• Those Who Wish Me Dead

    Those Who Wish Me Dead


    Seems like Sheridan fancies those S Craig Zahler films because the bad guys in this movie are poorly executed versions of what Zahler has been doing. Sheridan clearly just doesn't write characters that way so they stick out as super lame.

  • Apocalypse Now

    Apocalypse Now


    Theatrical Cut

    I really feel my enjoyment totally drop off whenever Brando is on screen. His character and a lot of the Kurtz compound feels just feels like a bit of a missed opportunity.

  • Nymphomaniac: Vol. I

    Nymphomaniac: Vol. I


    On its own, Nymphomaiac Vol. 1 is not the best Von Trier has done. Despite prefering the theatrical cut of this film, I tend to watch the extended cut. As one film, it does a really good job establishing Joe. She's a really dense literary character, despite most of her depth showing in Vol. 2.

    Vol. 1 also doesn't feel like it fully exploits the essayistic style that Von Trier has been using since. I mean, as a whole, Seligman…

  • Chaos Walking

    Chaos Walking


    Those Charlie Kaufman fingerprints are still noticable and I can't tell if it's better or worse for it.

    Regardless, I expected way worse. Even if what we got felt like a very surface take on a story with a lot of interesting opportunities for filmmaking.

  • The Father

    The Father


    Despite being horrifyingly nightmarish in tone and how the story is told, the subject matter is treated with so much sensistivity. The way the films form works with the content is just so brilliant. This is just about as well executed as possibly could be.

  • Cannibal Holocaust

    Cannibal Holocaust


    One of the best scored movies I've ever seen. So perfectly used in the most basic sense of "audio/visual".

  • South Park Vaccination Special

    South Park Vaccination Special


    Me. Service was a really good gag.

  • Minari



    I really like the music but a lot of it reminds me of the main theme from Cannibal Holocaust and thats a weird movie to be thinking of while watching this.

    Good first act, decent second act, great third act. The third act really begins developing the themes that were established in the first act. Its a bummer so much of the films early momentum is lost by the thirty minute mark.

    The ending is very odd in just how…

  • Southland Tales

    Southland Tales


    There are a ton of elements I liked better in the theatrical cut than the cannes cut; primarily the bizzare tone and pre-title sequence. I think the doomsday scenario interface does a really good job of quickly putting your feet in the world. I also think the progression early on feels better in the theatrical cut. That said, the cannes cut is definitely a better movie. Its just that some of the personality is lost in the process.

    Maybe Arrow…

  • Cherry



    I don't mind the crazyily inconsistent tone, I can accept the confused performances, I can tolerate the poorly done novel structure, and I can even go as far as to say I like a lot of the visuals, even if half of those choices fail.

    I cannot say those things make up for just how all over the place the goals of the movie are, the portrayal of drugs, and the lack of any filmic grammar. This weirdly reminds me a lot of Southland Tales and kind of makes that film seem incredibly cohesive. What a strange movie.

  • El Topo

    El Topo


    Great structure. While I can't help but feel distant from a lot of this, when it hits it hits. The middle chunk surrounding the four masters is just inconsistent, having some of my favorite and least favorite scenes.

  • Another Round

    Another Round


    I think the character of Anika and the family aspect in relation to Martin's character falls really flat. Anika comes off really unreasonable in just how unsuportive she is and that certainly coulf have been fleshed out more.

    Everything else is fantastic. Thomas Bo Larsen is phenomenal as always and really feels like the heart of this. And the last 20 minutes is just top tier stuff. This film is no doubt influenced by the real life tragedy that occured just prior to the shoot and emotion is palpably encapsulated in this film.