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  • Atomic Blonde

    Atomic Blonde

    ★★½

    I wish I could take a crack at re-editing this one. Feels like this edit was too beholden to the original screenplay, which has a flashback structure that keeps stuttering the flow of the action to bring us back to an interrogation. I think a little less narrative clarity would have been fine and it would have allowed the elements here that really work: Charlize Theron's stoic performance, excellent fight choreography and some inventive art design. Everything as it is, feels terribly unbalanced and overthought, when it should just float by on it's style, which is fairly tremendous.

    50/100

  • Baby Driver

    Baby Driver

    ★★★

    Feels like a strong pitch by Wright to get the GUARDIANS OF THE GALAXY franchise passed to him next.

    54/100

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  • Captain Phillips

    Captain Phillips

    Second viewing of finished film, umpteenth viewing of film in some form and I watched all the dailies while I was working on the film as an Apprentice Editor before it was moved to the UK to finish editing in order to take advantage of rebates. I'm gobsmacked by Hanks' take on post traumatic shock every time I see it, I remember watching the dailies and the first take, the medic kept messing up her take but Hanks guided her…

  • The Big Short

    The Big Short

    ★★★

    Editors are not usually recognized as auteur figures but Hank Corwin is a special case, he has such a distinctive style that it shapes whatever material he touches and it becomes uniquely his own. You will notice a couple things if you look at his IMDB, one that he a credited editor on Oliver Stone's most aggressively edited features, NATURAL BORN KILLERS to U-TURN and I think it's fair to assume much of the hyperkinetic editing and jarring rhythms of…