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  • The Lovers on the Bridge

    The Lovers on the Bridge

    ★★★★★

    This film is at once aggressive and elegant. Precise and freewheeling. Naturalistic and dreamlike. It breaks the rules while at the same time creates its own.

    Lavant and Binoche have never been better. From lyrical waterskiing along the Seine amidst Bastille Day firecrackers, to silhouetted beachside boners—these two actors carry the exquisitely unruly energy of the film from start to finish.

    Bringing to life the impossible realities only possible on a cinematic space, Carax has created something truly special. Bravo.

  • The Kid

    The Kid

    ★★★★★

    A tonic for the pandemic.

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  • Her

    Her

    ★★★★★

    I admired how impartial the film was in regards to technology. A less perceptive director would have just explicitly condemned technology and blamed it for our supposed inability to connect.

    Richard Brody's review in the New Yorker thought that this is exactly what the film was about. I disagree.

    He writes: "“Her” is a cautionary tale that offers warning where none is needed, a diffuse and sentimental admonition to put the smartphone down, push away from the computer, turn off…

  • Blue Jasmine

    Blue Jasmine

    ★★★★½

    Can we all just bow down to the Queen.

    I just want to shower her with jasmine petals and feed her grapes and Xanax.

    Her performance is extraordinarily layered: frightening, funny, deeply sad, unsettling, frustrating, affecting, and ugh. Someone hand me a thesaurus.