Favorite films

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  • Angel's Egg
  • Tokyo Story
  • Small Body

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  • Everything Everywhere All at Once

  • The Ballad of Buster Scruggs

  • Sorry to Bother You

  • The Sisters Brothers

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  • Mauvais Sang

    Mauvais Sang

    This review may contain spoilers. I can handle the truth.

    My favourite entries on Letterboxd tend to be the ones that engage with the content of the movie, that talk about the specifics of event and character and, explicitly, how they support the message or theme, perhaps combining this with expert knowledge about the canon or the filmmakers concerned. Respect to the many insightful people I follow who do this and more. But that's not me.

    I'll always give the time of day to movies that have a good heart…

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  • Everything Everywhere All at Once

    Everything Everywhere All at Once

    Hahs, crazy inventive and funny. There's a load of learning and growing in the third act which is very tedious, but I still walked out feeling good about it. Lots of invention going on in the soundtrack as well.

  • The Walker

    The Walker

    Unfolds with a sick and dreamy paranoia, a formal precision, and a steady languid pace which is pleasantly at odds with the noirish murder-mystery set up. The title reminds us of Lee Marvin's character Walker in Point Blank, another wronged character on an existential investigation through a different but not so different ruthless world.

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  • High-Rise

    High-Rise

    ★★★★★

    Another near-masterpiece from Wheatley, perhaps my favourite UK filmmaker working today, and another entry in the subgenre of dystopic tower block fantasies along with Shivers, Dredd, The Raid, and (I guess) The Towering Inferno. It's an inherently dramatic setting: the tower's monstrous size, the claustrophobic spaces within, the vertical structure providing an obvious metaphor for society or the Freudian psyche. In this one, our hero and the architect also explicitly discuss the block as a metaphor for the body -…

  • Family Romance, LLC

    Family Romance, LLC

    A deliciously disturbing documentary version of Alps (2011). Or a mockumentary. Or fiction pretending to be a documentary. Or feature based on reality. It's so confusing, what is going on here? The subject matter is troubling enough and the layers of illusion and artifice make it much more so. That's all I'll say except that the music, mostly violins and cellos, is lovely and sad and occasionally anxious, and that it's an unusual Herzog in that he stays behind the camera—there is no narration or explanation, we have to figure it out for ourselves or, more likely, be left wondering.