• Midnight in Paris

    Midnight in Paris


    "I see a photograph."
    "I see a movie."
    "I see an insurmountable problem."
    "I see... a rhinoceros!"

    Makes me happy.

  • The Swimsuit Issue

    The Swimsuit Issue


    Couple of good laughs here and there, and there are elements of the story that felt original, but I also found the trajectory of the story to be so painfully predictable that I could never really get into it. Also the ending was really dumb and anticlimactic.

  • Daisies



    Anarchic and wildly different than anything I've ever seen. I don't even understand how they acheived some of those visual tricks, and it was genuinely refreshing to watch a film break from convention so originally, and this thing is six decades old! 

    I do wish it was a bit funnier, because it's definitely the kind of film that could use its chaos for comedic effect more often than it does, but there's still a decent amount of humour here which, merged with the visual trickery and pure freedom of artistic expression, makes this an understandable classic.

  • Cyrano



    Wasn’t feeling this at all at the start. The sound mixing was seriously lacking, and the flat visuals meant nothing stood out, which is a shame because the production design and costume design are beyond great, but the visuals didn’t capture them well. There's a one-shot fight sequence that could have been excellent… if I could have seen anything. As for the music, I love The National but Matt Berninger’s loose phrasing and slow delivery didn't suit the musical form…

  • King Richard

    King Richard


    Very good. Performances are superb across the board, and I never felt the length, but was rather quite invested in the story from the get-go. But as a sports biopic, it's still playing by the numbers a bit too often. There were a bunch of unnecessary moments where they explicitly drew attention to how amazing Richard was. Just let the story speak for itself.

    And like many films of this kind, the ending feels underwhelming because the interesting part is the journey, not the end result, which everyone knows about anyways. But said journey was pretty riveting.

  • The Godfather: Part III

    The Godfather: Part III


    Coda: The Death of Michael Corleone

    Obviously it’s good, and the initial mixed reception is strange to look back on now. But I guess that the first two are so acclaimed that any drop in quality for a third entry will feel massive. But this is still definitely a good film. 

    It's much looser than the previous two, which makes sense as the focus is placed on the dissolution of Michael’s forces, and reflects how he feels lost in a…

  • Alice



    Often disturbing, occasionally funny, constantly bizarre — a film that feels so real, so tactile and rich, so weird for the sake of being weird, yet also strangely enthralling. 

    It’s a telling of the story that feels so far removed from the way we’ve come to view it but, in strange way, feels exactly like what Carroll intended all along.

    Also the sound design, my god.

    “You must close your eyes, otherwise you won’t see anything.”

  • 1917



    Might as well make it my goal to watch this 1,917 times.

    “I hope you get there.”

  • Possession




    “There’s nothing to fear except God. Whatever that means to you.”

  • The Sky Is Everywhere

    The Sky Is Everywhere


    The tone of this thing is just all over the place. Perhaps that’s meant to reflect the state of grief within which the characters find themselves trapped, but I honestly just think the filmmakers had no clue how to make this story work and just threw all they could into the film, hoping some of it would work. And of course some does — I thought the visual style was occasionally very arresting, and the moments where the film leans…

  • Endless Poetry

    Endless Poetry


    Does justice to its title. A huge improvement over The Dance of Reality, its inherent oddness and volatility so much more gripping, as Jodorowsky plunges into the art world that shaped him. This is much funnier and wackier and very personal, the focus on teenage angst and wanting to break free from familial expectations, shifting into a chaotic and virtually undefinable exploration of the world as Jodorowsky saw it.

    Not all of it works; it’s still too long and started…

  • The Batman

    The Batman


    A comic book film that’s so concerned with telling its story and grounding itself in its world, that action sequences are few and far between. But when they do occur, they’re fucking electric. I can’t remember a car chase this riveting, this bombastic, since Fury Road.

    “I got you! I got you! Take that, you friggin' psycho! I got you!”