• Benedetta

    Benedetta

    ★★★★

    Not making the same mistake as with Elle and underrating this one. Lots of great, obvious Verhoeven moments - bird shitting in a dude's eye, nuns farting and giggling side by side, Sexy Slayer Jesus, the dialogue during the sex scenes ("I CAN'T STOP COMING"), etc. But also a real mastery of tone and pacing, and a preternatural understanding of "how to do" sex and violence, how to revel in both and not be a scumbag. Lots of artists become bumbling sex creeps in their old age, but put material like this in an expert pervert's hands, and it attains grace.

  • Elle

    Elle

    ★★★★½

    Yeah, I was way off, this absolutely rules. A miracle of perfectly controlled tone, horrific and funny, with Huppert its virtuoso lead never missing a step. The car crash scene alone - fantastic stuff. A Paul Verhoeven Christmas classic.

  • No Time to Die

    No Time to Die

    Movies are back, baby!

  • Judas and the Black Messiah

    Judas and the Black Messiah

    ★★★

    Watched it in a Hamburg theater all by myself. It was fine! Some decently lit shots to go with that Rahsaan Roland Kirk track. Plemons is reliably great & Dominique Thorne also stood out to me, both Kaluuya and Stanfield were doing too much imo (completely opposite styles/schools of acting though, kinda interesting to see them clash here, perhaps purposefully), Lil Rel Howery is in everything these days, but his turn here is a highlight. Not a single cop in this…

  • Sense and Sensibility

    Sense and Sensibility

    More than any performance ever, puffy-cheeked Kate Winslet here reminded me so much of my great-grandma, Valentina, a die-hard communist soldier, lover and fighter practically from birth (as a 10 year-old, she convinced Krupskaya personally to release her mother from jail, as a 16 year-old she learned to assemble PPSh blindfolded while working at a remodeled gun factory during WW2). Like Marianne, she also married a very sweet man, much older than her, when she was still so young and…

  • Creed

    Creed

    ★★★★

    Creed is good

  • The Terminator

    The Terminator

    ★★★★★

    Cameron‘s best-looking movie by a mile. He must have watched The Driver a ton. That police station shootout is antifa canon, or should be. Brad Fiedel‘s propulsive, clangy beats, really an iconic score. Very fun to see people trying to pick apart the time signature in the theme even though it’s clearly out of sync, who cares! Stan Winston‘s FX really put this into 5-star territory, though: that T-100 machine skeleton, rid of Arnold‘s catatonic charm, all shiny and chrome, just emanates pure evil.

  • Battleship Potemkin

    Battleship Potemkin

    ★★★★

    As much as this entire movie, especially the Odessa steps sequence has been canonized to the point of ahistorical neutering, I am happy to report it is still breathtaking and relentless and deeply affecting. Not all of it works equally well for me, but what does REALLY does. Watching this in 2020, the brutal force directed at the poor and the weak by a coward army can’t help but evoke imagery from the last few years from the US, France, Belarus, Bolivia, Brazil, Turkey. And as justly as it calls on righteous anger, it is just as generously a hymn to the indestructible beat of the people’s revolution.

  • Glengarry Glen Ross

    Glengarry Glen Ross

    ★★★½

    Everything I expected, from the scenery-chewing to the extreme verbosity. What I did not expect is how incredible Pacino is in this. I mean, absolutely incredible. His hamminess has never suited a material more. I laughed out loud at nearly every other line delivery. I mean, I am a basic little man, but watching someone yell at and embarrass the shit out of Kevin Spacey for the entire time that smug bitch is on screen is just a true delight.…

  • Saving Private Ryan

    Saving Private Ryan

    Is there such a thing as reverse satire? Starship Troopers came out a year before this movie and yet is almost a shot-for-shot parody of it. Though the Klendathu Drop/Omaha Beach sequence is the obvious parallel (as well as people yelling "MEDIIIIIIIIIC!" - unironically here), my personal favorite is the Michael Ironside / Tom Hanks teacher-as-beloved-killsquad-leader character (here, once again, used completely unironically).

    Bookended by a Viagra ad shot in Arlington cemetary and otherwise the visual equivalent of a Timeless…

  • Jackass Number Two

    Jackass Number Two

    ★★★★½

    Maybe the only good comedy?

  • Go

    Go

    Deeply embarrassing, gimmicky script, crap soundtrack (makes Berlin “rave” stuff sound good) and absolutely miserable performances (Did Sarah Polley have a gun to her head the entire shoot? Was the British guy blowing John August? How was this guy allowed to act?) in a movie I really really really liked as a 14-year old. Now I can tell you’re about to say I should never have watched this as a 14-year old. Well, actually I’m pretty sure 14 is the…