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  • Misery

    Misery

    Look, my opinion of Stephen King is going to forever be colored by the fact that he openly maligns Kubrick's Shining but twice allows Rob Reiner to adapt his works. Not a flattering profile of a writer.

    This is an effective horror film and I confess to liking it quite a bit. I shrieked when Kathy Bates announces she's two chapters away from finishing the latest Misery. And it's surprisingly perhaps even more relevant in a society where social media…

  • Love in the Afternoon

    Love in the Afternoon

    Undeniably well-directed, but boy howdy what a journey through some of the more depressing back alleys of the male gaze.

    Gary Cooper as a drunk Joe Biden lives only to possess, and is rewarded with the indeed virginal Hepburn -- served to him on a silver platter by none other than her very own Pa.

    Wilder's craft never disappoints. See: the sequences with "the Husband," the recurring "Gypsy Band" tool, the opera, and the bar cart set piece.

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  • A Summer's Tale

    A Summer's Tale

    My god! Nothing beats Rohmer.

  • Loves of a Blonde

    Loves of a Blonde

    No one in this film owns a hairbrush. 


     A nearly perfect film, in my book. Structured so elegantly — just a few big, focused scenes. Like joyful continents, all to the point and yet so lively. A document of insight filled with much love for the Humans. Il Posto, Camera Buff, came to mind.