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  • The Lusty Men

    The Lusty Men

    ★★★½

    Second viewing; upgraded to a solid 3.5 stars from a solid three. Still find the vessel significantly less interesting than Ray's finest work, but the fierce and probing look at machismo and toxic, ego-driven masculinity is as passionate as ever. Mitchum plays McCloud with an opportunistic swagger, subtly grasping an opening to make some easy money off Wes' (Arthur Kennedy) burning desire to dramatically accelerate his earning power and join the rodeo circuit while simultaneously nudging his way into Wes'…

  • A Clockwork Orange

    A Clockwork Orange

    ★★★★

    Third or fourth viewing, but first in about fifteen years. This is the first movie I've downgraded from my canonical five star category upon a rewatch since I began logging again in late 2016, but I fully understand why I was so smitten back in the day—this is catnip for the young cinephile, full of aggressive, violent and passionate imagery and tonal intensity that still shakes the soul in spurts today. Kubrick's framing and compositional mastery is on par with…

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  • Call Me by Your Name

    Call Me by Your Name

    ★★★★★

    A movie too perfect and beautiful, too me, to really write much about...so full of glorious minutiae and intricacies, so easily paced that its massive power is almost impossible to comprehend in its entirety during an initial viewing. And while Elio and Oliver's connection/love is impeccably (and exceedingly delicately) portrayed, the father/mother/son dynamic between Elio and his parents might be even more exceptional...rarely have I felt my soul so firmly, magically intertwined with an onscreen relationship like I did here.…

  • Margaret

    Margaret

    ★★★★★

    Extended Cut. Third viewing, and I'm now convinced that this is one of the truly titanic works of the past 25 years (and it'd already ranked among my top 15 since 2000). Was acutely aware this time around of just how extraordinary (and how daring) Lonergan's use of sound is here—frequent sequences garner their power almost exclusively via city conversation/noise overlays of the scene in question's central focus, and the approach, while risky as all hell, somehow always manages to…