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  • Walker

    Walker

    ★★★½

    Alex Cox certainly makes distinctive films. I'm not sure that they always gel with me, as I have a sort of in-built resistance to the carnivalesque and maximalist spirit he has (along with, say, Terry Gilliam). But I can't fault Cox's determination to bitterly present a satirical view of American involvement in central America, spurred by the contemporary exploits of such hucksters as Oliver North, and the film does everything it can to collapse one into the other. The mid-19th…

  • First Cow

    First Cow

    ★★★★

    I went to see it for a second time and even the way the characters end up -- which to be clear, is very much present in the film's opening also and so isn't a spoiler in any way -- feels somehow warm. It's an end (and a presumably violent one at that) which feels like the best way of honouring the friendship (perhaps love) between the two leads, who find themselves in the same setting plenty of other films…

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  • Urban Rashomon

    Urban Rashomon

    ★★★½

    It seems to me that a lot of photographer/director Khalik Allah's work is about the ethics of documenting poverty. In this short piece we see him capturing images of a street person called Frenchie, while the director reflects in voiceover about his borderline exploitative relationship with his subject. It's a film of beautiful images but also is very upfront about the ways in which representation is manipulation and exploitation, which is refreshing.

  • Vice

    Vice

    ★½

    In some ways, when I watch something like Vice (or indeed, writer/director Adam McKay's last film The Big Short), I think of David O. Russell's American Hustle or even the flashier Martin Scorsese of, say, Wolf of Wall Street, both of which films I broadly liked (although I'm cooling on the Russell over time). I think there's a lot of common ground, as comedic renderings of modern society in all its gaudiness and compromised politics, and perhaps there's a fine…