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  • Belle de Jour

    Belle de Jour

    ★★★½

    Terrifically hard to judge in its intended context (i.e. 1960s bourgeois sexual conservatism), but BELLE DE JOUR still hits the mark perfectly in its deconstructions of the societal double standards placed on women to be both Madonna and Whore. Catherine Deneuve is somehow still terrific as Sevérine even though her character is largely a cipher for a variety of fantasies and personas that hide a deeper, interior character that we arguably never get to meet during the film. She’s trying…

  • Diary for My Children

    Diary for My Children

    ★★★★

    Bold and unapologetic for its central anti-heroine - a harsh, all-too-real contrast to the bratty American "rebels" that were her contemporaries in the 1980s - DIARY FOR MY CHILDREN questions the society in which its makers were formed with a sharpness and sadness that stings even today. Maybe even especially today.

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  • Enemy

    Enemy

    ★★★★

    Cronenbergian, wholly pessimistic and so insistent on its foggy, doomed aesthetic that it almost feels like Gyllenhaal's about to run into Tom Jane in a Maine supermarket.

  • Oldboy

    Oldboy

    Awful in the way only bad remakes can be. There's nothing inherently wrong with the technical filmmaking on show, but the vulgar superficial warping of Park Chan-Wook's original film feels forced and unnatural where the 2003 movie is graceful in its inevitability. It also doesn't help that, while Spike Lee is no slouch cinematically, his visuals come off as sloppy when compared to Park's masterful, elegant compositions.

    Other things that hurt the film include Brolin's detestable characterisation (who would want…