• The Hunger Games: Mockingjay – Part 1

    The Hunger Games: Mockingjay – Part 1


    bounced off of this in theatres, thought it was obviously padded out and dull as a 13 year old, but it really clicked with me this time. similarly to Deathly Hallows Part 1, it isn’t hindered by the clunky narrative beats of its source material and uses its extra running time to delve further into the emotional fragility of its characters. there is a sense of patience and maturity to Mockingjay Part 1 that surprised me. my girlfriend compared it…

  • The Caine Mutiny Court-Martial

    The Caine Mutiny Court-Martial


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

    Friedkin’s decision to make Kiefer Sutherland’s big monologue completely isolated by the camera, asides from one brief reaction shot to the late great Lance Reddick, really traps you in the world of Queeg’s distress. for a few minutes, the rhythms of the courtroom and the sparring of the attorneys are completely sidelined. the booming presence of Jason Clarke is almost forgotten for these moments. and in this monologue, Sutherland captures a sense of absolute tragedy and profound sympathy. the character…

  • Come and See

    Come and See


    the sequences in the forest where youthful love and joy is able to thrive despite the emergence of the apocalypse are gorgeous. the photography of the green leaves is luscious and the way that Klinov frames the environments makes the woods feel like paradise itself. there is sublime tenderness, an understanding of the meaning of anguish around them, but an ability to connect and understand the little niceties and beauties of being alive. when the girl is removed from most…

  • Pain Hustlers

    Pain Hustlers

    there is a scene in this film where Emily Blunt drinks alcohol in slow motion at a pool party while Turn Down for What plays, and it might not even be the worst scene in it. a staggering misread of what made The Wolf of Wall Street’s depiction of hedonistic capitalist vultures so insightful and thrilling. it retains the ethically monstrous characters but has no real understanding of the systems that unable them, nor can it successfully duplicate the energy…

  • Leo



    starts off as a riff on A History of Violence, goes many many strange places across the runtime. my favourite part was when they spent 5 minutes making an ultraviolent version of Home Alone, with bear traps, trip mines and saws dissecting anonymous gangsters into bloody chunks. the first half is very narratively solid and thrilling, the second is messy as hell and I’m not completely sold on the direction it takes with the protagonist. but even in the lowest…

  • Evangelion: 1.0 You Are (Not) Alone

    Evangelion: 1.0 You Are (Not) Alone


    suffers majorly from pacing and structural issues, mainly that it rarely comes across as anything besides a crammed together rehash of the opening episodes of the show. it struggles to integrate introductory television arcs into a satisfying feature film dynamic, and therefore feels pretty aimless in terms of characterisation and conflict for the majority of the runtime. I’m not the biggest fan of the show’s first half (Asuka’s introduction is what sets it on the path to greatness for me)…

  • Big



    on the one hand, I recognise how deeply strange and concerning the central romance in this film is. on the other hand, I remember exactly what it was like to be a 12 year old boy infatuated with a variety of older women and the thrill that Big provided. going back to it for the first time as an adult made me feel a strong connection to my younger self. I remembered when I saw this on Christmas Day for…

  • The Lair of the White Worm

    The Lair of the White Worm


    as a Scotsman, I wanted to die when the bagpipes came out.

  • El Conde

    El Conde

    the third act reveal is one of the worst narrative decisions I’ve ever seen from a film, but at least it brings a spark of something to this empty-headed tedious slog. didn’t think he’d sink below the embarrassment of Spencer’s finale but he pulled it off. Larrain’s made several films I’ve liked in the past, Neruda is a particular favourite, but this makes me question if he’ll ever make a good film again.

  • Transformers: The Last Knight

    Transformers: The Last Knight


    15 year old me was 100% correct when he rode for this. Gillian was very confused the whole time. remain committed to the belief that this is one of Anthony Hopkins’ best performances. takes it 100% seriously, adds a bunch of wacky nuances and line deliveries that only he could make. such a silly, ridiculous movie that I love with all my heart.

  • Se7en



    you can do everything right and still end up fucked. a story of a lifetime.

  • The Thin Red Line

    The Thin Red Line


    every time I rewatch a Malick that I’ve not seen in a few years, there’s a part of my brain that goes “is this the very best film I’ve ever seen?” and this is probably the hardest I’ve been affected by that phenomenon. simultaneously his most spiritual and his most violent. breaks my heart in a million pieces and scared the shit out of Gillian. fully understands the struggle of embracing faith (not just religious but faith in humanity itself)…