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  • Creed



    Bumped it up to the full 5 stars this time.

    An absolutely masterful examination of RACE, primarily in the subversion of the original film's "great white hope" narrative; MASCULINITY, especially in its association with violence; IDENTITY, particularly in the significance of names; FAMILY, specifically in terms of constructed bonds; and LEGACY, essentially in its relationship to death. And what's even more brilliant is not just the exploration of each of these themes individually, but how all of them overlap and…

  • Take Shelter

    Take Shelter


    Truly a masterpiece for anyone's turn-of-the-21st-Century time capsule. It's so perfect, I just want to put it in a box for people 100 years from now to open and watch it and know exactly how it felt to live in this time -- as a meticulous record of contemporary anxieties (healthcare, debt, unemployment, climate change), a chilling depiction of mental illness, a powerful deconstruction of traditional masculinity, and a touching portrait of a deeply loving marriage.

Recent reviews

  • BPM (Beats per Minute)

    BPM (Beats per Minute)



  • Swades: We, the People

    Swades: We, the People


    The call for political reform in India is certainly admirable and heartfelt, but I wish that even one other moment of this clunky, tedious film had the power of the "Yeh Tara Woh Tara" scene (especially the part where the kids of all different castes run from one side of the segregated forum to the other -- 5 stars for that moment).

Popular reviews

  • 28 Days Later

    28 Days Later


    Hoop-Tober 2.0 Film #3

    "I promised them women."

    Quite possibly the most terrifying sentence I have ever heard in a film. And that is why I love horror movies like this -- because the true horror lies not in what the monsters do to people, but in what normal people choose to do to each other. After all, the infection here is just that: a disease. It has no agency, no motive. But people do. They choose to deceive, to…

  • Deadpool



    Yes, it's violent and vulgar, but it's not nearly as clever or revolutionary as it seems to think it is. I think if a movie wants to subvert tropes, it should actually, you know, SUBVERT them, not just call attention to its own use of them ('Look, we've got a hot damsel in distress!' 'Look, we've got a generic British villain!' 'Look, we've got a superhero landing!' etc). Also, I guess I just don't find dick jokes as funny as everyone else does apparently.