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sarah has written 131 reviews for films during 2019.

  • Isle of the Dead

    Isle of the Dead

    ★★★½

    I know Val Lewton’s Boris Karloff vehicles are generally considered a slight step down from his earlier works of Cat People and I Walked With a Zombie, but I don’t hold this view about these collaborations at all. Isle of the Dead, especially, carries an eeriness similar to Zombie, with its coldness and isolation and transient quality. The notable editing made everything feel unsettling, even something as simple as Boris Karloff washing his hands. I think out of all of…

  • The Irishman

    The Irishman

    ★★★★

    Two and a half hours of names I couldn’t remember and faces I couldn’t distinguish and decades melting into each other without notice and Al Pacino doing his Al Pacino thing. And, then, the film enters its final hour and those names become fixtures and those faces are suddenly older and the decades are moving faster and Robert De Niro is not doing his Robert De Niro thing anymore and “you don’t know how fast time goes until you get there” hits and the credits start rolling and the final shot lingers long after I close the netflix tab.

  • Cat on a Hot Tin Roof

    Cat on a Hot Tin Roof

    ★★★★★

    My third rewatch in less than three months... damn, I'm really going through it, huh. I thought I knew this movie like the back of my hand, but every rewatch reveals how wrong I was, how many little details have escaped my attention before. Can I call this a comfort movie? It's mine, anyway. It's simply a comfort just to return to it over and over again (or, over, and over, and over, and over again, in my case).

  • Parasite

    Parasite

    ★★★★

    I love that kindred moment of recognition between me and the other five people in the theater when the film reached the Jessica Only Child Illinois Chicago scene. Maybe being Too Online has its benefits.

  • Portrait of a Lady on Fire

    Portrait of a Lady on Fire

    ★★★★

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

    "I saw her one last time. She didn't see me."

    Please be quiet, I'm yearning.

  • When Ladies Meet

    When Ladies Meet

    ★★★★

    Can’t tell you how nervous I was watching this film, afraid that it might go wayward any second and treat the women as frivolous or misguided in their very real troubles regarding men. But the film, to my relief, is quite contemporary and nuanced in respect to both Ann Harding and Myrna Loy’s characters, and their interactions hold a real understanding on how women should not to be viewed as either right or wrong, or good or bad. One of my new favorite 30s films!! 💖

  • One Hour with You

    One Hour with You

    ★★★½

    these horny, early Lubitsch musicals (with undoubtedly questionable gender politics?) make me ridiculously happy 🥰

  • Dodsworth

    Dodsworth

    ★★★½

    This is MY Marriage Story— Noah Baumbach wants what William Wyler had.

    [Okay, but seriously, if this film hadn't been so one-sided about the depiction of the relationship, it would have easily been a five-star film for me. I rarely get to see a classic film get so candid about women and aging, nor do I really get to see the dissolution of marriages too often in older films. I had my problems with Baumbach's Marriage Story, but at least it was more balanced.]

  • Three on a Match

    Three on a Match

    ★★★

    I almost never make this complaint, but this film is too short. The opening sequence sets up an interesting, intertwining story about Joan Blondell, Ann Dvorak, and Bette Davis’ characters, but it feels like two of these women aren’t even that relevant to the plot by the end. Bette Davis’ character is just there, like an afterthought. Still an entertaining watch, with so much pre-codeness on display, from the drug use, casual references to sex, graphic violence— it felt like I was playing pre-code bingo.

  • Marriage Story

    Marriage Story

    ★★★

    ray liotta's character is named JAY MAROTTA

  • The Miracle of Morgan’s Creek

    The Miracle of Morgan’s Creek

    ★★★★

    "FOLLOWING A NORMAL PLOT STRUCTURE??? NOT AGITATING THE HAYS CENSORSHIP OFFICE?? WRITING A COMPLETELY PLAUSIBLE AND NOT BATSHIT INSANE THIRD ACT???

    NO"

    —How I like to imagine Preston Sturges at all his film pitch meetings whenever the studio gives him suggestions

  • French Cancan

    French Cancan

    ★★★★

    LOVE! Jean Renoir does to film what his famous impressionist father does to painting— bring dazzling color and vibrancy into Parisian life.