• Petey Wheatstraw

    Petey Wheatstraw


    A 70s fever dream of insanity. Kung Fu meets Looney Toons in this wild ride, led by the superb Rudy Ray Moore who could make any line funny. A must watch for its audacious fashion, great music, and genuine love of filmmaking.

  • The Godfather

    The Godfather


    A beautifully executed film with great writing and acting, yet it made me feel absolutely nothing. The Godfather - to me - didn't raise interesting questions or make me debate anything.

  • Men



    Men is another good film from Alex Garland, but a continuation of his streak of films which miss the threshold of greatness. The themes are interesting and well done (for the most part), and the camerawork and acting are all quite good. Yet, the film simply falls apart in the end. Its intriguing mysteries crumble into a middled ending which doesn't appear to get to the bottom of anything, and all the building momentum falls apart into something which is neither satisfying nor scary.

    Unfortunately, Men's final minutes are its worst, leaving a sour taste and concluding the story with a limp thud.

  • Sans Soleil

    Sans Soleil


    Sans Soleil is, much like Koyaanisqatsi released the same year, a film I could only define as a "life" movie. A work which tries to somehow capture a larger image of humanity; not the stories of one life, but of life as a conception and the person as a momentary highlight from the crowd.

    Like an alien watching humanity, Sans Soleil begins as a foreigner's musings on what he does not know. The tradition, art, advertising, television, and rituals of…

  • Brief Encounter

    Brief Encounter


    There's some intangible thing about Brief Encounter. The film is so mannered yet emotionally textured. So much is left unsaid, yet the viewer can perfectly see the growth of the film's core relationship. Without time to sulk, the film is a breakneck whirlwind which adds up to something familiar yet deeply compelling.

  • Vampire's Kiss

    Vampire's Kiss


    Truly a surreal experience, and probably the hardest to pin down "so bad it's good" movies I've encountered. The story is a interesting concept on paper; vampirism as a stand in for loss of self and mind. Being a vampire is not an affliction but a justification, a reason to torture others and even kill. The film is an allegory for psychopathic tendencies, displaying how people can explain their own terrible actions and pin blame on outside forces. In a…

  • The Northman

    The Northman


    Its been a while since we've had a big budget epic of this scale and artistry which isn't based on some preexisting property. I loved The Northman deeply, but I can't help but marvel at the fact that it was actually made. I think this film could have the legs to find some mainstream success, especially as initial word of mouth has been overwhelming positive. Fingers crossed.

  • Everything Everywhere All at Once

    Everything Everywhere All at Once


    Can't say I fully understand the ardent love this film is getting, but I also can't deny how fresh and different it felt. At points the film leans hard into a sticky saccrine schmaltz which can be hard to not get annoyed by. However, this directly contrasted with the pure insanity and shotgun blast approach to cinematic forms kind of makes it all work. Like its title implies, Everything Everywhere All At Once is a purposely maximalist film, throwing absolutely…

  • Crash



    Man, I know Cronenberg is horny when he writes, but he was on some next level shit with this one.

  • Mon Oncle

    Mon Oncle


    I wish this would have clicked with me. Being my third Tati film, I knew what to expect, yet Mon Oncle just didn't live up to this director's other work. Simply put, Mon Oncle is not very funny. Yes, it has some amazing Tati comedy, yet these scenes are always too far apart and tamed down. The front yard dinner scene is a perfect case study of this.

    Everything goes wrong in the hyper-modern garden of some tasteless upper crust…

  • Trafic



    Tati's final film as Mr. Hulot continues in his tradition of satire through the lens of one of the primary tools of the modern world: the car.

    Trafic is brilliant at capturing the utter insanity of modern life, laughing at the speed and confusion we now live in. Everyone speaks other languages and no one quite understands each other. Cars whiz by, knocking and slamming into each other like massive toys. Every square inch of space is crammed with madness,…

  • Naqoyqatsi



    Naqoyqatsi has some very interesting points and visuals, yet pales in comparison to the awe Koyaanisqatsi was able to evoke two decades earlier.

    Naqoyqatsi's manipulation of the image, use of preexisting footage, and flashes of CGI scenes creates a dizzing experience where it can be difficult to know what parts of the image are real. The highly processed footage emulates the bit crushed blur of early digital footage, simultaneously replicating the fuzzy veneer of being between two TV stations. At…