• Blonde



    After watching the film I have to say Dominik’s dismissal of Monroe’s films and work does start to make more sense, it’s clear he sees MM as a Symbolic Avatar, a pop culture icon who needs to be saved from the nefarious, lecherous intent of the many grotesque men milling around her. She is rarely presented through the lens of Marilyn the Actress, her bubbly screen persona, her fantastic comic timing and wit. You could argue this is a reflection…

  • August in the Water

    August in the Water


    Vibes: the movie

  • Pakeezah



    Absolutely stunning. Peak Bollywood romantic tragedy about a tawaif (courtesan) who longs to be loved and her despair and struggles with rising above the limitations set upon women. Every frame is impeccably detailed. The aristocracy of the Indian Muslim milieu set against a backdrop of lavish palaces, courtyards and fountains - as much a gilded cage for Meena Kumari’s Sahibjaan as it is a place of beauty. It’s telling that when she finally meets her love interest and the mysterious stranger…

  • Mississippi Masala

    Mississippi Masala


    An interracial couple with no white person in sight is so refreshing.

  • Police Story

    Police Story


    Few performers in the history of the film medium have been as good as utilising their body on screen as Jackie Chan.

    The behind the scenes footage rolling over the ending credits is just people actually jumping through glass, a shanty town being blown up for real and people getting carried off on stretchers. Insane.

  • Raazi



    nationalism kills.

  • GoodFellas


    One of the most compulsively watchable movies ever made, Scorsese fires up every cinematic trick in his arsenal - quick zooms, freeze-frames, steadicam tracking shots, montages, crane shots. Married with Thelma Schoonmaker’s rapid fire editing and wall to wall needle drops, you end up with an indelibly stylish, hyper propulsive rush of a film that has the net result of seducing you into the criminal underworld just as it does to Henry Hill, sinking its claws into him.

    Pesci and…

  • The Batman

    The Batman


    Reeves has built probably the most fully realised Gotham on screen - it’s so gothic and moody and lived in, and one of the things I appreciate about the strong sense of atmosphere is how much it contributes to this being a horror movie in so many ways.

  • Kabhi Haan Kabhi Naa

    Kabhi Haan Kabhi Naa


    Reasons why I love this: 

    - the outfits! the musical numbers! the neon lights in the background during Ae Kash Ke Hum!

    - it’s an incredibly sweet and funny and wholesome low-stakes romcom, but it also has an underlying sense of keen melancholy, the ultimate bittersweet comfort watch 

    - the running gag with the musical band trying to impress both the club goers (so they don’t have glasses/plates thrown at them), and ultimately, a hardened mafia Don is so, SO…

  • Ali



    The ending gave me goosebumps oh my god!!!

  • Bringing Out the Dead

    Bringing Out the Dead


    Ving Rhames is a total scene stealer in this. This taps into the same surreal, off kilter energy as After Hours - two movies where the bulk of the action takes place at night - so of course I loved it. Such a spry, energetic movie too.

  • The Fly

    The Fly


    I mean it’s Cronenberg so gruesome body horror is unsurprising, but wow I wasn’t expecting such a soul stirring, deeply wounded romantic story to go along with it. Kind of wrecked me.