Corey Donovan

Corey Donovan

Patron

Dropped star ratings from November 17, 2020 to May 18, 2021. Why? I'm not sure myself, but it led to the revelation of full star supremacy.

Favorite films

  • Lightning
  • King of New York
  • Night and Day
  • The History of the Seattle Mariners

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  • The Card Counter

    ★★★★

  • Dog Eat Dog

    ★★★

  • Hardcore

    ★★★★

  • Rio Bravo

    ★★★★★

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  • Night and Day

    Night and Day

    ★★★★★

    A real man and the unreal women in his life. It is probably best to widen that scope, a real man and the overwhelming sense of unreality that he pushes himself towards. Pushed towards as an exaggerated reaction over a minor criminal accusation—or is that just an excuse for an artist to escape from a lack of creative motivation and maybe some uncommunicated marital strife. I don’t know, but Hong’s fixation on arrivals and a complete remove from departures leads…

  • The Punisher

    The Punisher

    ★★★★

    This was so fucking good, like what the fuck. Comic book films can do better than the slop they are today. This is a prime example; I know it’s Frank Castle and the hyper violence can’t exactly be easily replicated across every character but give me just a small percentage of this’s will to be provocative. We need to go back to the days of comic book cinema where someone would utter, “fucking faggot frenchman,” people’s necks got mutilated in…

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  • The Card Counter

    The Card Counter

    ★★★★

    U.S. foreign policy as hypocritical isolationism transplanted into two of Paul’s most overt loves. The Bressonian lonely man and poker—template to reflect national crimes as personal traumas for the perpetrators where the scars are the cold calculations that equate to one’s distanced emotions. William Tell’s loss of identity, or the shame of the American identity where one’s existence perpetuates the systems they want to stop but are helpless to do so. A further extension of the emptiness of actions that…

  • Dog Eat Dog

    Dog Eat Dog

    ★★★

    So trashy that its impossible to hate. Crime caper that wanders aimlessly through the vestiges of classic Hollywood and the exploitation films that Schrader began his career with. People trapped in their pasts since society demands it. Not sure what if this loose narrative progression says anything meaningful, honestly don’t think it wants to—intentionally anti-everything so it’s pointless to even consider the film as plodding. Dudes rock, cops suck, and Fruit Loops are eaten with orange juice.

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  • La Notte

    La Notte

    ★★★★★

    I love Jeanne Moreau; she breathes so much life into all of her performances. Which is sort of an oxymoron considering that of the films I have seen her in (I have barely scratched the surface) there is a sadness, a tragedy in a lot of her performances. Here, that is just extended even further, where Lidia at one-point states death as the simplest way to start anew. And that might not be the most tragic part of it all,…

  • The History of the Atlanta Falcons

    The History of the Atlanta Falcons

    ★★★★★

    I’ll say it off the bat: not as elegant as The History of the Seattle Mariners. The decision to moralize a few things here and there is strange though it isn’t enough to dissuade me from the narrative complexities that Bois can carve out. It’s probably even beneficial—the Atlanta Falcons as a beacon of hope but a beacon that is dismantled in a series of absurd statistics as sight gags. A profound comedy.