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  • The Trip to Greece

    The Trip to Greece

    ★★★

    Like CLAIRE’S KNEE and LOSING GROUND, it knows *exactly* how fast a married man’s rusty old shtick can still get out of first gear when he meets a woman who hasn’t heard it before.

    they should NOT have given Michael Winterbottom access to a drone but the Steadicam(?) tracking shot following Coogan through the rooms of his ex’s house back in Manchester is the first time I can remember this filmmaker modulating shot length to build mood/anticipation since, like, THE CLAIM

  • Murder Mystery

    Murder Mystery

    ★★

    lazy, generic, reactionary. i guess i laughed a few times?

    Adam Sandler is the inverse of Robin Williams: two innate comic instincts warped into horribly disproportionate shape by commercial success. Sandler is doofy, rather than dynamic, where Williams was hyperactive, rather than modulated, but market incentives basically turned them both into hormone-addled all-breast Tyson frankenchicken

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  • Manhunter

    Manhunter

    ★★★★½

    "Watching Manhunter returned me to a state as animalistic as childhood, hearing the sound of adult voices in the next room. The backstory is elaborate and the exposition oblique: it seems we’ve started somewhere in the middle, and have to catch up, and baroque motifs, like the Tooth Fairy’s love of William Blake’s “The Tyger,” arise from nowhere. The dialogue is murmured, or echoing. The lighting scheme color-codes aggressively: cold nocturnal blues for the murder houses, like the light from…

  • Yes, Madam

    Yes, Madam

    ★★★★

    not gonna front the reason it took us so long to get around to finally watching this after having it on a hard drive for years is that we knew the final fight scene wouldn't actually be scored to "Cut to the Feeling"