• Mulan



    A lifeless husk

  • I'm Thinking of Ending Things

    I'm Thinking of Ending Things


    I really am curious as to what this would have been like had I not read the book.

  • Leviathan


    This was so magical and haunting and then dreadfully repetitive and I had to skip some parts because it just did nothing or tried to shove an image in your face like it meant something prophetic, as if it as an Akerman short, and I just couldn't handle it anymore, but I loved the sound design to the point that I wouldn't be mad if they released it as a separate sound collage piece.

  • Singin' in the Rain

    Singin' in the Rain


    The policeman that ended Gene Kelly's Singing in the Rain sequence is further proof that ACAB.

  • House



    Suspiria has nothing on this.

    Maybe my favorite horror movie.

  • Clue



    The fact that this is camp and has genuine comments about the ridiculousness of 80s America and three endings and this cast and everything. It has everything.

  • Paris, Texas

    Paris, Texas


    On rewatch, there're so many layers to Harry Dean Stanton's performance that got me emotional: small lip movements, subtle smiles, eyes that seem to be swollen by years of tears and dust. I felt more so the shades of performance throughout. The way the cleaning lady shows Travis how to don a vest and walk like a "rich father," his subsequent playful shenanigans with Hunter from across the street, the necessity for words to relay meaning, Jane's peep show job,…

  • My Own Private Idaho

    My Own Private Idaho


    Yeah. This was nonsense, and, even worse, it's Shakesperean nonsense. It can't decide what register the writing should be in whatsoever so it moves from natural to stilted seemingly at random. I feel nothing for anyone except Mike. The campfire scene and the falling barn orgasm are my only highlights.

  • Contempt



    I love marital fighting and the acting was everything and the fact that Fritz Lang is in this is wild but why is everything Godard does a lecture, why must he assert himself as a cinematic Brecht, and yet so many of his choices are hypnotic and so so cold, cold to the heart but thrilling to the mind, but I hate being lectured at, and, as a lit major, I feel like I should've enjoyed the Odyssey discussions more…

  • But I'm a Cheerleader

    But I'm a Cheerleader


    This cast is genuinely insane:

    Natasha Lyonne, Clea DuVall, Julie Delpy, Michelle Williams, RuPaul, Melanie Lynskey, and Zuko.

  • Daddy Longlegs

    Daddy Longlegs


    This made me lowkey more anxious than Uncut Gems. Maybe? I don't know. I just feel like almost every social interaction in this made my skin crawl, and then the three of them were just together and being cute and being a bit rough but never too much, but I just felt all of that annoyance and obnoxiousness and anxiety. It was a lot. This is startling proto-Good Time/Uncut Gems. Similarities: constant close-ups, quick cuts, dialogue that feels so real that I can't tell if it's written with a deft hand or improvised, a humanism for its messy characters, and New York City.

  • The Pleasure of Being Robbed

    The Pleasure of Being Robbed


    Josh Safdie makes me feel like I can make a movie, and that inspiration is irreplaceable.