• Thief



    Michael Mann: if it ain’t competence porn I ain’t interested 

    those neons!!

  • The Chaser

    The Chaser


    Turned into an impromptu double feature with Netflix’s ‘Raincoat Killer’ docuseries, detailing the grisly crimes of one of South Korea’s most notorious serial killers, Yoo Young-chul, who mostly targeted the elder bourgeoisie and sex workers in the early 2000s. While that doc was well shot and the case was certainly interesting - its presentation veered too much into the exploitative which true crime often has a knack for. Despite being a three part series, it also left too many details…

  • Persona



    Sven Nykvist’s stark high contrast black and white cinematography is truly a sight to behold. Bergman’s composition here is truly masterful, those front facing and profile shots of Andersson and Ullmann are etched into the visual grammar of film history for good reason.

  • Dune



    As someone who was generally unenthused by the trailers, I liked this a lot! Maybe it was because of the pristine 4K and less crappy compression offering more clarity to the images, but the Brutalist architecture and minimalism really worked here for me. As an action setpiece that first reveal of the sandworm and the resultant chaos was awesome. 

    I think its biggest strength (besides being truly incredible as a visual and auditory experience) is how Denis manages to translate…

  • The Vanishing

    The Vanishing


    This review may contain spoilers. I can handle the truth.

    That eternal uncertainty? Curiosity, in this case, very literally killed the cat.

  • Waltz with Bashir

    Waltz with Bashir

    Beautiful animation and score does little to obfuscate that this is a ploy to solicit empathy for the ~ plight ~ of the oppressor. Would have benefited from a Palestinian and Lebanese perspective, who are instead relegated to the margins and rendered abstract for the most part - faceless, voiceless, dehumanised. A film that skilfully evades any serious condemnation or even acknowledgement of Israel’s involvement in the atrocities of the Sabra and Shatila massacre (instead shunting off the blame to other parties), and one that is relayed through the lens of the perpetrator in a manner that left me nauseous most of the time.

  • Still Walking

    Still Walking


    Ryota’s voiceover at the end was the final little gut punch

  • Malignant



    A gonzo, buck wild slasher pic is a refreshing change of pace in an age where seemingly every horror movie “is about trauma, actually.” James Wan took his studio clout, cashed in his blank cheque in true style and I salute him for it.

  • Godzilla



    Momentous in not only establishing the kaiju genre in Japan, but also as a cultural document capturing a nation’s scarred psyche in a wake of a hugely traumatic event. It’s an immensely poignant expounding of national catharsis, and the foregrounding of human drama as well as the paranoia endemic to a milieu rocked by atomic devastation (with visual nods to the Tokyo firebombing) has the resultant effect of instilling giant goofy lizard antics (the actor in the suit clearly knocking…

  • Purple Noon

    Purple Noon


    That close up on Alain Delon’s face as he kisses her palm at the end of the film is the most sensual thing I’ve ever seen

  • The Alphabet

    The Alphabet

    Didn’t realise I could be scared of the alphabet until now

  • The Big Heat

    The Big Heat


    Surprisingly gnarly for that era.