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  • See You in the Morning 1989

    ★★★★ Watched 23 Jan, 2015

    See You in the Morning offers a multifaceted examination of mature relationships where children are part of the picture, depicting middle age love and the process of families morphing into new constellations. Full of well articulated talk about feelings it's thoroughly serious but thanks to its warm, occasionally humerous tone, in a non-heavy way.

  • The Captive 2014

    ★★★ Watched 21 Jan, 2015

    Often combining cheaper elements with thought-provoking ideas, Atom Egoyan is no stranger to walking the line between b-film narrative and superior cinema. With an opening act featuring individually convincing turns from Reynolds/Enos/Dawson/Speedman who form a promising foundation, at first it seems that The Captive too will be a blend of that kind, but once the one-dimensional villain has been introduced it turns out the build-up was merely camouflage in a story without depth. From the bad guy reveal on this very basic and simplistic thriller gradually gets less and less interesting.

Popular reviews

  • The Royal Tenenbaums 2001

    ★★★★★ Rewatched 14 Jan, 2013 4

    Wes Anderson's films are known primarily as Wes Anderson films, which is not very surprising seeing as he has developed his very own style, consisting of symmetrical colorful photography/art direction infused with sweet sounding pop songs, a combination that it takes mere seconds to recognize as distinctly andersonsonian. When looking back it's clear though that it was Anderson and Owen Wilson as a pair that had something really special going in the late 90s and early 00s. It was their…

  • Black Swan 2010

    ★★★★ Watched 25 Dec, 2010 4

    What begins as a classic fairy tale with rivalry between noble, overly sensitive ballerina and a free-spirited dancing partner, guilt-inducing mother and a character that resembles an evil queen with cruel intentions (Cassel's dirty minded instructor), derails via the more mature themes of personality disorder, sexuality and mutation, slowly and steadily into a beautifully controlled, complex mess. Neither Portman nor Aronofsky has ever been better.