection of the sensibilities director and co-writer Chloé Zhao developed in films like the evocative The Rider and far less evocative Nomadland. Eternals, the latest installment in the Marvel Cinematic Universe,…

  • Paprika

    Paprika

    Wild and genius. Can't believe it has taken me so long to watch this. Still thinking of its beauty and ingenuity and curiosity.

  • Titane

    Titane

    Whew. What a fucking movie! When I first left the Music Box after seeing this with a dear friend I admired the film in a sort of clinical way --- from a distance, admiring its boldness and the tenacity of its writer/director, Julie Ducournau. But the further I get from seeing it the more I've grown to love it, even though I'm not sure how I wholly feel about the second half when the film turns into a completely different story of adopted identity and interpersonal ruptures. Loved the gender fuckery of it all. It's brutal and evocative and unexpected and weird and wild. I'm obsessed.

  • C'mon C'mon

    C'mon C'mon

    Full review forthcoming on Vulture. I really dug this one -- mostly in parts but not quite as a whole. I love Joaquin Phoenix at this register -- sweet, well meaning and avuncular. His performance is truly amazing and brimming with care and empathy. Was shocked he made me give a damn about the interior life of a podcaster who is traveling across the country interviewing kids about their own lives and struggles and perspective. I, unsurprisingly, am really fond of…