moviesmovington

moviesmovington

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

Favorite films

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  • Joe Bell

    ½

  • Old

    ★★★

  • The Positively True Adventures of the Alleged Texas Cheerleader Murdering Mom

    ★★½

  • Boogie Nights

    ★★★★★

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  • Joe Bell

    Joe Bell

    Will be hard to beat as the most worthless film of 2021, a total waste of a scant 90 minutes.

    In essence JOE BELL is the “I love my dead gay son” scene from HEATHERS as a whole movie. To make matters worse it’s more boring than it is offensive, and it’s REALLY offensive.

    Wahlberg’s performance feels like a community service assignment. Inconceivable that this was written by Diana Ossana and the great Larry McMurtry. Apart from being a cultural…

  • Old

    Old

    ★★★

    Goofy and earnest in the way only Shyamalan can be, it was neither a masterpiece nor disaster for me. Given how laughable some of his other films are (LAST AIRBENDER, AFTER EARTH), I’ll take it.

    SPLIT was a nice return to form but I found GLASS boring and muddled. OLD takes a pretty simple premise and makes it convoluted, though the performances are persuasive and not as stilted as THE HAPPENING, LADY IN THE WATER, etc.

    I totally believed Bernal…

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  • Zola

    Zola

    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…

  • Cherry

    Cherry

    ★★

    Okay, Tom Holland is phenomenal - a total movie star, even more so than his Chalamet/Hedges contemporaries.

    Too bad CHERRY is a cocky, overconfident, haphazardly written, bloated mess courtesy of the Russos, who seem to be approaching it with “this is our masterpiece!” energy, Oscar-grubbing as a plea for critical legitimacy after almost a decade of cashing Marvel checks.

    Stuffed with nearly wall to wall Scorsese-like voiceover, told in pretentious Tarantino-esque chapters and bathed in a streamer-friendly sheen, the Russos…