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  • Where's the Money, Ronnie?

    Where's the Money, Ronnie?

    [Apologies to casual followers and people who actually look up Shane Meadows' short during the brief window when this'll be up. Nothing for you here. This is just the best way for me to reach those who'll care.]

    This is not in fact a review of the short film "Where's the Money Ronnie!" (which actually ends with an exclamation point, not a question mark), though I saw it over 20 years ago and recall it being quite funny. Rather, it's…

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  • The Aftermath

    The Aftermath

    ★★½

    43/100

    A.V. Club review. I'm looking at the Letterboxd poster art right now and it's just the three lead actors' heads photoshopped together and that's about right.

  • Enter the Void

    Enter the Void

    ★★½

    48/100 [was 57]

    [originally written on my blog]

    One the one hand, only the memory-slideshow movement really works for me now—first-person prologue just demonstrates for the umpteenth time how clumsy and useless that conceit is (for one thing, the hands never look like they're where they ought to be relative to the "eyes"), and all the swooping and diving and plunging headlong into lightbulbs/drains/fetuses later on just feels like virtuoso technique for its own sake, Fincher's infamous journey through the…

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  • Moonlight

    Moonlight

    ★★½

    This review may contain spoilers. I can handle the truth.

    49/100

    Okay, here we go: Why I think the year's most universally acclaimed film is sorta kinda not really very good. Took a second look to be sure, both because I'm always open to the possibility that I'm wrong and because I served on a festival jury with Jenkins a couple of years ago and liked him enormously, so take no pleasure in being a contrarian here. Had exactly the same reaction, alas. In descending order of importance:

    • I'm…

  • Sicario

    Sicario

    ★★★★½

    This review may contain spoilers. I can handle the truth.

    83/100

    Second viewing, no change. Having now professionally reviewed this film four times (for The Dissolve from Cannes, and then for the A.V. Club, the Nashville Scene, and the Las Vegas Weekly), I thought I had nothing left to say, especially since I made a point of addressing the most common criticisms. But since a bunch of folks are praising Adam Nayman's takedown for Reverse Shot, let me quickly address a few of his points.

    “I have to know,” Kate…