Luqmaan

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  • Mank

    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…

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  • 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

    ★★½

    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…