J. Nye

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  • Passion

    Passion

    ★★★★½

    There’s something of early Resnais in Sylvia Chang’s tender and discerning almost-a-love-story sophomore feature: told in flashback, Chang leaps around various time periods yet never explicitly identifies when they occur, trusting the viewers’ intuition while also allowing the memories to flow freely into each other, like the cyclical petals of the tomato rose George Lam makes for Chang in an early scene. Chang’s script deconstructs the way we store our memories within such mementos—one of which, in a revelatory moment,…

  • Another Woman

    Another Woman

    ★★★

    A study of self-absorption that is itself self-absorbed, which I suppose is the entire point: even Rowlands's narration, while initially coming across as redundant and overly novelistic, gradually reveals itself as just another part of her character's inability to see past her own narrow biases. The question is whether Allen can, either, and the film's dependence on bargain-Bergman symbolism (masks, theater stages) and the usual melodramatic standbys (marital unfaithfulness, abortion) suggests probably not. Still, this has a pleasing rhythm to…

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  • The Arrival of a Train at La Ciotat

    The Arrival of a Train at La Ciotat

    ★★★★★

    If any movie deserves a 3-D rerelease, this is it.

  • Manos: The Hands of Fate

    Manos: The Hands of Fate

    ★★★★

    First time watching this without MST3K, and its absence opens up a void both mesmerizing and chilling. There comes a point where incompetency moves beyond familiar formulas and patterns and enters alien terrain, producing effects that seem to be from another dimension, and Manos certainly finds it. The remnants of plot that register—a badly-dubbed family finds itself stranded in a nondescript lodge caretaken by the semiconscious Torgo (John Reynolds in a genuinely fascinating, one-of-a-kind performance)—are actually aided by Harold P.…