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  • Certain Women

    Certain Women

    "In my favorite of her films, Reichardt teases us with big climaxes, as big as the bomb exploding the dam in Night Moves, but she instead pivots and ends each of her Certain Women stories in sad, dejected puffs. A would-be gunman (Jared Harris) is captured off-screen, and sits glum-faced in the back of a police car in dead-still embarrassment. Auberjonois simply recedes McCabe-style back into his empty house, into the cobwebs of his jigsaw puzzle, as his memory-scarred native…

  • Paterson



    New essay in MUBI's Notebook on the films of Jim Jarmusch + three big items for him: Drift, Repetition, Allusion. Check it out. I was sparked to write it after a retrospective of his films played recently at New York City's Metrograph cinema. Here's an excerpt from the fourth part of the essay (which is divided into five segments à la Night on Earth):

    "Music binds together all the lives of Jarmusch’s foreigners. Songs from Public Enemy, Elvis Presley, and…

Recent reviews

  • Duvidha



    One of the most beautiful, poignant ghost films I’ve ever seen. As in The Curse of the Cat People (1944), Portrait of Jennie (1948) and Atlantique (2019), we are made aware of the mortal fact that all we can leave behind are impressions of light, memories, bloody handprints on the page. The freezeframes speak volumes.

  • The Match Factory Girl

    The Match Factory Girl


    Aki Kaurismäki's Wanda.

Popular reviews

  • It's a Mad, Mad, Mad, Mad World

    It's a Mad, Mad, Mad, Mad World


    I had one of the most exciting encounters at a movie theater EVER yesterday, so bear with me.

    Yesterday, I re-watched It's A Mad Mad Mad Mad World (Bland-ley Kramer, 1963) in glorious 70mm at LACMA! It's gotten a lot of hate around these parts for being cataclysmically unfunny. And while I can see why people would think so (Kramer has an awful eye for comedic direction, and the sheer pomposity of his statement that he would make "the comedy…

  • The Hateful Eight

    The Hateful Eight

    No, Tarantino. This is the last straw. You've gone too far, and you've proven your detractors right: you are only in it for the bloody money. (Emphasis on blood.) I've been willing to defend QT's oeuvre for a long time now, but if I want to maintain a responsible and self-respecting conscience, I have no choice but to renounce him. Despite his desire to be cinema's VC Barnum by way of a crimsony Jackson Pollock, QT has maintained an infrequent…