Favorite films

  • The Phantom Carriage
  • All That Heaven Allows
  • Black Christmas
  • Eyes Wide Shut

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  • Black Book

    ★★★★

  • The Power of the Dog

    ★★★½

  • Benedetta

    ★★★★

  • The Shop Around the Corner

    ★★★★½

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  • Four Nights of a Dreamer

    Four Nights of a Dreamer

    ★★★★½

    Other commenters have mentioned that this constitutes somewhat of an oddity in Bresson’s filmography, and I am inclined to agree. Considered amongst his other films, Quatre Nuits d’un Rêveur is similar in that his central themes—the mysterious nature of the human personality and the fundamental malleability of signs—remain the same, but dissimilar in its focus on the most primal of human emotions: love.

    Oddly enough, the other two films I have watched this month—prior to writing this review, Wong Kar-wai’s…

  • The Joy of Learning

    The Joy of Learning

    ★★★★★

    Le Gai Savoir, along with Le Mépris, marks Godard’s most critically essential output during the ‘60s. Where Le Mépris is concerned with the limits of cinematic formalism and the parametric echoes of bodily representation vis-à-vis art history, Le Gai Savoir condenses its mise-en-scéne down to the bare essentials and mixes politics with its theoretical concerns. 
    Picking up where La Chinoise left off, this film sharpens its critique by condensing its visual field. The results are likely to irk viewers accustomed to consuming standard narrative cinema, but those willing to dispense with the ideological habits that are borne out of such consumption are in for a treat.

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  • Black Swan

    Black Swan

    An inherently sadistic and regressive film that is essentially an argument in favor of punishing ambitious women. Its ideological center is almost as corrosive as the festered racism at the core of Requiem for a Dream. Plus, it’s obnoxiously derivative: Michael Haneke already tackled similar subject matter in a much more meaningful—and far less misogynistic—film, 2001’s The Piano Teacher.

  • Suicide Squad

    Suicide Squad

    ½

    People rating Suicide Squad any higher than one-and-a-half stars are merely pissed at the critical savagery (rightly) directed at it. Here's the thing though, joke's on them—because the film is corporatized drivel at its least compelling. This is the stuff Harmony Korine's (much more intriguing and culturally significant film) Spring Breakers aims to satirize. Thinking any more about this spotty sculpture of neon green diarrhea and the cultural genocide it represents would literally be a waste of my time. If you must subject yourself to it, understand you'll be slightly dumber for having done so.