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  • Atlantics



    A potent little metaphor and love story in which Mati Diop shoots the sky and sea like I've never seen it before - blown out in a haze that retains some of the colors of the sunlight yet seems like a sky that couldn't be, encompassing and isolating like the sea near the end of Solaris. Or it's just a sky I've never seen before. Either way, props.

  • Bacurau



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

    or, Yankee, Get Fucked

  • The Lost City of Z

    The Lost City of Z


    Liked it a little more this time. An outlier for Gray (tho I have yet to see Ad Astra. Spectacle will no longer be an outlier). The family dynamic is crucial here, but naturally receives little screentime until the last 30 minutes. Coincidentally, that's the best stuff (responsible for raising this at least half a star), its hazy editing awakening the Grayness the first half of the film lacks. Hunnam's just what the movie needs, but it's really a joy to watch Pattinson sink in.

  • We Own the Night

    We Own the Night


    This was my first Gray and I was meh on it back then. Thought it just a Hawks "three good scenes and no bad ones" movie. What a rube.

    Great male feelings movie with a great Brando performance from Joaquin Phoenix and truly unique rhythms (that opening!). A man rocked by trauma trading one brand of alienation for another. Great brother dynamic (Wahlberg's reactions sell it just as much as Phoenix's bursts), and Duvall nearly steals it.

  • The Plagiarists

    The Plagiarists


    After kicking it around in my head today (including thru the first episode of La Flor), I decided that this is probs just a big joke. I think it's a good one, but whether it's a worthy enough one to stake a movie over (or that good in general) is certainly up for debate.

    Good that an indie is "your mileage may vary" not because of sweetness level tho... and as I think about it, I find it more successful as a study of its characters than even it may intend (maybe even anthropological). Is this irony-poisoned cinema?

  • Rapado



    Super thankful to MUBI for finally giving me - someone captivated by New Argentine Cinema after having my mind blown by Alonso, Piñeiro, and Martel, at age 20-21 and then reading about Rejtman as the catalyst of the wave - a chance to see Rejtman's films. And in such great shape!

    This one's a weird movie of disaffected youth and odd psychologies that made me wish I had more social/cinematic context, but it's arresting enough rhythmically and as city portraiture.…

  • Casa de Lava

    Casa de Lava


    Costa cutting figures out of darkness >>>>>> any special effect in any superhero movie

  • Election 2

    Election 2


    Maybe To's best film.

  • The Witch

    The Witch


    No rating change, but went up in esteem, particularly as a work of pure sound and image. I now see precisely what Eggers brings to the table: compositions equal parts Murnau and Tarkovsky, yet strained through some of America's earliest anxieties (the dissolution of the family, religion, distrust of young womanhood, the Land). His wilderness is folktale-cold, approaching The Zone. It seems destined for the American Horror pantheon for much of its runtime, yet for all that's brewing in its dread and ostensibly on its mind, Eggers manages to say not much at all.

  • Election



    More and more convinced of its perfection with each watch. That camera move/reframing during the "election" gets me every time.

  • Pokémon Detective Pikachu

    Pokémon Detective Pikachu


    Can a movie be an impressive tech reel while also looking like total dogshit?

  • Train to Busan

    Train to Busan

    Dunno if I can rate accurately bc it mostly stressed me out. Clever use of the multitude zombie tho