moviesmovington

moviesmovington

Writer whose influences include Ingmar Bergman, '40s film noir, '50s musicals, neorealism, and Full House.

Favorite films

Don’t forget to select your favorite films!

Recent activity

All
  • The Social Network

    ★★★★½

  • The Humans

    ★★½

  • Nightmare Alley

    ★★★

  • Breakdown

    ★★★★

Recent reviews

More
  • The Social Network

    The Social Network

    ★★★★½

    Really annoying that pompous blowhard Aaron Sorkin’s screenplay is so good. And for more proof he shouldn’t be directing his own material, look at how a “real” filmmaker like Fincher handles it here.

    Looking back it’s unbelievable that Garfield wasn’t Oscar-nominated (and likely should have won). He’s the MVP.

  • The Humans

    The Humans

    ★★½

    In which Stephen Karam suffocates his own play. I saw THE HUMANS twice, first off-Broadway and later in LA post-Broadway with the same director (Joe Mantello) and cast.

    Karam seems self-conscious about the piece’s stage origins and in directing it himself, tries WAY too hard to translate it in cinematic terms. The text is basically the same, but gone are the free-flowing rhythms of his dialogue and the black comedy peppered in.

    THE HUMANS is a grim play at times…

Popular reviews

More
  • tick, tick...BOOM!

    tick, tick...BOOM!

    ★★½

    Whoo, I have Thoughts™️.

    It’s fine but ultimately rubbed me the wrong way. Keep in mind I’m not much of a Jonathan Larson fan - his era-defining smash RENT is unfinished, ranges in quality from brilliant to mediocre, and would never have achieved its iconic show-of-a-generation status if not for its creator’s tragic and untimely death.

    The chief problem with this movie is that it’s one insufferable egotist (Lin-Manuel Miranda) paying tribute to another (Larson). I’ve always found Larson a…

  • Zola

    Zola

    Vapid and hollow to the core. I think it’s time we discussed the stanning of A24 as a company - once a mandate-less indie studio eager to take on emerging filmmakers of any genre/aesthetic, they now seem to have a calculated brand designed to appeal to Very Online™️ film Twitter and Letterboxd denizens.

    It’s all there. The neon. The chunky film grain. The droning Mica Levi score. ZOLA is desperate to let the audience know how effortlessly cool and nonchalant…