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  • The Aviator's Wife

    The Aviator's Wife

    ★★★★½

    This is the first time a movie has made me want to visit Paris, and it's because Rohmer shoots it like a real city, with cramped apartments, nice parks, and a well-functioning Metro. A coming of age story about letting go of the law, learning to appreciate being young, and trying to live with one foot in the real world and the other in romantic fantasy. Marie Riviere is a great actor and her strengths complement Rohmer's formal approach perfectly -- his wide shots and long takes give her the space to make those emotional crescendos feel so graceful and well-earned.

  • Pee-wee's Big Adventure

    Pee-wee's Big Adventure

    ★★★★

    Perfect Danny Elfman score. E G Daily is adorable. Large Marge terrified me as a child. It’s a shame Burton stopped making comedies, and that studio comedies in general don’t really exist anymore. Tequila!

    “What’s your name?”
    “I can’t remember”
    “Where are you from?”
    “I can’t remember”
    “Can you remember anything?”
    “I remember... the Alamo.”

    [cowboys hoot and holler]

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  • Parasite

    Parasite

    ★★★★½

    Deserves all its praise. Transitions fluidly between genres — the first act is a pitch-perfect heist movie, the second a terrifying psychological thriller. The ending isn’t overly determined and leaves room for the metaphors to breathe. Gorgeous camerawork, great score. There are so many small details to love.

  • Look Who's Back

    Look Who's Back

    ★★★★½

    Look Who's Back is fascinated with Adolf Hitler, and horrified by that fascination. In early, Borat-inspired "man on the street" segments, the film aims to draw a line behind which its audience can safely gawk at racist Germans; by the end, it has become clear that Oliver Masucci's Hitler has a charisma that cuts through every layer of ironic detachment. The movie's earnestness gives it a dialectical quality, so that even its flaws feel connected to the Fuhrer's charm --…