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  • Luz

    Luz

    ★★★★

    Possession flicks are a dime a dozen so when I saw Luz buried among the recent VOD releases, I kinda gave it a glance and moved on. But something about the poster kept pulling at me so I rented it. And holy shit, watching it is like unearthing a lost Fulci movie. It almost feels impossible for a movie like Luz to exist today. It’s so expressionistic and sparse and at 70 minutes, it leaves absolutely no meat on the…

  • Joker

    Joker

    ★½

    “You’ve changed things. Forever. There’s no goin’ back.”

    So speaks Heath Ledger’s Joker in 2008’s The Dark Knight. A movie Todd Phillips clearly saw and thought, “does it come in bleak?”

    Arthur Fleck is a down on his luck clown with an  unspecified mental illness that causes him to laugh uncontrollably until he’s holding himself in pain. He’s an outcast, a loner and in the immortal words of Riverdale’s Jughead Jones, he’s weird. He’s a weirdo. 

    The first hour+ of…

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  • The Laundromat

    The Laundromat

    ★½

    Not without its charms but crashes hard into insufferable territory pretty quickly. I love experimental Soderbergh. I love when he pushes the form the way his early work did. I love all the weird shit he’s doing on the iPhone. This just didn’t work on any level. When Adam McKay’s hacky, splashy real world farces have more subtlety, you know you’re doing something wrong. 


    Broken up into 5 chapters, The Laundromat, centers on Ellen Martin (Meryl Streep) as she investigates insurance…

  • Zombieland: Double Tap

    Zombieland: Double Tap

    Lazy, uninspired rehash of a movie I guarantee doesn’t hold up from when I was 18. At one point, Jesse Eisenberg says “if you’re seeing this in 4D I could show you how Zombieland smells.”  I’m sure it’s a healthy mix of  Mountain Dew and Axe. 

    I’m about 7 years done with this garbage trend of self referential, “isn’t it cute that we know we’re in a movie?!” These writers have one trick and I’m sure it’ll be stretched to…

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  • Ad Astra

    Ad Astra

    ★★★★½

    James Gray is one of the most poignantly humanist filmmakers alive and we all need to shout it from the heavens. Between this and OUaTiH, just give Brad Pitt one, Giant, 2019 encompassing Oscar. I almost screamed when Natasha Lyonne popped up on screen.