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  • United in Anger: A History of ACT UP

    United in Anger: A History of ACT UP

    Rest in power Larry Kramer. We can never thank him or the other members of ACT UP enough.

  • Good Morning

    Good Morning


    Every generation irritates the one before and after it, but we're all connected by light hearted fart jokes.

  • Murder on the Orient Express

    Murder on the Orient Express


    Ending feels excessively lame, but it's always a treat just to see Lauren Bacall and Anthony Perkins in anything so it's fine.

  • Pretty Poison

    Pretty Poison


    Came into this because I have a soft spot for Anthony Perkins, stayed for Tuesday Weld's knockout performance

  • Diabolique



    While I admire the film for being well made and having a great source of tension throughout, the twist really just has the whole film deflate like a balloon. Nicole being the femme fatale for Christina is an interesting subversion but Michel is so loathsome that it feels like we've all been cheated out of a more interesting dynamic between the two leading ladies.

  • Safe



    Had some anxiety going into this that it might be a really broad satire about the well to-do's living in Los Angeles, but there's only some of that and most of it is very pointed-Carol's condition partially seems to arise because she has no real stressors in her life, but the film takes a very empathetic turn which is more interesting. The feeling of isolation is palpable from the tasteful but dreary decor in Carol's glamorous home, to the new…

  • Gilda



    Rita Hayworth is so great in this and Gilda is such a fascinating character that's a travesty the male leads are such repellent misogynists. The three of them do have a fascinating amorphous blob of sexual tension though, which the slippery dialogue helps elevate-Glenn Ford seems to be as interested in Gilda his ex as he is in his boss. Put the Blame on Mame is also such a captivating motif of self-reflexivity for a film like this. I DID cheer when the famous hair flip came up and booed there after whenever Gilda was off screen.

  • Hush... Hush, Sweet Charlotte

    Hush... Hush, Sweet Charlotte


    Top shelf camp-nothing quite like seeing Bette Davis crawl down stairs like an animal while screaming, shooting at construction workers, and throwing heavy lethal flower pots off her balcony. Might be blasphemous but I kind of liked it better than Baby Jane.

  • The Umbrellas of Cherbourg

    The Umbrellas of Cherbourg


    This film can iterate that love isn't real all it wants, but I can't think of another word for what I felt when I saw the shot of Catherine Deneuve putting on the veil with a glowing white light behind her.

  • Peeping Tom

    Peeping Tom


    I can barely fathom that this came out the same year as Psycho since it so heavily feels like a response and inverse of it. This goes further than just acknowledging that the audience is complicit in Looking like its protagonists and is critical of the camera's voyeuristic and sadistic relationship to women, and I think it's reflected in the differences between the two film's characters as well. Norman Bates has a sweetness to him and a level of likability while I actively resented being forced to spend time with Mark Lewis.

  • Breathless


    Jean Seberg's styling rocked, which is unfortunately my main opinion on this. I think I just have to accept that Godard does nothing for me.

  • Le Bonheur

    Le Bonheur


    Ms. Varda was like "men ARE loathsome and don't think of women as real human beings with feelings, but also you may admire these beautiful shots of nature and flowers in the meantime as a contrast and a treat."