Film Cred

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  • Inu-oh

  • Thor: Love and Thunder

  • Nope

  • 18½

Recent reviews

  • Inu-oh


    "All of Yuasa’s typical hallmarks are present here: sudden bursts of hyperviolence, shocking uses of vibrant color, extremely stylized faces. Inu-Oh has a much more deliberate pace when compared to some his other work, like Devilman Crybaby or Night Is Short, Walk On Girl, for example. Everything is a bit slower. This doesn’t mean it’s not energetic. Like much of Yuasa’s oeuvre, it is still enamored with the spectacle of the supernatural. Rather, that energy is devoted to making sure…

  • Thor: Love and Thunder

    Thor: Love and Thunder

    "Full disclosure: Thor is one of my favorite Marvel characters (still around in the MCU), Thor: Ragnarok is one of my favorite MCU movies, Waititi is one of my favorite directors, and Chris Hemsworth has become one of my favorite actors. So to say I was excited to see Thor: Love and Thunder on opening night is the understatement of the year. My initial reaction leaving the theatre: disappointment. At first, I felt the story did little to add substance…

Popular reviews

  • The Power of the Dog

    The Power of the Dog

    "Campion’s austere command over the (in)visible reveals itself in the specter of time as we watch the gradual disintegration of a repressed soul. Through the folds of sunlight and shadow a mountain ridge yields, we see all of Phil, yet, we know nothing. The darkness lies in Cumberbatch’s snarl, under the suffocation of his vacant gaze; yet the sun of his charm persists. His wickedness is a puzzle: the world feels beneath him, his formidable wit surrounded by asinine bozos, something only mollified by well-placed insults."

    Read more of Dylan Foley's review here

  • My Name Is Pauli Murray

    My Name Is Pauli Murray

    "It is a shame, then, that a figure as inspiring as Pauli Murray is rendered with such uninspiring filmmaking. The documentary is simply not cinematic enough. It is bogged down by lengthy on-screen text — quotes, love letters, bills, newspaper cuttings, doctors’ reports, legal documents, you name it — that, coupled with the overreliance on slow pans across archive photographs, stunts the film’s rhythm and makes it visually flat. Devices that are initially effective, such as tension-building split screens that show Murray facing off with powerful, sometimes ideologically opposed figures, grow tired through excessive use."

    Read more of Yasmin Omar's review here