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  • Impression of a War

    Impression of a War

    The Miguel Gomes-esque slice of life fantasia Like Shadows Growing... somehow naturally precedes an exacting essayistic short that feels like Farocki and Marker taking on Pablo Escobar.

    Rather than look at a cycle of repetition or collective arrested development, as in his two early shorts, here Restrepo is concerned with alterations, a re-rendering of the past through distorted yet malleable images of war. Despite seeming scrappy, it's elegantly strung together.

    Textile dye is as powerful as a prison-made pen ink tattoo gun when it's in front of the camera. The offset image is the clearest of all.

  • Death in the Terminal

    Death in the Terminal

    β˜…β˜…Β½

    Seems callous to say this left me wanting more but there you have it.

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  • Interstellar

    Interstellar

    β˜…β˜…Β½

    Almost instantly forgettable, Nolan's latest feature might contain some stunning visual sequences but they are squished between mountains of clunky exposition, underwritten characters and cringe-inducing dialogue.

    The film takes 45 minutes to actually get started, the Earth-set first act tethered to a very poorly explained future and weirdly simple plan to save it before we actually get into space. When that happens, we find ourselves at a recurring juxtaposition between some of the best visual depictions of deep space ever…

  • Birdman

    Birdman

    β˜…β˜…Β½

    I'm not entirely sure what this film thinks it is, throwing so much shit at the wall and hoping something profound sticks. I do know, though, that without that really good drum score it would have been a whole lot more dull to sit through; we witness the process of the film figuring itself out, messily and unconvincingly over its far too long runtime.

    Norton was great, if you want to tackle self-obsession and ego in art and theatre, make…