Favorite films

  • They Shoot Horses, Don't They?
  • Sorcerer
  • Love Streams
  • The Emperor's Naked Army Marches On

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  • Assassination Nation

    ★½

  • Drive My Car

    ★★★★½

  • Cutter's Way

    ★★★★

  • The Empty Man

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  • Assassination Nation

    Assassination Nation

    Beyond a bizarre glorification of the high-schooler physical form (somehow akin to Zach Snyder’s fetishization of the bodies of superheroes), Sam Levinson has a very special ability as a writer.

    His premise is bombastic, annoying, could-probably-be-seen-from-space massive. And he never lets you forget that this movie is winking into the camera. And he never lets you forget nudity isn’t inherently sexual. And he never lets you forget that mayor was vehemently against LGBTQIAA+ rights. And he never lets you forget…

  • Drive My Car

    Drive My Car

    ★★★★½

    We must keep on living.”

    What an achievement. Not just in the phenomenal, unobtrusive direction, but in the writing as well. Especially, even.

    I was floored by the film’s ability to roll one scene after another without losing me for a moment. Though it’s runtime is colossal for something this deliberate and seemingly small, it doesn’t waste a second. I’d even go so far as to say the length was perfect.

    For every new development or emotional layer the plot…

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  • Cutter's Way

    Cutter's Way

    ★★★★

    Throw this one up there on the FTB (for the boys) Canon list. If not for the Kyle Anderson comparisons, then for the sheer amount of BIG words that exit Alex Cutter’s face hole throughout the rather brief runtime of this thing.

    Incredibly low-key neo-noir despite having one of the most high-key supporting characters I’ve ever seen on screen.

    John Heard is on that special upper tier in this one. He even outshines Bridges, which says a lot cause Richard Bone really be doin’ some mad boning in this one. 

    A lot of name’s in this review. A true nomenclatical puzzle.

  • Don't Look Up

    Don't Look Up

    This is just God’s Not Dead for liberals.
    - Tim Airheart, 2022

    How can you make a film portending to a grim and plausible reality when from the outset you reject plausibility and the reality of that which you wish to satirize?

    To speak plainly, Adam McKay is more disconnected from his audience and the lives and processes of real people than any Marvel executive could ever be. I’ll say it: fuck this guy.