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  • Wide Angle Saxon

    Wide Angle Saxon


    The more you read about the film and the more you recognize the copious amounts of word play, riffs on other filmmakers' styles, and other reference points, and then consider the rarity of it can't help but wonder who is this all for?

    But then you start to understand some of what's embedded and learn of Landow's combative feelings towards his contemporaries...but also the combination of that with his then newfound religious fervor, and a line from P Adams…

  • Uncut Gems

    Uncut Gems


    The most 'present tense' film of the year, and also the most transactional.... so maybe it's fitting that I felt a little ripped off afterwards, not believing all of the high intensity balancing act.

    Sandler is a god tho. And despite it all, hard to knock even if the style is most of the substance.

    35mm print - Metrograph

  • The Land of Steady Habits

    The Land of Steady Habits


    "Oh. My life is a mess. And now I can't fuck."

  • Palindrome



    "By night we go (down) into a gyre/
    and we are consumed by fire"

    16mm print - Light Industry

  • Cats


    What exactly am I looking at here?

    DCP - AMC Loews 7

  • Deliverance



    Human nature is a cruel cruel thing.

    35mm print - Film Linc

  • Life Begins Tomorrow

    Life Begins Tomorrow


    André Bazin once remarked about an earlier film of Vedrès’: “Why do chance and reality have more talent than all the filmmakers in the world?” 

    A slight criticism to which Vedrès rebuked with a later statement saying: “In my opinion, history is a field that can only be grasped through imagination”.

    A back and forth I can see both sides of. In this particular film’s earliest moments I thought there would be a chance of true experiential cinematic travel. After…

  • Macho Dancer

    Macho Dancer



    35mm print - MoMA

  • Blow Out

    Blow Out


    35mm print - Film Linc

    This didn't hit me as much as I wanted it to.

    Could certainly change my opinion on a rewatch, but even though I enjoyed a good deal of it, this felt more valuable in terms of filmic syntax than it does an actual full bodied piece of cinema.

    Also maybe this aspect was overhyped for me but was let down by the use of Philadelphia here. A blowjay in 30th St station is believable but other than that and the exception of the ending, it felt like it could be shot anywhere. Three bones.

  • A Hidden Life

    A Hidden Life


    “Don’t they know evil when they see it?”

    DCP - BAM

  • Amazone


    If she only knew what the word would come to represent 

    35mm print - MoMA

  • The Week Of

    The Week Of


    A comedy not afraid to go off on tangents.

    Also John Ford on the tv screen, what are Smigel and Sandler trying to say??