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  • Lake Mungo

    Lake Mungo


    Saddest scary movie ever.
    It's a devastatingly emotional horror movie and the success of sticking the landing here is the fact that it was shot on standard definition video. The movie couldn't work as well as it does if it were shot on 35mm film. This is a case where the formats perceived weaknesses become it's strengths.

  • Where Is The Friend's House?

    Where Is The Friend's House?


    Not a wasted shot in this whole movie. There are no missteps. Everything serves a purpose. Oh, and if you're just interested in aesthetics, Abbas Kiarostami has got you sorted. This is beautifully composed and the new restoration provides a good amount of clarity so you can take in the Iranian architecture and lifestyle easily. A great film by cinemas ultimate humanist. Straight forward emotionally charged narrative with plenty of poetic undercurrents to ponder under the surface if you wish.

  • Sparrow



    I much prefer Sparrow over Johnnie To's serious crime films. The whole execution here has a light and graceful touch. I loved the music and as usual, the camera movements in To's films are unique and immediately recognisable to his work. It's kind of like watching one of the best Fred Astaire & Ginger Rogers musicals. Every major set piece is so well choreographed here that it's impossible to not bring a smile to your face.

  • Shanghai Express

    Shanghai Express


    Marlene Dietrich's facial expressions and body language are so cinematic.

  • Targets



    Ahead of the curve. This is a daring and frightening piece of late 60's Hollywood filmmaking.

  • Bill Burr: Paper Tiger

    Bill Burr: Paper Tiger

    Standup comedy is getting fun again. Thanks Dave & Bill!

  • Pat Garrett & Billy the Kid

    Pat Garrett & Billy the Kid


    122 minute 1988 Preview Version viewed. The Knockin' on Heavens Door scene is heartbreaking. I wish I cared about the rest of the movie even half as much as that sequence.

  • The Man Who Shot Liberty Valance

    The Man Who Shot Liberty Valance


    The 3 leads are so good in this, especially Lee Marvin. He was an absolute beast of an actor. I can't recall a single instance where he hasn't stolen the show from his co-stars.

    Politics and flashbacks almost always hurt a good film for me and in this instance it's no different. I loved John Ford's tight direction and the lighting in the dark sequences. Those aspects were really impressive.

  • Poetic Justice

    Poetic Justice


    I say this with the utmost affection; Poetic Justice is a weird little movie from John Singleton. I loved this romantic and honest experience.

  • Morocco



    An odd love story. Marlene Dietrich seems totally in tune with Von Sternberg's focus on atmosphere. She's amazing to watch and never misses a beat but I'm not sure Gary Cooper really understood what the director was going for as I simply couldn't see the appeal of his character.

    I thought the ending was perfectly executed and struck me as one of the best you'll see from 1930's Hollywood.

  • Hatari!



    A relaxed late career hangout movie from a legend featuring a great score by Henry Mancini. If this was Howard Hawks' final movie it would make a hell of a fitting swan song. It's very much in keeping with the spirit of Only Angels Have Wings and Rio Bravo without any real narrative. It's just the characters and dialogue keeping this thing afloat for 2 hours and 40 minutes and it works pretty darn well.

    Hatari! is in dire need of remastering. The current "HD master" is appalling. It looks like a soupy and indistinct VHS era master.

  • The Meyerowitz Stories (New and Selected)

    The Meyerowitz Stories (New and Selected)


    What an emotional experience. Warm and hilarious but also infuriating and super sad. Really nicely observed characters. Adam Sandler and Ben Stiller in particular are incredibly good in this and have great on screen chemistry. I'd love to see them collaborate regularly.