• The Tragedy of Macbeth

    The Tragedy of Macbeth


    The artificiality of it all is an unusual but fascinating decision, especially the way the architecture-like outfits fit the angles of those incredible shadows. However, the interpretation choices made by Washington and McDormand rarely reach the intensity of the text, making the lines fall flat and lifeless. Moses Ingram is perfect in her short scene as Lady Macduff.

  • Showgirls



    Is it trashy? Is it camp? Is it porn? Is it an insightful investigation of the commodification of the body in a post-capitalist America? It's all that, and so much more. Verhoeven directs the hell out of this, with camera moves that will make your head spin and a vibrant feel that gets you hooked from the first scene onwards. The ALL ABOUT EVE of it all works wonders, and the fact that everybody is immersed in this amoral world enhances the film's exploration of the inherentness of greed in the American showbiz. After all, you have to earn a Versayce.

  • C'mon C'mon

    C'mon C'mon


    Two hours of Joaquin Phoenix having a "DTR" moment with a child.

  • Scream



    The meta-jokes are all there, as well as the various references to current horror films. However, the tone here is much darker, with more brutal deaths and a more sinister view of Woodsboro. Despite some plot-holes and the lack of creativity in dealing with the "legacy characters", the new cast is really charismatic and the criticism about toxic fandom is on point. Another fun (but much gorier) entry in the series.

  • The Hand of God: Through the Eyes of Sorrentino

    The Hand of God: Through the Eyes of Sorrentino


    A too brief curiosity segment about an outstanding movie. I wish it had shown more about Sorrentino's views behind the production.

  • Scream 4

    Scream 4


    One impressive thing about the SCREAM series is not only how self-aware it gets, but how it needs fo reinforce all the time how a product of its time it is. In this fourth entry, the focus is on the impact on social media in the general cultural discourse ("I don't need friends, I need fans"). The setpieces aren't as creative as in the other ones, but it's impossible to get your eyes off Hayden Panettiere.

  • The Hand of God

    The Hand of God


    This film is a symphony of feelings that keeps hitting the right notes, whether in the moments of ultimate joy or profound sorrow. I particularly admire the perfect tonal depiction of grief, with its messiness and inappropriate behaviour that end up being either touching or devatasting. Despite being an extremely personal love letter to the city of Naples, THE HAND OF GOD ultimately reaches emotional heights that surpass any age or cultural barrier.

  • The Last Duel

    The Last Duel


    More nuanced than I thought it would be. The final 20 minutes are FIRE. The shoes on the steps are EVERYTHING.

  • Scream 3

    Scream 3


    There's so much to love here: the ingenius meta Hollywood setting, the full embrace of comedy, the perfect casting (Parker Posey!), wonderful cameos (Carrie Fisher!), and great one-liners. The best thing, however, is the indictment of Harvey Weinstein in a Weinstein produced movie. "Pop culture is the politics of the 21st century".

  • CODA



    The sort of cheap manipulative story beats that you have seen a thousand times, but cornier. It is so bad when in the first five minutes of a drama you already know everything that is going to happen. The family dynamics is nicely presented, but painfully superficial. The only good thing about it is the way that whole scenes have just sign language, showing how universal (and cinematic) human expression can be. In summary, a sappy version of BILLY ELLIOT.

  • Scream 2

    Scream 2


    So deliriously over the top that sometimes it borders on camp, this fun sequel keeps the meta jokes in place while delivering extremely well-crafted setpieces. The script is not as airtight as the first one, but I appreciate all the Greek tragedy stuff. And STAB rules.

  • Parallel Mothers

    Parallel Mothers


    Almodovar is a master of melodrama, but here the director uses the genre as a template to narrate how buried secrets from the past can be, literally or figuratively, emerge. The personal and the political are delicately intertwined, providing not only a complex depiction of motherhood (one of Almodovar's central themes) but also of intergenerational trauma. Cruz and Smit are phenomenal.