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  • Top Five 2014

    ★★★★ Watched 04 Dec, 2014

    For the first time, Rock’s not trying to stuff his gonzo energy into the ill-fitting box of a “normal” person in a conventional comedy; we didn’t want to see Rock doing the lame white-people-dance-funny bits of 'Head of State' or the even lamer Viagra gags of 'I Think I Love My Wife.' In 'Top Five,' he finds a cinematic approximation of his act: free-flowing, unpredictable, personal, spiced up with pop cultural references, political shout-outs, and a decidedly hip-hop energy, and above all else, funny as hell.

    READ MORE: flavorwire.com/493259/why-did-it-take-chris-rock-so-long-to-make-a-great-movie-like-top-five

  • Safe 1995

    ★★★★½ Watched 08 Dec, 2014

    'Safe' is nearly 20 years old, and when it was released back in 1995, critics read it as metaphor for any number of maladies. Now, from a distance, Haynes’ target seems clearer, and the film all the more prescient: in many ways, Safe predicts both the insular nature of contemporary society, and the (counter-intuitive) disease of conformity that’s synonymous with it.

    READ MORE: flavorwire.com/492910/the-prescience-and-power-of-todd-haynes-safe

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  • Under the Skin 2013

    ★★★★ Watched 21 Mar, 2014

    A beautiful, bizarre, and occasionally troubling bit of abstract art-house sci-fi in the Beyond the Black Rainbow vein from director Jonathan Glazer (Sexy Beast, Birth). Scarlett Johansson (who appears in just about every frame) plays a well-disguised alien creature who picks up men and devours them; some have dismissed the picture as an indie riff on Species, but if the narrative is derivative and a tad monotonous, there’s something intoxicating about the fluidity of Glazer’s striking images and the mood he manages to sustain throughout the peculiar tale.

    Read more:
    flavorwire.com/449605/what-scarlett-johanssons-new-movie-under-the-skin-tells-us-about-her-gross-new-yorker-profile/

  • Boyhood 2014

    ★★★★½ Watched 20 Jan, 2014

    Richard Linklater and his cast shot this chronicle of a young man’s life in bits and pieces over 12 years, a narrative feat all but unparalleled in modern cinema. But the great pleasure of Boyhood is how its tremendous ambition is belied by the picture’s charming modesty; in its pacing and approach, it is very much in the shambling vein of the Before trilogy and Slacker. It also shares those films’ verbosity, its characters frequently engaging in searching conversations about…