• C'mon C'mon

    C'mon C'mon


    Mike Mills just knows his ways to cutting deep, but I think the charm of watching a film like this comes solely from how he's able to make the viewer see a side of themselves in his characters. This isn't just the case for Joaquin Phoenix's Johnny, but also in Woody Norman's performance as his nephew Jesse - maybe being one of the best child performances that I've seen in recent memory. Mills understands his relationship not simply as being…

  • Boogie Nights

    Boogie Nights


    Saw a 35mm print of this together with some friends who had never seen it before; and seeing the film on the big screen only ever felt like I was seeing Boogie Nights for my first time all over again. If anything, I think I feel like I'd only be repeating myself if I were to say that this movie has left a fairly formative mark on my own love of cinema when I was in high school, but subsequent…

  • Phantom Thread

    Phantom Thread


    As one would say, seeing this on 70mm tonight was fucking chic.

  • House of Gucci

    House of Gucci


    Between the two Ridley Scott movies starring Adam Driver to come out this year, I certainly didn't expect myself to like the one featuring some of the most ridiculous makeup work I've seen Matt Damon donning better, but alas.

    There's a great movie somewhere in House of Gucci, but it's hard for me to tell whether or not this movie wants to be campy fun in an entertaining manner or a super serious drama all about a climb to power…

  • Laura



    Laura herself is presented in the film as an entity, but the more one sticks around with watching a film centered around her you only begin to be drawn into the image of her all throughout. Yet finally seeing Laura for herself sums up what makes this Otto Preminger movie so highly effective, becoming a deconstruction of male projection when the supposedly perfect image one makes for themselves is completely shattered.

    If it weren't for Anatomy of a Murder, the I'd have no issue with calling Laura my favourite Otto Preminger film.

  • Spiral: From the Book of Saw

    Spiral: From the Book of Saw

    I can't tell whether this movie wants to be a reinvention of what we recognize Saw to be or just another copycat within the same realms. But also, in its attempts to joke around with how audiences have familiarized themselves with the Saw movies over the years it also seems to spend too much time waxing poetic about the broken law enforcement system in America, leading into some incredibly jarring flashbacks that only disrupt the flow of the story and…

  • Sweetie



    A lot of what defines Sweetie can be traced back to its own quirkiness and how this seems commonplace for most independent American films within the early to mid-2000's, yet even with Jane Campion behind the camera it still feels very heavy hitting. For what it's worth, knowing that this is Campion's theatrical debut would be what sets expectations in place for what to expect later in her career, given as it's the one film that feels like it's actively…

  • Holy Smoke

    Holy Smoke


    An extremely strange movie perhaps best defined by the circumstances of events that Campion is tapping into here. This film boasts what may be some of her most bizarre imagery, but it also might be her most thematically dense creation to date. Nonetheless, the one biggest takeaway you can really have from watching Holy Smoke for your first time is that it certainly is provocative - just as Jane Campion can be at her best, albeit with great sensitivity.


  • In the Cut

    In the Cut


    Saw this one in high school years back; as reflected by my log then, I wasn't huge on it then. A few years' worth of time only boosted my appreciation of this underrated erotic thriller, let alone my own views of Jane Campion's work on the whole - now to a point I feel I can see her without doubt as one of my favourite working filmmakers. It's hard to imagine attempting to make a film like In the Cut

  • Nobody



    Like a very fun Saturday morning cartoon. Though if there's anything else that can be said about Nobody, all of the energy present here owes itself to the work of writer Derek Kolstad, which adding to Bob Odenkirk's onscreen presence you're only ever feeling like this movie is having fun just doing whatever it wants. Plus all the action is just so beautifully done, and Odenkirk also offers himself as a nice little twist on the action hero archetype by…

  • tick, tick...BOOM!

    tick, tick...BOOM!


    I'm not by any means a huge fan of Lin-Manuel Miranda or Jonathan Larson; but this is pretty lovely in spades even though as expected from a directorial debut from Miranda, it's fairly rough around the edges. Maybe it might just be me getting soft when I'm watching a musical of this sort and the songs really grab me (which was definitely not the case with Rent), but perhaps Miranda's background on Broadway is one that really helps with allowing…

  • The Piano

    The Piano


    I didn't really understand this movie much when I was in high school; but a long overdue rewatch with a friend definitely did my opinion a huge favour.

    There's a part of me that still believes that Jane Campion's original intended ending for the film would have definitely made the film better; and although my opinion of the ending was one that left a sour impression at first it's one that I think makes sense in context. The Piano is…