• Starman



    It wasn't until this viewing that I caught the fact that the message on the record was recorded by Kurt fucking Waldheim, which is really fantastic, whether or not Carpenter was aware of his history when this came out or not. Extravagant yet sober, deeply felt yet rarely overly sentimental, it's Carpenter at his most humanistic, at once brutally blunt about humankind's devotion to violent domination and unshakeable in its belief in the love that forms between living creatures, one…

  • Falling in Love

    Falling in Love


    Stories like this depend on leanness. Simplicity demands a feeling of concentrated focus, at least when it comes to movies. Considering the title, one might assume that the focus would then be on the attraction between De Niro and Streep's married lovers, but there's entirely too much other business going on here for their mutual, blooming attraction for one another to really stick. Cristofer's goal may be to underline just how many forms love takes, and how the thrill of…

  • Tenet



    In which Nolan unburdens himself with the excessive narrative scaffolding that rendered large portions of Inception tedious in favor of letting us come to our own conclusions and risking losing the audience to the intricate, barely explained conceit, all to the better. As a story, it's lean, kinetic, engaging, and, yes, occasionally very goofy, but aside from the whole "protagonist" nonsense, Tenet offers the first full view of what Nolan could achieve if he cared less about explaining himself and…

  • Dusty and Sweets McGee

    Dusty and Sweets McGee


    "It's kind of...vicious...or something."

  • Truth or Dare

    Truth or Dare


    Quit fucking around and just give them all the Windowlicker face!

  • Another Round

    Another Round


    Not a big fan of Vinterberg in general, but this is undoubtedly one of his finest works thus far, if mostly because it gives Mads this role to really explore in gestures, pauses, and movements as much as rhythms of delivery. The loose camerawork still bugs me, I have to admit. It inherently breaks the tension of the image and frame for me, and makes it more difficult to produce images that do more than simply communicate what was on…

  • Wonder Woman 1984

    Wonder Woman 1984


    I'm thinking fuck this movie. Maybe a whole lot.

  • What She Said: The Art of Pauline Kael

    What She Said: The Art of Pauline Kael


    As absent of anything like intellectual rigor or historical curiosity or visual buoyancy or insight or simple joy as any documentary that I've seen, centered on a subject that should rouse all of those at once. Limp yet overbearing direction; music that holds your hand to make sure you're feeling the right things; interviews with colleagues, admirers, and friends boiled down to sound bites, scrubbed almost entirely of intimacy. Among all these issues, it's worth underlining the fact that Kael would have absolutely hated this movie. A complete waste of time and good footage.

  • Some Kind of Heaven

    Some Kind of Heaven


    Oppenheim's attempt to portray The Villages as separate from the world that surrounds its gates is both a blessing and a curse here. There's an undeniable potency and intimacy to how the people open up to him, and how he frames the popularity and cohesion of the community as a shared expression of spiritual decay and not-so-quiet resentfulness at the life they led before they arrived. He portrays their absurdly privileged and hedonistic behavior as the result of not seeing…

  • Bad Trip

    Bad Trip


    Funny and well-paced overall, but the energy noticeably dips and the jokes feel flimsy when the leads aren't in the middle of a big set-up and must be human, because Andre's entire style requires aggressive, unhampered attention-seeking behavior. He breaks the formulaic and familiar tendencies of most modern comedies (romantic or otherwise) over his knee and proves that there's more humor to be mined from unplanned, unregulated human response than a good one-liner, but that seems to be his entire…

  • Let Them All Talk

    Let Them All Talk


    Soderbergh marries a kind of movie that would never make money - Godard's restlessly abstracted and aggressive anti-capitalist deconstructions - to a kind of movie that was making money until very, very recently - Nancy Meyers pictures, romantic dramas and comedies starring women older than 50 - in portraying a world where people are increasingly aware of the monetary worth of not just their time but their lives, stories, opinions, and experiences. On the face of it, it is an…

  • Mank



    Inez, you are not to let David Fincher direct a period piece for Netflix. Ever. He's been grilling hot dogs in the fireplace again.