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The Shooting 1966
[99]
Radical experiment from Hellman, taking the makings of a traditional Western and repurposing them into a cocktail that’s as unexpected as it is intoxicating: One-part existential descent into inevitable desperation; one-part portrait of the destructive wingspan of revenge; and one-part slow dismantling of Equipoise Incarnate. The resulting highball is jarring in the haze of surface-level expectations: A man of supreme levelheadedness and composure being constantly tested by an invalid partner, an illogical woman, and an enigmatic lunatic, marching deeper…
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The Last Detail 1973
[94]
I love this for what it is…
…a celebration of youth with reckless abandon; an ineffectual coming-of-age through force majeure; a minimalist revision on more traditional road movies; an unorthodox hotbed of withered male bonding; a coy assertion of both the pitfalls and the outdated charms of abrasive, clearance-rack masculinity; a portrait of escapism by way of ephemeral hedonism; a small-scale examination of the human condition and its unlikely capacity for companionship…
…but I adore it for what it…
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Cosmopolis 2012
[34]
Didn’t take notes on this one, in large part because I was feeling mentally exhausted when I watched it, but also because I spent the entire second half trying to convince myself—despite intuition urging otherwise—there’d would be a magnificent culmination that would subsidize all the intermediate, incomprehensible muck. In short: Silly me. Haven’t read the novel upon which this is based (nor do I intend to, quite honestly), but considering the general premise and contingencies therein, I get the…
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Train to Busan 2016
[38]
I must inquire: Once the remaining humans are safely in their train-car and they’ve discovered that the zombies become discombobulated and ineffective in the absence of light, why don’t these fucking knuckleheads stay put until nighttime for Christ’s sake? (Because then there would not be a movie, that’s why.) I hate being Mr. Plothole Guy, especially in a genre that traditionally lends itself willingly to narrative incongruity for the sake of suspense, but the single most important operating mechanism…
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The Dark Knight 2008
[57]
I am frankly sick and fucking tired of this movie and the dichotomy it has created within the film community. You’ve got a surprising majority of people claiming it’s a cinematic masterpiece - the next CITIZEN KANE, 10/10, A++, “would let Chris Nolan fingerbang my senses again” - alongside a smaller but equally vocal minority lamenting that it’s the most vile, disgusting, contrived, and overrated waste of space ever created. With all respect, I will never understand people who…
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