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  • Mank


    "it's a love letter to hollywood" bro you need to try writing love letters to some bitches

  • The Lego Movie

    The Lego Movie


    So smug and self-referential in ways that are antagonistic to much of its emotional potency - cloyingly self-satisfied in its capacity to only be overpowering through an existing investment in franchisal intellectual property. I like that creativity is presented as this truly liberating force in the face of capitalist singularity, sometimes channelled through sculptures making full use of the film’s stylistic flexibility - which is also why the visual destruction of these structures feels heavy. Yet this is still a…

Popular reviews

  • It Comes at Night

    It Comes at Night

    Funny how this has virtually zero charged imagery despite only understanding its post-apocalyptic circumstances as a sum of graphic images, untethered to any interiority. These images don’t connote anything beyond being graphic. Every single anxiety is expressed as a physical threat, which isn’t inherently a bad thing, but when a camera lurking slowly through a house becomes a clean metaphor for grief without wielding any of its subjective qualities, it’s crass and distant - like Trey as a director basically.…

  • The Killing of a Sacred Deer

    The Killing of a Sacred Deer


    The difference between this and an Ari Aster film is that Yorgos correctly recognizes angular, prestige formal structures as fundamentally empty, in this case failing to bury the consequences of a character's regretful past. It's why characters are framed as units of larger urban spaces, and more incisively, within images of bourgeois stability (upper class housing, nuclear families). This self-consciousness does afford his images a certain degree of emotional potency, yet Yorgos is also incapable of thinking outside the confines…