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  • Kaboom

    Kaboom

    ★★★★

    A college freshman named Smith (Thomas Dekker) has a recurring dream about people he then, in his waking life, comes to meet. In addition, he meets others he hasn’t dreamt about, while he and his bestie Stella (Haley Bennett) study for exams and have great sex with various guys and gals. It’s all fun and games, until the creepy goons with animal masks, the pukey redhead, a beached beefcake (or two), a dead Dad, and a laser-eyed, sex-starved witch show…

  • Close-Up

    Close-Up

    ★★★½

    Westy spells it out with clarity and precision. I mutter senselessly. Read all about it in the newest edition of Collokino.

    Find an index of all the conversations here.

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  • Bound

    Bound

    ★★★½

    Great noir variant from the Wachowskis. Oozing equal measures eros and menace, the black-and-red theme is incendiary. The story circles around itself a couple times too many, but it’s a satisfying blend of good writing , a spectacular visual palette, and the heady scent of actual ardor. The mob stuff bores me, though I recognize its inflated importance in American cinema. Aesthetically pristine, but little more. All else aside, Tilly and Gershon form a convincing bound. Too bad it couldn't be used for more than screwing the mob.

  • I, Dolours

    I, Dolours

    ★★★

    I know the story well, from many tellings, about Dolours Price, one of the earliest volunteers in the Provisional IRA, and the tales about the Unknowns, and the Disappeared, and the Old Bailey bombing, and her hunger strike while held at Brixton Prison, and, after all, the Boston College recordings. But as with most documentaries and me, it’s a poor substitute for the wealth of excellent books that tell it infinitely better. The film isn’t worth more than two stars,…

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  • Bluebeard

    Bluebeard

    ★★★★

    I really do love the flat, static tableau style of Breillat’s visual composition. It resembles precisely the mental imagery of a young girl envisioning a faery tale (I imagine). As a feminist retelling of the old French yarn, the female characters are just as accountable for their own captivity as the blue-bearded ogre (played to forlorn perfection by Dominique Thomas), if not more so.

    The women and girls condemn themselves and one another as sacrificial virgins, setting traps they then…

  • Portrait of a Young Girl at the End of the '60s in Brussels

    Portrait of a Young Girl at the End of the '60s in Brussels

    ★★★★★

    All of Akerman condensed into a single pristine hour. Michèle yearns for connection, but can’t pretend it will ever come easily to her. Defying all conventions and restraints, she presses out into the world, alone. Like so many Akerman protagonists, the more Michèle interacts with others, the more solitary she becomes. The simultaneous experiences of pain and happiness, of proximity and distance, of brightness and gloom, Akerman bestows on Michèle, played pitch-perfect by Circé Lethem. Other than Chantal herself, no…