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  • My Neighbor Totoro

    My Neighbor Totoro

    I love films that don't explain themselves: that don't spend a quarter of their runtime in exposition or establishing rules. It's much easier to suspend reality when there isn't that divide, when the film isn't blatantly saying, "we know this is not reality, and this is how it isn't reality". It's wasteful filmmaking. What will you remember, a dialogue-driven scene walking the audience through sci-fi mumbo-jumbo, or a giant, magical flying creature appearing at a bus station? Searching for answers within the frame is half the fun. Being swept away like those kids is magic.

  • Wine Country

    Wine Country

    a movie to watch with your mom. by no means good or new, a bridesmaids-lite, if you will, but so well intentioned and fun in a junk-food, boozy way. besides, must a film be “good” or is it not enough to see maya rudolph fall off a piano while singing eternal flame?

  • The Lure

    The Lure

    a genre mutt. horror, fantasy, musical, throw it all in the stew. this is the kind of film that truly doesn’t care. completely lawless, completely renegade. one of those films that feels like it was made personally for you. it’s alluring hahahahahahahahahahahahahahahasorry

  • Pokémon Detective Pikachu

    Pokémon Detective Pikachu

    I got my first Pokémon game when I was 6, it was Pokémon Sapphire that I played on a slate grey Gameboy Advance with a large Powerpuff girls sticker on top. My best friend was a boy my age, the youngest of five, who lived down the street and inherited his older siblings games. We formed this sort of neighborhood friend-group of all these kids where we all played Pokémon, watched movies and jumped on the trampoline. As we got…

  • My Friend Dahmer

    My Friend Dahmer

    I’ve been thinking about the portrayal of real-life serial killers in film since Extremely Wicked, and I thought this would be a nice example of a “different” take.

    I don’t know. It feels so predicated on the violence of Dahmer instead of a film of concern for a kid like him: it feels like prequel made just for the sake of drawing the initial audience in. It offers no introspect: watching without thinking, judging without knowing, caring without truly caring.…

  • Extremely Wicked, Shockingly Evil and Vile

    Extremely Wicked, Shockingly Evil and Vile

    I truly don't understand why this film exists.

    Joe Berlinger released his documentary series, Conversations with a Killer: The Ted Bunny Tapes earlier this year. The series is wholly effective in examining the crimes of Bundy from multiple viewpoints: law enforcement, psychiatrists, attorneys, and Bundy's personal acquaintances. It covers every base, it is succinct and well made: it is both informational and overwhelmingly emotionally rich. So, why did Berlinger make his documentary series, and this biopic?

    I believe the main…

  • Twin Peaks: The Return

    Twin Peaks: The Return

    Twin Peaks, Fire Walk with Me, and The Return, are one succinct piece of art: disjointed by time, unrestricted by coherency. A mosaic.

    I watched the entirety of Twin Peaks in just a couple of weeks. It was probably too much at once, but I can’t imagine viewing it in any other way. It is perfection, every single moving part glued and sewn together, perfect as a whole.

  • Apocalypse Now

    Apocalypse Now

    There are two versions of this film. One, is two hours and thirty-three minutes. The other, the redux, is three hours and twenty-three minutes. The last time I saw Apocalypse Now, I saw the redux. And while it may be more meandering, more tiresome, those extra fifty minutes offer complete immersion. Like Tarkovsky's Stalker, the redux is a patient, prodding, downward spiral: flowing river through madness and finally out the other side.

    Without those fifty minutes, Apocalypse Now feels a…

  • Her Smell

    Her Smell

    I've had to think about this one. The first thought I had afterward was that it reminded me of some kind of punk-rock Who's Afraid of Virginia Woolf? in its melodramatic, almost play-like structure. It's over-the-top, loud and passionate. It's the kind of film that draws you in quickly, the kind of film that follows the same plotting structure of many before it: that you watch and wait to see what it does differently. I found myself just waiting until it ended, never quite finding anything new, anything of worth, anything to remember except for one: "Sorry for the delay".

  • Homecoming: A Film by Beyoncé

    Homecoming: A Film by Beyoncé

    Part documentary, part concert epic ala Stop Making Sense, Homecoming is Beyoncé's 22 year retrospective in 2 hours. It's like watching a director's entire filmography in one sitting: every up and down, every era and artistic endeavor blend together to form one piece of a lifetime.

    History in the making!

  • High Life

    High Life

    Space, in its incomprehensibility and finality, is one of the great muses of the modern era. From auteurs to blockbusters, philosophical ramblings to pure fiction and escapism, space is everywhere in cinema because of the endless possibilities it posits for a filmmaker. Space is life as we know it, the entirety of it. So, where else does one go to explore life itself?

    High Life is the bridge between us and the rest. It is humanity at it's most basic level, reaching higher and higher.

  • M


    I put this on to put me to sleep. And I in no way mean that to be offensive, I had a headache and I needed something to watch that would distract me from the pain and help me sleep. But M kept me up. It scared me, it stayed with me all night and into the morning. I had dreams in black and white with that whistling of In the Hall of the Mountain King. I thought about dead children and Zodiac and Psycho. The scariest killers are the illusive. The scariest thing about them are their mystery.