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  • Serenity

    Serenity

    Stop letting teenage boys read Hemingway.

    (This is not a good movie but it IS an extremely clarifying, fun proof of how every elaborately-conceived movie about a boy and his relationship with his father is garbage. Serenity is The Tree of Life is Serenity.)

  • Museo

    Museo

    ★★★½

    Revueltas!

  • Burning

    Burning

    ★★½

    Someone should make a passive aggressive Letterboxd list of critically acclaimed 2018 movies in which the women are just heavily sexualized props, but I'm too tired right now.

  • The Favourite

    The Favourite

    ★★★½

    I adored so much about the construction of this movie, as well as the performances, but I have to say I'm a little disappointed in how weird it isn't.

  • Barbara

    Barbara

    ★★★½

    THE SHOES.

    A bit too meandering, but Jeanne Balibar is really quite brilliant. And I appreciate its subversion of the annoying biopic trope that a great actor can "disappear" into their impression of an icon.

  • Private Life

    Private Life

    ★★

    Woody Allen's Yerma

  • Jeannette: The Childhood of Joan of Arc

    Jeannette: The Childhood of Joan of Arc

    ★★★★

    They should bring back the choreography Oscar for this.

  • The Bride Wore Black

    The Bride Wore Black

    ★★★★

    I just really enjoy how silly this is.

  • Frankenstein Must Be Destroyed

    Frankenstein Must Be Destroyed

    ★★★

    Maybe the best music in the series! But it's about 15 minutes too long, and some scenes have absolutely no right to be in the movie. Which is a shame, because the last reel or so is tremendous.

  • The Devil Rides Out

    The Devil Rides Out

    ★★★

    Very good sofa in this.

  • Love, Cecil

    Love, Cecil

    ★★½

    So the weird way that Vreeland rushes past Beaton's 1938 antisemitic episode is one thing - particularly when it's immediately followed by all his gorgeous portraits of Wallis and Edward, who didn't exactly hate the Nazis.

    (Not that Beaton even needs to be totally indicted over this! But putting in the context of casual anti-semitism among his upper-class friends might be helpful?)

    But also Beaton just seems like a relentless snob, which gets pretty dull as the film tumbles forward. And so linear! Why? The photographs are beautiful, but is that enough?

    I really liked Vreeland's Peggy Guggenheim doc, so I'm a bit bummed.

  • Three Identical Strangers

    Three Identical Strangers

    ★★

    Fine, be emotionally manipulative, but do you have to be so aggressively unsubtle about it?