• Dracula

    Dracula

    A lesson in the power of cinematic carnality. Decadence gone to rot, costuming that pierces the imagination, a lushness so rarely evoked these days.

  • Meeting the Man: James Baldwin in Paris

    Meeting the Man: James Baldwin in Paris

    He has a life to lose and you don’t!”

    “I’m writing for people, baby.”

    Everyone you’re looking at is also you!”

    How does one rate a film that amounts to both a narrow lens on a black genius and revelatory view on white discomfort with blackness? James Baldwin remains a transfixing, extremely talented legend that black artists and writers like myself keep tripping on the shadow of. White anger and white ignorance can’t hide from the light of Baldwin’s wry…

  • Brief Encounter

    Brief Encounter

    I’m a sucker for a film that properly and wholly inhabits a romantic melancholy. I’m cool in some respects on the film as a whole because I’m not much of a fan of how the voice over is deployed and Celia Johnson’s performance is one I can recognize as good but don’t fully connect with. Trevor Howard on the other hand I deeply connect with in this role and love his performance. Overall, a gentle gem.

  • The Mystery of Marilyn Monroe: The Unheard Tapes

    The Mystery of Marilyn Monroe: The Unheard Tapes

    Absolute trash that exploits a woman in death who was deeply exploited in life. Very obsessed with parsing out the conspiracy theories and falls into long held rumors while never fully conceiving of Marilyn as a human being and a talented one at that.

  • Doctor Strange in the Multiverse of Madness
  • Tales from the Crypt: Demon Knight

    Tales from the Crypt: Demon Knight

    I love this motherfucker with all my heart. Jada as a sharp minded final girl? A bevy of amazing character actors having a fucking ball? Great, deeply visceral effects? Unabashed pulpy sensibilities? A marriage of the horrifying and the titillating? Billy Zane going full gonzo madman with charisma on eleven? Ernest Dickerson in his bag as a director? Yes, please.

  • Memoria

    Memoria

    Made the mistake of seeing this when I was sleepy. I slept deliciously in fits and starts throughout the film leading to some weird dreams. But a strangely good experience. I need to rewatch in full to have a firm opinion though.

  • A Goofy Movie

    A Goofy Movie

    I cried at the end of this rewatch.

  • Mississippi Masala

    Mississippi Masala

    While staying in NYC for my birthday weekend I had the absolute pleasure of seeing this film for the first time on the big screen. What transcendent, tactile pleasures it holds! Mira Nair was in her bag with this one. Brimming with considerations on the dynamics of lost homes (mentioning how black Americans are from Africa even though we haven’t been there resonated), familial expectation, and further growth into independent adulthood all shot through with trenchant cultural considerations about rural,…

  • Ambulance

    Ambulance

    I had a blast with this bitch.

    “Ambulance, the latest from director Michael Bay, is a film powered by the jittery force of will and blissful confidence that comes with doing cocaine. Lots of cocaine. If you told me that before every swooning shot setup or bombastic line reading from co-lead Jake Gyllenhaal, people on set dived into mountains of cocaine, I would thoroughly and utterly believe you. This is exactly the kind of ridiculousness I can get behind.” - From my Vulture review. 

  • Deep Water

    Deep Water

    I want erotic thrillers to come back, but not like this. Limp, tired, unengaging, not sexy at all. It isn’t enough to have (poorly constructed) the sex scenes. It isn’t enough to have someone hot like Ana de Armas onscreen. You’ve got to harness such hotness and the voyeuristic desires of your audience. She’s also such a threadbare character and what the film thinks is scintillating (essentially an open marriage) isn’t. I really wish this one was fun at all. This isn’t horny enough!!

  • The Lost City

    The Lost City

    From my review at Vulture

    “Here’s the problem. The Lost City may have the A-listers, but it doesn’t possess the craft necessary to spotlight their skills. Audiences shouldn’t be blamed if they are cold to the film. How can we expect people to respond to adult movies like this if they lack the charm of the genres they’re plundering for inspiration?”