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  • The Royal Tenenbaums

    The Royal Tenenbaums


    I want to live in this film’s sad, absurd, elegiac world more than any other one.

  • Meet the Parents

    Meet the Parents


    Still love Greg's takedown of the flight attendant, which would've been unimaginable post 9/11; would probably like the rest of the movie more if not for the shitty sequels.

  • Atomic Blonde

    Atomic Blonde


    Visuals aside, this is just ok, but Charlize Theron is an exquisite badass.

  • Can You Ever Forgive Me?

    Can You Ever Forgive Me?


    It's not so much that Melissa McCarthy is a revelation here as that she finally has a role that allows her to be more than just silly or weird (although she's occasionally those things too.) The real-life story of Lee Israel, a struggling, middle-aged, alcoholic writer who fell into a brief stint as a literary forger, should be something that works better on page than screen, but director Marielle Heller (THE DIARY OF A TEENAGE GIRL) translates Israel's own memoir…

  • House



    Nothing compares to this glorious, insane mashup of THE HAUNTING, POLTERGEIST and Hello, Kitty! sensibilities. Also, I had to laugh when one of the girls said, "This is like a horror film!" and another (probably "Prof") dismissively responded, "That's out of date."

  • Mid90s



    I'll go to bat for Jonah Hill as an actor, but Rick Linklater he's not. He's assembled a pretty good cast and the skateboarding montages are nice but the clumsy pacing reveals someone with more enthusiasm than talent for this sort of thing.

  • The Silence of the Lambs

    The Silence of the Lambs


    Last tried watching this in a dorm room 20+ years ago at 3:00 AM, falling asleep ten minutes in (duh), so it's great to finally see this on a big screen ALL THE WAY THROUGH (turns out I remember the last twenty minutes, but little before it.) Foster and Hopkins are both career-best, but credit Demme for rendering this more profound than your average horror procedural; even better, it still totally works as an entertaining and smart horror procedural.

  • Shoplifters



    Naming a favorite film by Japanese director Hirokazu Kore-eda is like doing the same for his closest progenitor, Yasujiro Ozu--nearly impossible, given their tendencies to revisit and refine themes of domesticity and humanism while maintaining a higher-than-average consistency. SHOPLIFTERS may have finally won Kore-eda the Palme d'Or at Cannes this year, but I could name at least three earlier titles of his equally deserving of the prize.

    This film hues most closely to one of those three, NOBODY KNOWS in…

  • Cold War

    Cold War


    Pawel Pawlikowski's follow-up to IDA is cut from the same fine-polished glass: set in post-war Poland and shot in 1:33 black-and-white by cinematographer Łukasz Żal, it spans a fifteen-year period (leading up to roughly the time of the previous film) over which jazz musician Wiktor (Tomasz Kot) and younger singer Zula (Joanna Kulig) have an on-again, off-again love affair. They first meet in a sanctioned troupe meant to spotlight traditional Polish song and dance. Wiktor, disillusioned as the Communist government…

  • Beautiful Boy

    Beautiful Boy


    Another great performance from Chalamet (CALL BE BY YOUR NAME was definitely no fluke) and a good one from Carell (despite what I said about him being better suited to comedic roles a la BATTLE OF THE SEXES). Along with the perpetually underrated Maura Tierney, they elevate the material in a way Close's impressive work couldn't quite save THE WIFE. In this case, the problem's less the material than some heavy-handed direction from Felix van Groeningen (THE BROKEN CIRCLE BREAKDOWN.)…

  • Shaun of the Dead

    Shaun of the Dead


    A romp in every sense of the word. Bonus points for sneaking "They're coming to get you, Barbara!" in there.

  • A Star Is Born

    A Star Is Born


    As modern Hollywood musicals go, *slightly* better than LA LA LAND, and much better than any umpteenth remake of this hoary old tale has a right to be. If Cooper finally wins his acting Oscar for this, I won't be disappointed. Questionable camp value aside, I can imagine choosing to watch this again long before BURLESQUE or MAMMA MIA!