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  • Saw

    Saw

    ★★½

    I confess to finding this whole thing sort of irritating, its budgetary restrictions papered over neither by solid performances nor by inventive filmmaking but by uselessly byzantine storytelling that ultimately communicates nothing a better film wouldn’t be able to just by sticking to the central premise alone. But still, what a premise! There’s a reason this captured the imagination of the moviegoing public, and to its credit the film strikes enough of an infectious sledgehammer tone at its biggest moments—firing…

  • The Pilgrim

    The Pilgrim

    ★★★½

    Chaplin’s followup to The Kid is the slightest of his features, as well as, I would argue, the more impressive among his first two, especially in how it navigates his entire worldview and comedic ethos within a leaner runtime without skimping entirely on the emotional core his cinema was so famous for. Bold moves from the beginning—Chaplin invites us to identify fully with an escaped convict without specifying the nature of his crime, subtly but firmly building on The Kid’s…

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  • Tenet

    Tenet

    ★★★★

    In my heart I’m just so happy that the ideas and concepts at play here feel like they could only have come from the mind of a college freshman who’s just taken their first bong rip and that a major motion picture studio gave the madman in charge of it all $200 million to see it through. Cowboy shit indeed.

  • Tabula Rasa

    Tabula Rasa

    ★★★★

    Achieves the very difficult task of making the female form alien, warping it in and out of shape and view to self-reflexively strike at the heart of a male-dominated cinema. Silent-style intertitles spell out the thesis: the cinematic image is a mirror, and what we see in it is an indictment of our own predilections. The smaller the image, the greater our projected physical and mental distance from it. But is it space to think or to lament that the…