Favorite films

  • Stromboli
  • Kwaidan
  • The Long Day Closes
  • Uncle Boonmee Who Can Recall His Past Lives

Recent activity

  • Mysterious Object at Noon


  • Night Colonies


  • Speed


  • Scream


Recent reviews

  • Mysterious Object at Noon

    Mysterious Object at Noon

    Earlier, probably embarrassing words:

    Apichatpong’s Mysterious Object at Noon examines inspiration in its most unlikely forms and simultaneously brings it to life. It’s a celebration of everyday people, their homes, stories, and imaginations. It’s also a creative look into the creative process which seeks to demystify film making, but which does so while advancing singular visual and narrative styles. It’s auterism at its most humble.

    Traveling around Thailand, Apichatpong documents his interactions with the people he meets, asking them to…

  • Night Colonies

    Night Colonies


    Apichatpong's shorts may be "abstract," "avant-garde," or "experimental," but I'm always impressed by how much they feel like complete thoughts. Subtle as it may be, there's definitely a shape and an arc to this that touches on so much with so little.

    Within the context of the COVID-themed omnibus film Year of the Everlasting Storm, Night Colonies feels haunted by loneliness and isolation, like a lot of his recent shorts and New Years videos. These insects are Apichatpong's companions when…

Popular reviews

  • Captain America: Civil War

    Captain America: Civil War

    For the life of me I can't understand how fans find anything to give a shit about in these films.

    There's no personality, no stakes, no energy on display from either the cast or the directors. In the Russo brothers, I think Marvel have found their ideal directors: artless, visionless servants of an episodic TV structure. The action isn't exactly unintelligible (Marvel films are too insidious to be completely unsound), but it's passionless: hyperkinetic yet perfunctory. The Russo brothers' "style"…

  • Phantom Lady

    Phantom Lady


    A searing and insidious noir, finding and seizing every opportunity to break out of its studio confines. Even early on, Phantom Lady begins to distinguish itself from Siodmak's other "blue collar" noirs like The Killers and Criss Cross, positioning itself visually as something much more gothic and romantic, and therefore much more surreal and scary. A strange phantom New York -- a hazy, sleepy place like Eyes Wide Shut's -- is conjured up with expressionistic framing and lighting, and tricks…