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  • I, Tonya

    I, Tonya


    Very smug filmmaking. Invites you to laugh at the shenanigans and cartoonish characterizations onscreen and then criticizes the audience for laughing. Performances are all much too broad and garish for my taste but clearly by design, they match the taste level of the filmmaking. Figure skating scenes are a hot mess of bad greenscreen and dizzying, medium shots that betray the physical limitations of the skating; when you see Harding skating in the final credits you get a much better idea of her talent than anything you see during the film's running time.


  • The Holiday

    The Holiday


    Charmingly, old school romantic comedy that stays surprisingly true to its characters throughout, never really compromising for a cheap laugh, and while it's formulaic, it felt like a loving embrace of the formula. I think Meyer might be a little underrated as a director as well, you can tell there's a lot of thought to the visual design of the film, from the little details in the set design to her well-orchestrated and witty match cuts. Casting choices are inspired…

Popular reviews

  • 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…