• Candyman

    Candyman

    ★★★★½

    Halloween viewings #1

    I tremendously enjoyed this already when it was commenting on the dick-measuring between white scholars in the academic field, a phenomenon that doesn't feel too important until you enroll in university, and then it is all around. Considering that universities produce essential information about the way society works, it's no small gesture to question the purposes or starting points of those producing the information. And a good part of Candyman focuses on the way information is collected…

  • The Green Knight

    The Green Knight

    After years of waiting and postponing caused by the pandemic, Lowery's newest output was a disappointment. Such an enjoyable audiovisual experience but the kind that stays in the cinemas where it was viewed and leaves basically nothing with the viewer. The Green Knight is a film that solves itself almost too easily and ends up force-feeding the audience. I enjoyed Lowery's impressive visual meditations on the fear of dying but his attempts at commenting on the nature of masculine myths…

  • Wrath of Man

    Wrath of Man

    Electrifying action sequences, one of the few genuinely great Statham performances and a million times better than The Gentlemen. I think I lost part of my interest in the sprawling flashback that felt like it interrupted the flow and atmosphere of the film but after that, Ritchie returns triumphantly.

  • Rangeela

    Rangeela

    When films define our ways of looking at things so thoroughly, it's not a surprise that the two worlds, silver screen, and reality, sometimes overlap or create alternative realities with "the reality". Raj sees Mili through the eyes of a film professional and film lover, to Munna she is someone he sees every day (both understands her idiosyncrasies and is blind to them). Mili sees her own life as a kind of intermediate state on way towards the fantasy of…

  • Vera Drake

    Vera Drake

    British period pieces are usually overly polished borefests where the past doesn't live freely or even feel alive but seems to just offer a way to boast with production values. Everything that feels stiff in British culture seems to find its way to those films. Vera Drake is the complete opposite of that, a film in which Leigh's understanding of humans and their emotions come first, and therefore the period can feel so alive. Most of the film seems to…

  • Anatomy of a Murder

    Anatomy of a Murder

    Preminger's films are delicious in the sense that they always leave you with doubt concerning how things turn out - it feels a little too easy many times but rarely is. The way lawyers play with the "facts" and make-belief here makes you think of a game - just like Paul says when Manion asks how can the jury forget what they just heard: "they can't". In Anatomy of a Murder, Daisy Kenyon and Advice & Consent the ideal disappears beneath…

  • Dil Se..

    Dil Se..

    ★★★★★

    Best film I've seen all year and one of the greatest films I've ever seen in my life - I've never had this kind of experience in my life through cinema. I don't usually dream after watching a film but because of this, my dreams were filled with fire and much like the film itself, it was a night between nightmares and dreams. Hypnotic, obsessive, heartbreaking, and deeply disturbing take on cultural oppression, terrorism, and national identity. All this while…

  • Salaam Bombay!

    Salaam Bombay!

    Might be the Indian relative of Los Olvidados except that Nair doesn't revolve around the issues and points her camera directly to the realities of the streets of Mumbai. The dreams and nightmares of these children are a mystery to us because their lives resemble them too strongly. There is probably nothing more for me to say since Nair's film feels so exhaustive, a work that operates on the level of sheer physicality. It feels hard to feel for these…

  • Kal Ho Naa Ho

    Kal Ho Naa Ho

    ★★★★½

    I just loved this so much - such a great ride. Sentimental and melancholic melodrama filled with wild musical numbers, SRK playing Hitch for his friend, amazing soundtrack (I've been listening to it almost nonstop after seeing this and little even before), and heartbreaking ending. If I'd watch this in the wrong state of mind, I'd probably argue that it's a silly and overly dramatic crowd-pleasing tear-jerker but this was just something I needed for my September that has been…

  • The Gravedigger’s Wife

    The Gravedigger’s Wife

    Among countless films about the power of love, this one surprises with the strong wills of its protagonists. At first, the film feels like your average social drama but once it progresses, the people and their actions become a force of nature.

    As a debut film, it suffers little from incomprehensible framing where lots of empty space seem to be wasted for no particular purpose but once Guled sets on his journey, the meaning of landscapes become essential to depict…

  • Trainwreck

    Trainwreck

    Schumer is absolutely horrible, yikes. I've never taken any interest in seeing how bad she is ultimately so this was the first time and yeah, now I know what people are talking about. Then again, I probably would have disliked this nevertheless. I'm a little baffled why Apatow got a pass from critics for making this... Tilda was obviously the best part but I enjoyed Cena and Miller's turns as well. Hader and Larson are just bland.

  • Sparrow

    Sparrow

    A film that doesn't run out of surprises. To has no troubles always finding an exciting way from one scene to another. That elevator scene - pure brilliance. There's something extremely intimate in the way To develops the relationships between these people, the way emotion creeps to the picture beneath the playful surface. Hong Kong seems at the same time very romantic and crude - you can just as easily commit fraud and disappear as fall in love and find someone.