Tony Huang

I'm here to watch movies and write about them.

Four favorite films are films I've most recently rated 4 1/2 stars and above.

Favorite films

Recent activity

All

Recent reviews

More
  • Tampopo

    Tampopo

    ★★★

    Interesting concept: take a bunch of genres, sap out all except the mythological qualities, fill in the contours with food culture, squiggle a through-line & call it a narrative feature. It's really more a collection of short filmic fantasies, nimble-footed, topsy-turned; the dominant ramen plot, for instance, is something of a Ramen Western, with a fairly remarkable Japanese John Wayne doing his best to summon up moral sturdiness vis-a-vis noodle-making. But as the main plot needs to articulate a character/plot arc,…

  • Notorious

    Notorious

    ★★★★★

    An amazing film, but one that reveals its majesty only if you understand how delicate it is--one loose impulse and the whole thing tumbles into an abstract mess. (This had to be Resnais' favorite Hitch--the mansion sequence ad infinitum=Last Year at Marienbad.) The performance style (well actually, maybe even the credits sequence) immediately signals Hitchcock's engagement--Ingrid Bergman does well enough with the Romantic side of things, but Cary Grant's swallowed-up performance is virtually without echo in Classic Hollywood, emoting so…

Popular reviews

More
  • Caterina

    Caterina

    ★★★★★

    I loved it immediately and throughout -- each segment stands somewhat parallel to the next as we observe Caterina move through her many social universes, and are filled with such detail that I was wondering how Sallitt was possibly going to sum it up. In fact, the ending comes along unexpectedly and on a note no one could really have anticipated. It made me wonder if DS was trying to make a somewhat post-modern gesture there, as the glaring discontinuity…

  • The Unbelievable Truth

    The Unbelievable Truth

    ★★★★½

    I started formulating a thought halfway through this movie that Hartley is basically the anti-Bresson, or perhaps one might call his style con-Bressonian; instead of removing movie affectation and performative flourish until all that remains is the skeleton of the act, which Bresson might call the truth, Hartley dials up the movie-ness, pitting his overworked artifice against a drab and intelligent formalism to arrive at an "unbelievable truth". Hartley pushes the rhythm of dialogue into something like mechanical, speeding through…