was one of the fortunate ones to catch this in theaters before it hit Netflix, but wanted to wait to see it again at home before I wrote anything about it (other than talking about it all week on Twitter).
I wanted to wait mostly because my theater experience was not ideal as I got a migraine about halfway through, although it turns out "desperately wanting it to end because you're uncomfortable and nauseous" is kind of the ideal way…
Me, sitting down for The Lighthouse: yknow, I like movies but there hasn’t been a ton this year that’s really reminded me of what I love about movies as an artform. Maybe I’m burnt out?
The Lighthouse: *jump cuts from the title card to an establishing shot of the titular lighthouse which, in a tighter than usual aspect ratio, sets up the claustrophobia the two men experience in the film, and then continuously tightens and expands the edge of the frame to remind us how trapped we are watching this.*
Me: holky shit
A lurid, sprawling meta-neo-noir that’s as much an examination of what draws people to the genre as it is a piece of genre fiction in itself, SILVER LAKE’s Pynchonesque exploration of seedy conspiracies in La-La-Land overlaps with a Lynchian nightmare world of decadence and corruption that consumes specifically young women at the heart of American culture. (the film itself nearly namechecks MULLHOLLAND DR by casting Patrick Fischler as an urban legend obsessed recluse, not too far removed from spotting the…
more than most, John Wick is a franchise based on history and continuity. Not just continuity for continuity's sake, for cheap easter eggs, but it's a film that recognizes what comes before.
early in JOHN WICK 3, we get a meeting between Keanu Reeves' Wick and Anjelica Houston's Director that lays out all of Wick's history in a few simple scenes. He's an orphan taken in by the Russian mob, come to beg for safe passage out of the country…
Considering how little I cared for the original (although that may be open for re-evaluation soon) I’m shocked that I even managed to enjoy this at all. Some of the scares are a little rote to be frank, and the change to the plot kind of doesn’t make any sense in the grand scheme of things, but Jason Clarke manages to do a good job in the standard Stephen King Dad role (unfortunately he hilariously slips back into his actual…
It's nearly impossible to talk about US without spoiling it, and while obviously a movie should be good regardless if you know the plot ahead of time, there is a certain rush of watching this unfold in real time that I wouldn't want to deny anyone.
US is a strong second showing of Jordan Peele's nascent career as a director, and proof that GET OUT wasn't a fluke and that Peele won't just be a one-hit wonder. While this is…
A strong meh movie, with a thrilling middle third ruined by the most tepid opening act ever and ending on a sequel for what this movie *should have been*.