• Ballet Mécanique

    Ballet Mécanique

    Exceptionally ostentatious. Machines grind sickly. Time to prime the grooves. There is nothing new; any experience we might have evades the realm of originality.

  • Am I Ok?

    Am I Ok?

    ★★★★

    My 1st (virtual) Sundance Film Festival! 

    Imagine telling Dakota Johnson she needs more color in her life.

    As genuine as their friendship is, (Johnson and Mizuno) there are several safe choices tied into the narrative. Personally, it’s message struck me as how at the end of the day all you need is your person and the risks you take are rewarding even if you didn’t feel a gain from them- you grow evidently. You can feel the director’s own insecurities…

  • Cyrano

    Cyrano

    ★★★½

    As a longtime Joe Wright fan, I may be partial to this more than some. It’s strongest elements are it’s performances, a phenomenal Peter Dinklage and Haley Bennett, aiming at the heart of it’s audience—someone who has loved from afar. I think it’s biggest misstep is some of the music lingers on a bit too long and lyrically feels like an empty void at times. It’s a shame this is being delayed so much, but thankfully I was able to enjoy it earlier than expected! It left me wanting more, I might have to revisit early 2000’s Wright.

  • A Woman Like Eve

    A Woman Like Eve

    In the words of Cate Blanchett, (paraphrased) “it’s the blonde and brunette, of course they’re going to sleep together.” A visual element I’ve always had firm belief in, not sure why?

  • The Last Days of Disco

    The Last Days of Disco

    “You're not fit to lick the boots of my real gay friends.”
    - Well, I don't *want* to lick the boots of your real gay friends.

    Intriguing dialogue and lively all over. I had a professor recommend Stillman. Big fan of Chloe in her “I’m not like other girls” role, she’s witty and relatable. A film that despite it’s flashy club scenes, finds the root of fundamental humanity that we more than often don’t fully realize or talk about. 
    (Also, I love Lady and the Tramp slander)

  • The Long Goodbye

    The Long Goodbye

    ★★★½

    I feel like I’m not cool enough to understand this on a more meta level but damn Marlowe is one slick bastard. 

    I do not need the song The Long Goodbye played that many times thanks. If anything is long it’s this film.

  • Bright Star

    Bright Star

    ★★★★½

    It’s better than The Piano. 

  • Dragonwyck

    Dragonwyck

    ★★★½

    Wait- Vincent Price is kinda…

  • Black Widow

    Black Widow

    ★★½

    A problematic waste of CinemaScope that essentially disregards Tierney. Shallow characters with little explanation for the murderer reveal.

  • Shadow of a Doubt

    Shadow of a Doubt

    ★★★

    By revealing the protagonist’s actions so early on it took a lot away from the suspense for me. Lots of interesting ideas, as well as the clear reasoning behind Hitchcock’s remark that this is his favorite film, but unfortunately falls flat of explanation and deserved arcs. I’ve seen him at his best—this, however, is not.

  • Poison Ivy

    Poison Ivy

    ★★★

    This is so camp. Was rooting for mommy Drew Barrymore.

  • West Side Story

    West Side Story

    ★★★½

    It’s contemporary retelling makes the large scale musical sequences all the more grand. I seemed to enjoy the music this time much more. The only casting fault here feels like Elgort but his singing made up for his flatness as a character. I was genuinely surprised they went ahead with some of the scenes that are blatantly hilarious rather than enduring. Again, when you don’t believe the central relationship of the story (this goes for the original as well) it…