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  • Nomadland

    Nomadland

    ★★★★½

    There's an old parable about a bear who lives in the circus. When he's not performing, the bear is kept in a small cage with barely enough room to walk around. So the bear spends his days pacing in circles, the same loop over and over again. One day, the bear's trainer forgets to lock the door. He realizes his mistake and rushes back, fearing that a ferocious animal is on the loose. But he finds that he has nothing…

  • Yojimbo

    Yojimbo

    ★★★★

    "それはすぐにエスカレートしました
    それは本当に手に負えなくなった"

    "私トライデントとともにで男を殺した"

    A Fistful of Dollars would be at least 30% better if, every once in a while, Clint Eastwood pulled his arms up into his shirt and scratched his chin through his neckhole.

    Looking forward to watching For a Few Jimbo More.

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  • Within Our Gates

    Within Our Gates

    ★★★½

    Doesn't really come together until the third act flashback, but that third act is really moving. Watching this made me think how awesome it is to be able to click a few buttons and have the oldest surviving film by an African American play in my house. For all the consternation about the future of movie theaters and film in general, we're very fortunate to live in the era we live in.

  • Like Someone in Love

    Like Someone in Love

    ★★★★

    Like Someone in Love begins in a bar and ends in an apartment. In between, there's a lot of scenes in cars. Sometimes driving. Sometimes sitting still. It's pretty typical for Kiarostami, who includes driving scenes in many of his films. It can be used to open scenes up and give them a sense of momentum as scenery passes by or, conversely, to create a sense of claustrophobia as characters have important conversations trapped inside a small space together. Kiarostami…

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  • Police Story

    Police Story

    ★★★

    The opening shootout and bus scene is enjoyable and the final scene in the mall is pretty great, but everything in between ranges from boring to actively annoying.

  • Something Useful

    Something Useful

    ★★★★

    There's something uniquely feminine about this movie. Leyla is allowed to be intelligent and curious and self-assured while also being nurturing and kind-hearted. Canan is conflicted in a way that feels natural and not plot-driven. There are no villains. No angry screeds or violent confrontations. It's deliberately paced but never boring. Warm but not cloying. It's something special.