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  • Point Break

    Point Break

    ★★★★

    EUREKA!

    "You gotta earn trust."

    A beautiful, metaphysical examination of the male ego, particularly as defined by pop media. Acting serves a medium through which a man learns his true self and his true instinctive desires. The unobtainable "ultimate ride" represents mankind's endless quest for answers, liberation, and purpose; a cleansing by water and wave, taming the forces of physics and nature by the will of man, or at least attempting to. Society shackles its liberal denizens with codes and…

  • The Wolf of Wall Street

    The Wolf of Wall Street

    ★½

    I hate this film. I watched it about a year ago and was thinking about it recently and just now realised, to me, it essentially feels like a parody of Goodfellas. Whereas that film thrives on its hasty rhythm and quick wit and shocking violence to deliver an oscillating effect between exciting and unnerving, the manic nature of Wolf feels entirely devoid of humanity.

    Goodfellas is doused with humanism, particularly nearing the end of its inevitable tragedy, where we watch…

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  • Naked Lunch

    Naked Lunch

    ★★★½

    In which Cronenberg wondrously overloads on depraved sensuality and beat-suffused intoxication, but too often forgets to add pathos where it counts the most. No matter, this Burroughs adaptation/inspired biopic is brimming with destructive considerations on gender, addiction, sexuality, and most of all writing -- a logical exercise buoyed by the singular mind of a distinctive author -- that the ironic lack of humanity is almost entirely the point. Like a prequel-set successor to Videodrome -- this 'new' flesh of typewriters…

  • I'm Thinking of Ending Things

    I'm Thinking of Ending Things

    ★½

    A mixed salad of ideas, the ingredients of which include gummy worms, Oreos, Cool Ranch Doritos, and Big Mac lettuce; that is to say, a tossed bunch of easily-digestible thoughts thrown together into a discordant mess. Every over-exaggerated scene (Toni Collette has never been worse), every moment of forced awkwardness, every Lynchian time skip; all add up to a hodgepodge of persistent existential dread, which might work if the overall film wasn't so lamely infatuated with itself.

    Kaufman knows how…