moviesmovington

Writer whose influences include Ingmar Bergman, '40s film noir, '50s musicals, neorealism, and Full House.

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  • Emancipation

    ★½

  • Cheaper to Keep Her

  • RRR

    ★★★★★

  • Detention

    ★★★★½

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  • Emancipation

    Emancipation

    ★½

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

    Imagine a slave version of THE REVENANT with Will Smith fighting an alligator instead of Leo tackling a bear and you’ve pretty much got EMANCIPATION.

    2+ hours of tacky trauma porn, I can’t imagine Smith would have made it knowing KING RICHARD would win him an Oscar (The Slap notwithstanding). Antoine Fuqua is proficient enough for lurid cop thrillers like THE EQUALIZER and here he puts that sensibility into awards bait mode - the result feels like a parody of…

  • Cheaper to Keep Her

    Cheaper to Keep Her

    Proud to be the second review of this cheap, sexist trash!

    Produced on a shoestring and released in theaters with a whiff, CHEAPER TO KEEP HER is one of those almost fascinating but best forgotten time capsule comedies of the ‘70s and ‘80s. The VHS is poor quality and save for one TV spot on YouTube, there’s very little evidence it exists.

    The 90-minute runtime is slow and agonizing, not to mention beneath everyone involved in it. Charmless Mac Davis…

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  • tick, tick...BOOM!

    tick, tick...BOOM!

    ★★½

    Whoo, I have Thoughts™️.

    It’s fine but ultimately rubbed me the wrong way. Keep in mind I’m not much of a Jonathan Larson fan - his era-defining smash RENT is unfinished, ranges in quality from brilliant to mediocre, and would never have achieved its iconic show-of-a-generation status if not for its creator’s tragic and untimely death.

    The chief problem with this movie is that it’s one insufferable egotist (Lin-Manuel Miranda) paying tribute to another (Larson). I’ve always found Larson a…

  • Zola

    Zola

    ★½

    Vapid and hollow to the core. I think it’s time we discussed the stanning of A24 as a company - once a mandate-less indie studio eager to take on emerging filmmakers of any genre/aesthetic, they now seem to have a calculated brand designed to appeal to Very Online™️ film Twitter and Letterboxd denizens.

    It’s all there. The neon. The chunky film grain. The droning Mica Levi score. ZOLA is desperate to let the audience know how effortlessly cool and nonchalant…