Favorite films

  • Touch of Evil
  • Yi Yi
  • Blow Out
  • Tokyo Story

Recent activity

  • Meet Me in St. Louis


  • Primary


  • Emerald


  • Cactus River


Recent reviews

  • TÁR



    Field’s patient approach definitely pays off. The successive nature of the long scenes that incrementally afford us information about its central figure allow for contemplation and constant forecasting throughout the films duration. The use of long takes within these scenes are powerful too, hypnotic and inevitable. Unlike the occasional dream interjection which felt out of place. Though the nod to Weerasethakul’s ‘Blue’ got a smile from me. The film is however, so devoted to its own contemporary significance. A lot…

  • Rashomon



    The dead husband speaking via the medium out-of-sync whilst the camera tries to keep up with her jolting movements still gives me the chills.

Popular reviews

  • The Banshees of Inisherin

    The Banshees of Inisherin


    I was sceptical about the appraisal McDonagh’s latest received, partly because of the shit show that was his last film and partly because ‘when he’s at his best’ I find his films vaguely amusing. The Banshees of Inisherin is vaguely amusing. Just like all his previous films, this one feels trapped behind its dense screenplay. Outside of Farrell and Gleeson, who are predictably good, there doesn’t seem to be a lot happening. Keoghan wanders around aimlessly as the joke turned metaphor and Condon, whilst very good, is ultimately just a pair of ears for Farrell to talk at. Occasional laughs do filter through this dull affair.

  • Decision to Leave

    Decision to Leave


    A portrait of repression helmed by a director whose films tend to not hold back. However, in Decision to Leave, extreme violence is traded for mysterious romance whilst remaining every bit as morbid. Though many renditions of the story exist, Park’s instalment may be the most convoluted. Complicated narratives are a trademark of his after all, for better or worse. Tang Wei’s superb performance as the femme fatale, Seo-rae, is ultimately the reason why the film works. So much suppressed emotion on display helps guide the themes. You can’t run from what’s buried within.