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  • My Future Is Cinema's Future

    My Future Is Cinema's Future

    ★★★

    SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY! SEVENTY!…

  • American Movie

    American Movie

    ★★★★½

    I do love the way Chris Smith doesn't let the starry-eyed amateur filmmaker Mark Borchardt off the hook for his deluded idealism. For as much as the film revels in the comedy of Borchardt's shortcomings when it comes to the mechanics of filmmaking (the cupboard stunt, the ADR with Uncle Bill, his mother's struggling with the viewfinder) behind these moments lies an unpleasant portrait of a man who was sold the dream of the independent film boom and would do…

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  • Promising Young Woman

    Promising Young Woman

    This review may contain spoilers. I can handle the truth.

    So I have really wrestled with how exactly I came to find myself on the other side of this polarizing critical darling. Normally, I wouldn't invest to much time into the notion, chalk it up to a dismissive but truthful "just not for me" and move on, but something about why Promising Young Woman did not work for me didn't sit right to leave without some added self-assessment. Much like with Sophia Takal's BLACK CHRISTMAS (which I invoke not out…

  • The Neon Demon

    The Neon Demon

    ★★★★½

    Never has there been a movie that is so vulgar and yet so audaciously beautiful. Refn's Neon Demon does everything in it's power to confront your ideas of aesthetics and completely invert them to a new classification the likes of which have not been approached since the glossy works of Dario Argento. Salacious and exploitative. Gruesome and utterly disturbing. Refn has made the type of film that makes one reconsider their taste and reevaluate what they believe is "too much"…