• Raising Victor Vargas

    Raising Victor Vargas


    wtf is that poster though?

  • The Visitor

    The Visitor


    - A nice script
    - Slightly in danger of entering white savior trope territory / dehumanizing its non-white characters by making them too perfect, one-dimensional
    - Emotionless, mundane directing

  • I'm Thinking of Ending Things

    I'm Thinking of Ending Things

    "You don't have to go."

  • The Woodsman

    The Woodsman


    After reading the logline I wasn't sure how any film could approach such an uncomfortable subject meaningfully, but this film is so damn good at NOT telling you what to feel. It leaves room for your sympathy, but it does not demand it from you. Impressive writing, performances, and filmmaking all around

  • The Assassin

    The Assassin


    I'm not going to lie, I had no idea what was going on half the time, but it's probably the prettiest film I've ever seen

  • The Fountain

    The Fountain


    I watched this awhile ago, but at the time I just didn't now how to articulate my thoughts. After talking to more people and studying film more, I feel like I am finally able to explain why this beloved film just did not connect with me at all.

    Whenever I talk to superfans who defend this movie, so often does it turn into a conversation about how "ambitious" The Fountain is and what the movie aspired to do rather than…

  • Skin


    Some snakes have bright colors to scare predators, to say "Hey, I'm venomous," but they're really not.

    I see that Skin has mastered the art of subtlety

  • Onward



    Onward is a successfully funny and endearing film about finding that "little bit of magic left in you"....but wait, it's also about believing in yourself and being bold. But wait, it's also about brotherhood and family. But wait, it's also about how the most "obvious road" is never the "right road," or something?

    Sadly, despite great character work and a unique premise, Onward is thematically disjointed and confused about what it wants its central message to be. The exposition phase…

  • 1917


    While there certainly were aspects of this that left me slightly dissatisfied, there is so much to absolutely love about this movie. 

    Obviously, there is the pure technical masterfulness. It would be wrong to trivialize it. Every frame is a real-life painting. The one-shot conceit is only partly purposed to be a cinematic flex, as it also services the story. There is something deeply immersive about the cinematography's use of space and how you come to know each scene's landscape…