Elisha has written 43 reviews for films rated ★★★ .

  • Zazie dans le Métro

    Zazie dans le Métro


    I enjoyed this, even if the slapstick wore thin after a while.

  • Women Without Men

    Women Without Men


    I can’t necessarily call this enrapturing, but the poetry elevated parts of the story in a way that I can’t deny. There are two particular scenes about flowers (both paper and real) that form a beautiful metaphor for me about women’s bodies and souls, and the way society represents them as things that are constantly losing value over time when this is far from true. And I think the corruption of what is supposed to be a liberated safe haven for these women, as well as how it comes about, is interesting.

  • Memories of Underdevelopment

    Memories of Underdevelopment


    At times, this films ideas felt bigger than its cinema. I think trying to constantly grasp at the straws of its political intent– ironically based upon one’s lack of political intent– prevented me from really engaging with Sergio’s emotional subtext. His disaffectedness wore thin on me, and the archival footage within the context of his journey aroused little in me as well. Granted, this probably would’ve been better brain-food had I done my homework beforehand, I don’t think I’d have…

  • The Passionate Friends

    The Passionate Friends


    Covers a lot of the same emotional ground as Brief Encounter (the two cant help but be compared thanks to the premise and Trevor Howard), but I think it does a much better job of placing you within the depth of emotions of each character involved. Oh, and those long dissolves had me melting near the beginning. Also, Claude Rains does his damn thing in this. He brings a fragile emotional undercurrent and sympathy to a man that could’ve just as easily been an austere stock character.

  • Putney Swope

    Putney Swope


    Beautifully shot, decently funny, and sometimes hilarious. It’s got that New York liberal brand of racism to it. You know, the “smart” kind that’s somehow more aggravating because it tries to dig deeper than it can. Yeah I know it’s absurdist. Still, meh. At certain points I found the satire to be pretty sharp, but for the most part it’s pretty standard stuff that’s well delivered until it starts to wear thin due to repetition. The advertisements are dope tho.

  • Family Romance, LLC

    Family Romance, LLC


    A bit of zen here, a bit of zen there. There are many impactful and tender moments which make the film worthwhile, but it doesn’t quite come together for me. The score is beautiful and it left me with a few things to consider. Something about digital when it comes to the guerrilla style just makes my eyes float though. I think it touches a different part of my brain. Anyways, onto the Q&A..

    Q&A Update: Werner Herzog is an astonishingly beautiful human being and he has added another layer to this film for me philosophically. I love him 🤧

  • Red Road

    Red Road


    This feels like a semi-direct beeline from Andrea Arnold’s short films. Sometimes that works to the films advantage, and you see the evolution of things present in her earlier work. But other times the film feels a bit thin in areas she excelled at within the short film format. So yeah, kinda like a feature debut. I’m usually hesitant to say things like “I would cut this” or “I would cut that”, but this did feel a bit drawn out…

  • Tchoupitoulas



    Dammit this was really doing it for me in those first few minutes. The opening scene and the scene in the kitchen/house were magical. I felt back at home, and embodied these brothers that looked like me and my brothers in the city that we’re from. But then things got touristy (I lowkey let out a moan when they got to the French Quarter) and I couldn’t get back to that place afterwards. Kind of upset about it. Still it’s…

  • California Split

    California Split


    This wasn’t for me through and through, but I heavily appreciate it. The multilayered dialogue tracks, the tone, the characters. The ending didn’t completely pay off for me dramatically, although I did feel it to some extent. And Elliot Gould. Always Elliot Gould. Also, I had no clue Jeff Goldblum was in this. That was a pleasant surprise.

  • The Thing

    The Thing


    I feel like a decent amount of this movie’s appeal relies on me finding Kurt Russell extremely cool (which, I can see, a lot of its fans do). The special effects are great. It’s entertaining enough. I got wrapped up in it when I was asked to, but everything in between was pretty par for the course. I didn’t think this was up there with Alien (which I love), but it’s a good time at the movies nonetheless.

  • Multiple Maniacs

    Multiple Maniacs


    “I love you so fucking much. I could shit”

    Grand Theft Auto: The Movie (seriously, they should cut John Waters a check). I’ll admit that the first half (including that scene) put me to sleep. But after that *ahem* brief intermission I loved the second half. Divine deserves a posthumous Oscar for this performance. In short: t’was a blast, and I recommend it.

  • The Favourite

    The Favourite


    This isn’t a bad film by any means. It just lacks that same bite I come to Yorgos films looking for. I can feel the punches being pulled, no matter how many times they actually land. The first half suffers the most from this. There are familiar flourishes of punishment, but without (or with very little of) the familiar flourishes of absurdity that accent pain and invite your mind to assess it. Also, I’m not an accent coach or expert…