• Cry Macho

    Cry Macho


    The Mule + Honkytonk Man = me crying. it’s more low-key than both of them, not confronting death or failure in the same ways. it is a work that has the constant spectre of grief and failure hanging over its protagonist; but instead of forcing him to reckon with all that pain, this version of Clint just lets him bond with a young man, dance with a beautiful woman and ride like he’s got thousands of days left. there’s probably…

  • Candyman


    did not know there was still a place for this amount of aggressive gay stereotyping in Hollywood. in this respect, it is more of an embodiment of the 90s than the film it’s based upon. truly atrocious screenplay, no nuance or substance or a modicum of subtext, just a loosely strung together series of boring kills, bad monologues and some real extended universe style nonsense by the coda. it’s both not long enough and paced so badly that 90 feels…

  • Hulk



    it is so special to me to have watched this with my girlfriend on the day of a pretty bad meltdown. she took care of me throughout the day, showed me all the love in the universe and helped me calm down. this is one of the best encapsulations of what it’s physically and emotionally like to melt down, and I helped her see the movie through an autistic lens. but the best part of watching it with her is…

  • Inherent Vice

    Inherent Vice


    RIP Michael Kenneth Williams. you’ll be missed forever, such a fucking devastating loss.

  • Nathan for You: Finding Frances

    Nathan for You: Finding Frances


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

    in Twin Peaks: The Return, an older Bobby Briggs sees a photo of his high school sweetheart Laura Palmer, a woman that has been gone for over half his life. at the time of her death; their relationship was complicated, heartbreaking and riddled with unhealthy behaviours. neither were right for the other, not really, even though there was love there. while watching Twin Peaks’ original run and Fire Walk With Me, you see their relationship for what it was, a…

  • Hamlet



    in the opening scene, there is a poster for Clint Eastwood’s True Crime. wild how this adaptation, which is a personification of Generation X with half the material cut out, managed to be a more true and faithful adaptation to Shakespeare’s text than the unabridged Branagh version. in particular; everything with Ophelia is utterly haunting. a true relic of independent cinema, feels impossible to imagine anything like this existing now.

  • Mortal Kombat

    Mortal Kombat


    had fun! made me want to play a Mortal Kombat game for the first time in a long time, so at the very least, it works as marketing for the franchise. will happily turn up for a sequel, it sets up the foundations very well, gets some real fun performances and it goes by in a flash. can't complain!

  • The Green Knight

    The Green Knight

    didn’t think there needed to be an A24 remake of Bryan Singer’s Jack The Giant Slayer but I guess David Lowery knows something I don’t. impressive to build your entire movie’s aesthetic and thematic aims around being “Important” and “Artistic” without having a single idea or constructing any effective atmosphere whatsoever. an empty, hollow showreel of meandering homages, with the DNA of Kurosawa’s Shakespeare adaptations and The Last Temptation of Christ all over this thing, and utterly obnoxious techniques. this…

  • Our Friend

    Our Friend


    losing a partner is the hardest thing I’ve ever been through. it’s impossible to cope with. the grief will never go away, the trauma of knowing that death can come for anyone will never fade. this gets how fucking impossible and painful it is to realise that the person you love is never going to get better. I am lucky beyond words to have found a woman that’s made me love again, even with the intimate knowledge of the pain…

  • Wrath of Man

    Wrath of Man


    the best heist movie since Heat. a devastating movie about the consequences of a few acts of desperation, how those who are left standing can’t leave what they’ve done alone. more vengeance, more money, more power. along the way, innocent people will be slaughtered, ethical lines will be caused, little moments of beautiful humanity amount to nothing in the grand scheme of things. Wrath of Man is bleak, but not cruel. there is no lingering depiction of slaughter, no perverted…

  • In Vanda's Room

    In Vanda's Room


    existing amongst the darkness. with each film of his I see, the more convinced I am that there's never been a more empathetic or talented filmmaker at capturing poverty than Pedro Costa. there is no fetishisation of suffering, no exploitation of the citizens' drug addictions, nothing that could be construed as harmful or degrading. instead, with his depictions of the Fontainhas district, Costa has come closer than any narrative filmmaker (and many documentarians) at capturing the truth of life itself.…

  • Joe Bell

    Joe Bell


    Marky Mark’s The Sea of Trees? the way you react to that sentence is probably a good indication of how tolerant you’ll be of this. think it’s a bit more nuanced than it’s gotten credit for, can understand the repulsion, but think it uses ghostly, almost silly melancholy to convey guilt in a way that feels different to most portraits of grief. like The Sea of Trees, suicide haunts everything, the direct act of it, the desire to commit it,…