Adam

If it's Oscar-nominated, Australian, found footage or made-for-television, it's hopefully already in my watchlist.

Favorite films

  • Days of Heaven
  • Who's Afraid of Virginia Woolf?
  • Kiss of the Spider Woman
  • The Last Picture Show

Recent activity

All
  • Venom: Let There Be Carnage

    ★★

  • Sworn to Silence

    ★★★½

  • Lamb

    ★★

  • No Time to Die

    ★★½

Recent reviews

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  • Venom: Let There Be Carnage

    Venom: Let There Be Carnage

    ★★

    It’s tough to mimic the weird, madcap energy of the first Venom and, try as it might, this just ends up feeling out of breath. It’s efficient in terms of runtime, but not storytelling. Michelle Williams and Woody Harrelson seem to be having fun, at least.

    39/100

  • Sworn to Silence

    Sworn to Silence

    ★★★½

    This wrings all the drama out of the morally gray nature of privileged communication, also making nuanced points on the rule of law and mob mentality. It's powerful, albeit preachy stuff. Performances by Peter Coyote and Dabney Coleman are strong, as is a chilling turn by Liam Neeson as the killer.

    66/100

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  • My Best Friend Is a Vampire

    My Best Friend Is a Vampire

    ★★★½

    Using vampirism as metaphor for homosexuality long before it was cool, this is surprisingly thoughtful for a teen horror comedy. The messaging is progressive despite not actually having a gay character. Among the highlights are Robert Sean Leonard's awkward coming out speech (as a vampire, of course) and his parents mistaking him for gay, reading guidebooks on the subject, and accepting him before being corrected. It's entertaining watching Leonard come to terms with himself and he's an affable, awkward teenage…

  • Little Women

    Little Women

    The height of hubris for Gerwig to think she could improve upon Louisa May Alcott’s structure. By fracturing the timeline, it cuts most character arcs off at the knees. Emotional moments are dulled or simply don’t work. To compensate, the tone is manic as characters are constantly breathless, giggling and smiling to suggest connections that otherwise aren’t established. Contrasted with Gillian Armstrong’s warm, heartfelt, definitive 1994 version, it’s an abject failure.

    45/100