• The Descent

    The Descent

    I have a backlog of other things to log and will get to that eventually, or not, but wanted to say:

    For someone who’s spent most of the pandemic huffing Real Housewives* and (lately) Survivor, who’s also used much of that time to get acquainted with certain weirdo Australian authors and their fluctuating relationships to friendships between women (ie Helen Garner) or claiming and being claimed by ‘the land’ (Patrick White), this rewatch proved disconcertingly relevant. It wasn’t planned that way. 

    A few thoughts…

  • The Worst Person in the World

    The Worst Person in the World

    This might sound like shade but it isn't: How has he not been poached to adapt Sally Rooney?

  • Revenge


    [Director’s cut]

  • The Worst Person in the World

    The Worst Person in the World

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

    I still don’t really buy it … I wish I did. But when the guy you’d have gone for literally becomes Daddy and the guy you don’t see it for at all literally Dies — well. Credit where due.

    Also: Felicity. Not Girls. The reference point of greater interest, IMHO, is Felicity. (I had to laugh when she showed up late in the movie with shorter hair.)(Sally basically narrating the movie…)(Imagine Noel dying???)

  • Being the Ricardos

    Being the Ricardos

    Movie? Awful. Richard Brody? Iconic.

  • Belfast


    When his wind can't even find your barley, let alone shake it.

  • Benedetta


    “Where’d you pick up a whore’s talents?”
    “I know little of a whore’s talents. And I won’t ask how you came to know them.”


    I’d underrated.

  • Mass


    I could watch Martha Plimpton all day.

  • The Lost Daughter

    The Lost Daughter

    I'm a little concerned that the real power of this will escape some who might only see in it a certain... "televisual" quality? I think that's become the general term of accusation for what I have in mind. And I absolutely see how the lensing, etc. might nudge people in that direction. I think there's a lot more going on; formally, a savvy use of the basics -- actors with impeccably expressive faces, the tight shot/reverse rhythms that know to…

  • The French Dispatch

    The French Dispatch

    (Please take care posting this publicly on other sites. Thanks. -K)

    A wide range of opinions on a movie like this, an artist like this, is healthy to me. I don't want us all to agree; I think good-faith wrestling gets us somewhere. So what basically anyone thinks about this movie, or Wes, even when dismissive, feels within the bounds of enlivening discourse to me, because why would we all agree on art like this? That wouldn’t make sense. 


  • The Matrix

    The Matrix

    You’d think the flip phones would have aged poorly. But something about the tactile, analog pleasure of the flip — the sound of it; the swift, unthinking cool with which Carrie-Anne Moss in particular accomplishes the gesture — feels incredibly of a piece with the skyscraping, concrete materiality of the so-called “real world” (the illusion of a world) as this movie  defines it. It is hardly the case that we never talk enough about how incredible Moss is in this;…

  • In Front of Your Face

    In Front of Your Face

    Every Hong moves me. This is in the pantheon of "Babe... I cried"