• The Matrix Resurrections

    The Matrix Resurrections


    have you ever watched a film and been so deeply, profoundly moved by its unabashed—no, brazen open-heartedness in the face of catastrophic cause for systemic despair that you came crawling back to letterboxd after nigh-on two years too shut-up to write a review?

    this is the rainbow god set in the sky to promise she would never destroy me.

    i love her with all my heart.

    she makes me new.

  • A Streetcar Named Desire

    A Streetcar Named Desire


    was all set to talk about blanche’s description of high-school english literature as hawthorne & whitman & poe, and how much this whole text in itself feels like a high-school english required reading—probably is in some places—and also note oh hey huey long mention wow! but by the time the lights came up parts of my body were moving involuntarily and shortly after that i was in fairly unpleasant convulsions, even if admittedly for only a few seconds, so i guess this film has that going for it, or against it, left as an interesting exercise for the interested reader

  • The Beguiled

    The Beguiled

    ‘i’m delirious about our new cooker fitment with the eye-level grill. this means that without my having to bend down, the hot fat can squirt straight into my eye

  • Man of Steel

    Man of Steel


    my letterboxd location used to be listed as ‘on the other side of silence’, a turn of phrase i cribbed from our kindest george eliot:

    That element of tragedy which lies in the very fact of frequency, has not yet wrought itself into the coarse emotion of mankind; and perhaps our frames could hardly bear much of it. If we had a keen vision and feeling of all ordinary human life, it would be like hearing the grass grow and…

  • Mission: Impossible - Fallout

    Mission: Impossible - Fallout


    hillsong’s best song, ‘so will i (100 billion x)’, ends on the line, ‘you’re the one who never leaves the one behind’.

    this film (almost) ends on the director of the c.i.a. telling ethan, ‘we need people like you who care about the one life as much as they care about the millions. that way i never have to.’

    there’s something in this overlap, probably, about post-niebuhrian christian pragmatism—about imperialist political figures invoking, implicitly or explicitly, righteousness through christ in…

  • The Red Detachment of Women

    The Red Detachment of Women


    new decade on the doorstep, but

    so many people
    have been so brave
    for so very long
    before us.

    i love them. am grateful. inexpressibly much.

    i love you. am grateful. with all my heart.

    you make the world better.

    we’re going to make the world better.

    we must.

    i believe in us.

  • 88:88



    alephs and omegas

  • Star Wars: The Rise of Skywalker

    Star Wars: The Rise of Skywalker

    heads-up: talking in this one about abuse & various forms of self-harm and -destruction. also spoilers if you care about that kind of thing

    i lied.

    this is the worst film of the decade. the first hour is shameless expositionism as performed by every single character imaginable, trading lines off with one another as if this is a radio play with pictures. pictures for which i’m pretty sure j.j. thinks ‘kinetic’ means ‘camera goes swoop-de-doop’. pictures that tell so little story…

  • Cats



    cats (2019, dir. hooper) can have little a salami, as a treat

  • News from Home

    News from Home

    i did say i would never post anything that vulnerable on letterboxd again, and i meant it.

  • Near Dark

    Near Dark

    kael once wrote of cecil b. demille that he would ‘satisfy the voyeuristic needs of the god-abiding by showing them what they were missing by being good and then soothe them by showing them the terrible punishments they escaped by being good.’ and certainly bigelow’s excited to show us what kael called the ‘glamour of wickedness’; these vampires are roguish even in murder, and paxton’s leatherbound sunnies-at-night charisma exploits the double-meaning behind ‘wicked’. (see kam’s reaction!) this is fine, and…

  • The Thing

    The Thing

    first sells as subpar psycho (opening oedipal joke, bloody shower) but soon diversifies its bonds, cribbing from alien (sexualised and, much more effectively, sensualised violence); from, well, the thing (kind of—ensemble cast choking under the tension of shut-in paranoia, allegedly); from, yes this is pre-emptive cribbing no objections please, 10 cloverfield lane (mary elizabeth winstead yeeting an ied down an alien’s gullet). of course the obvious generous angle is that, like the thing itself, it’s shoddily mimicking each of these…