• Water Lilies

    Water Lilies



    The last feature film I'd left to see from Sciamma was her debut, and it turned out to be my favorite of hers - so far, I should say, as I've only seen them all one time, and I have a distinct feeling that the ranking very well may change upon rewatches. Naissance des pieuvres is definitely her least striking film visually, but what else could you expect than that from a great visual filmmaker's debut. She's not fully…

  • Scream



    I've seen the original Scream a couple of times before (and none of the follow-up movies), and I wasn't a big fan, even if I cave to the fact that it's got its few fun sequences. But I should've seen my reserved emotions to that one, not the least in comparison to all you others who seem to love it, as a sign to not go out of my way to watch this, because these movies are evidently not…

  • Cure




    The quick cuts in the scene between Mamiya and the doctor created the movie, in so that you suddenly feel the thing the affected characters are being subjected to, and it's a few distinctly unsettling and marvelous seconds. Later on, similar effects are being reached, and it doesn't stop being unnerving. It's a straightforward story, yet it puzzles the mind, with its rare sounds, afformentioned editing and dreamlike sequences. Good stuff.

  • Tom at the Farm

    Tom at the Farm



    Found no way in. No sense of time, no sense of logic. Reminded me of better movies (Basic Instinct, Phantom Thread, etc.), and not even Dolan's visual language could save it. Restrained in style, aggressive in temper and fairly empty in the end. It's a nice poster, though.

  • The Kindergarten Teacher

    The Kindergarten Teacher



    This was an unexpectedly unnerving film to watch. I thought I would be sitting here, writing about how big of a problem it is for the movie that you very early on, and very easily, can figure out where it's going. But instead I'm going to state that it's somewhat of a problem for the movie that it threw me off and went in another direction. If it doesn't go where I thought it would, which it actually seems…

  • The Spectacular Now

    The Spectacular Now



    Second watch, first in probably almost seven years. Liked it more now (would probably guess that my 1-100-rating then, if I'd given one, would've been somewhere between like 58-60/100), and I wasn't sure that was going to be the case beforehand. But it's a smooth and intimate movie, one that doesn't necessarily subverts your expectations, but certainly feels authentic and effective in what it's doing. And I like this movie this much despite not loving the performance by Miles…

  • Laurence Anyways

    Laurence Anyways



    Displays a great eagerness to create memorable and ecstatic imagery, and since Dolan seems to have a natural knack for it, some of the attempts are my favorite moments in the film. As a whole, it's a collection of important parts of a exciting but ultimately fractured relationship that works at times - but I couldn't shake the feeling of it being more hollow than it might look. Dolan doesn't reach the truth here, if you will. Not in…

  • Raising Arizona

    Raising Arizona



    Second watch, first in over six years, and it remained pretty much where I had it then after this rewatch. It's an uneven film to say the least. It obviously looks great, and it certainly delivers some humorous moments, mainly through its well-written set-ups for the editing to do the punch. But it's also got some sections where the ridiculousness take over and leaves my connection to the story and characters by the wayside. It's pretty ridiculous throughout, obviously,…

  • Vanilla Sky

    Vanilla Sky



    If I felt that I couldn't fully embrace Tom Cruise in Jerry Maguire, it's quite the opposite here. He's the thing that makes Vanilla Sky tick for me (should say that I haven't seen the original, so maybe there's other things that makes the actual story work, that I just don't give enough credit to). And it's good to be back in his camp, as I want nothing else. Will we meet again, somewhere past life - an orange…

  • Almost Famous

    Almost Famous



    Bootleg cut

    Wasn't prepared for this cut being a good half an hour longer than the theatrical, but hey, I got sucked in, so I didn't really mind it. Haven't seen the film, no matter the cut, in forever. Saw it a couple of times at least when I was younger - I think one time in school, and maybe one time on TV or something like that. Felt that I knew what it was and where I had…

  • Holler




    Is the way the forward to stay or to get out? A question looming over Jessica Barden's Ruth in Holler, just as it has countless other movie characters over the years. And it's still a question worthwhile asking and interrogating - because it's still very relevant for a lot of people. The afformentioned Barden is the main reason why this particular instance of it works. She's perfectly cast for this character that's got a somewhat hidden interior of vulnerability…

  • Judas and the Black Messiah

    Judas and the Black Messiah



    They're pretty hard to resist, the movies about people with the gift of language, with the gift of enchanting the masses. Even harder when the people like that are played by Daniel Kaluuya, arguably the most entrancing actor of his generation. And behind him, you see him there right on the poster, behind his back is Lakeith Stanfield, and he's not too shabby as an actor either (a.k.a. he's pretty damn great). Tells the outlines of the larger picture, and tries to get inside, sometimes failing, sometimes succeeding. Power to the people, always.