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  • Parasite

    Parasite

    ★★★★

    Because it is the most original, genre-bending film of the year, Parasite deserves a view in the theatre. Because its message is a bit heavy handed and exploits itself at the very end, Parasite leaves you longing not for more but less.

    Do I recommend it? Absolutely. It’s just too unique to be missed.

    Is it missing something? Yes. A trip to the editing room.

    reelybernie.com/2019/11/15/why-parasite/

    When a discovery is made in the basement, this South Korean The Sting goes…

  • The Lighthouse

    The Lighthouse

    ★★★★

    Two grown men are stranded on a remote island with flatulence abound. This is not going to be a popular mainstream movie.

    Add black and white photography, an alien dialect of 1890s New England, and the claustrophobia of a shoddy lighthouse, most Marvel Comic Universe fanatics will tear their hair out.

    For me, The Lighthouse is why I watch movies in the first place: It is astounding how a film with only two characters can enthrall and igntite the imagination…

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  • A Ghost Story

    A Ghost Story

    ★★½

    I admit I favor these laborious, atmospheric gems over all the mainstream banalities out there, but this one’s creative revelations could be seen miles away. A man under a white sheet with two eye holes can only go so far aesthetically. Like Vincent Gallo’s works, you have to be in the right state of mind to watch someone eat a pie for what feels like 5 minutes to only end up barfing it up. Unfortunately, a film like this helps “indies” maintain their pretentious stigma.

  • Midway

    Midway

    ★★½

    Typical CGI-infested Roland Emmerich/Michael Bay (they are the same) fare - Midway actually starts off so strong that I considered it my surprise flick of the year. But, after the first battle scene, the second, the third, and then the definition of "redundancy," I gave up on this video game (tell me how the last 30 minutes do not resemble an air shooter video game). The pixels are getting cleaner and cleaner per epic 3-hour director movie, but they will never be enough when compared to the necessary character arcs and seamless editing it requires to make a good film.

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  • Once Upon a Time... in Hollywood

    Once Upon a Time... in Hollywood

    ★★★

    There is no doubt Quentin Tarantino belongs to the Greatest American Film Directors Club, and Scorsese, Coppola, and Spielberg should be greeters at the door (Big Kahuna Burgers served inside). His knack for non-sequential storytelling and intertwining narrative is impeccable and legitimately his. Cherry-topping that, his testosterone-prone dialogue fires as rapidly as the bullets that protrude through well-scripted characters you both love to love and love to loathe. Basically, you know when you are watching a Tarantino movie, and you…

  • Midsommar

    Midsommar

    ★★½

    For more explanation: reelybernie.com/2019/07/04/a-cult-theme-gone-sour-in-midsommar/

    Capsule:
    There’s no doubt Ari Aster has an eye for dread, and I mean that as a compliment. He initiates a foreboding tension through abrupt shot transitions, a moving camera that actually goes behind the doors with all the weird, cultish stuff going on, and a grueling buildup that occurs right before the movie’s first big shock.

    I don’t want to spoil anything, so I’ll just say it’s too bad things take a ruinous turn during…