Esther Rosenfield

Esther Rosenfield

and so, the two of us became the wind

no star ratings – likes are for films i like, no likes for films i don't

Favorite films

  • His Motorbike, Her Island
  • A.I. Artificial Intelligence
  • Tarnation
  • Shadow of the Vampire

Recent activity

All
  • Mulholland Drive

  • [REC]

  • Wheel of Fortune and Fantasy

  • Halloween II

Recent reviews

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  • Mulholland Drive

    Mulholland Drive

    it’s easy to see what attracts lynch to television here, the way an ongoing story by its nature allows for endless breadcrumb trails of symbolism and implication. television allows those threads to link along a single continuum, constantly developing and changing but always leading back to where they started. a film has to end, but a television show doesn’t. that potential for “getting dreamy” as lynch puts it in behind-the-scenes footage from twin peaks: the return is obviously key to…

  • No Time to Die

    No Time to Die

    the ana d. armas scene is fun but man this is incredibly undercooked for being as long as it is. the lashana lynch "character arc" is borderline grounds for a false advertising suit, a role pitched as a strong woman going toe to toe with bond even though she is shown constantly failing and accomplishing nothing and learning to be deferential to him by the end. it's kind of funny in a rule of threes way, how every craig sequel…

Popular reviews

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  • The Lighthouse

    The Lighthouse

    idiots will call this a staggering retelling of the myth of prometheus through the eyes of the american laborer, the fire of the gods becoming success under capitalism, an unattainable fiction that drives men to maddened violence in their pursuit

    geniuses will understand that this is a movie about getting drunk and almost kissing ur homie and then getting even drunker and tenderly holding each other as you drift off to sleep

  • Dear Evan Hansen

    Dear Evan Hansen

    probably the most remarkable thing about this film is that you really never get used to the fact that he looks like that. even in the late moments of this 137 minute film i was still jolted by occasional cuts to ben platt's puffy, doughy visage, newly horrified by his inland empire-esque facial contortions and body language that has been seen in cinema only once before: in f.w. murnau's expressionist classic nosferatu. his exaggerated hunch, hysterically twitchy hands, and latex-smooth…