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  • Widows

    Widows

    ★★★

    Figure by the time I get around to writing about this proper at the end of the year the backlash will have built and I'll end up engaging with that more than the film, but I will make an attempt to avoid that. Until then, all I can say is YAAAAAS McQueen YAAAAAAS!

  • They'll Love Me When I'm Dead

    They'll Love Me When I'm Dead

    ★½

    It's a nice companion piece to THE OTHER SIDE OF THE WIND (obviously), but on its own is also interesting in how it explores Welles and the personal stories that are interspersed with the more didactic portions. Think there's a lot to appreciate even if it feels, as many docs do, very 'for an audience.' Do want to go back to rewatch the film with these things in mind and after having it sit with me for a couple of weeks.

  • Outlaw King

    Outlaw King

    ★½

    Mackenzie leading man hot take: Kutcher > O'Connell > Pine

  • Overlord

    Overlord

    Definitely a bunch of parts, but they only reanimate in to something as thrilling as the potential in fleeting glimpses. An interesting experiment, for sure, and seeing the blend of genres ought to allow for plenty of excitement and opportunities for stylistic joy, there's just so little of it that it ends up fairly underwhelming.

  • Suspiria

    Suspiria

    ★★★

    I'm just not really about lumping Lacan and Baudrilliard in with Jung and the like.

  • Mid90s

    Mid90s

    ★★★

    Don't care what stuffy period pieces hit this year, give this Best Costume Design!

  • Can You Ever Forgive Me?

    Can You Ever Forgive Me?

    ★★½

    I guess we're officially in PFF27 Director's Fortnight territory. Anyway, this was surprisingly good, and way more dour than I was expecting. What struck me was just how well the personal notes resonate, there's an authenticity to what McCarthy does here that I feel like it's the first time I've really been sold on her. Do wish it toyed more with the idea of authenticity, but the focus on vulnerability and really exploring Lee Israel more than holds its own.

  • Shirkers

    Shirkers

    ★★

    PFF 27 - Film 31

    Technically watched this on Netflix since I missed the last day, but still counts well enough. A lot to like when footage from other film inter-cuts and how it frames itself around the development of Singapore as a nation along with its film scene. Extends itself nicely to focus on time and relationships as a whole, which gives it a bit more weight. A well crafted watch.

  • Her Smell

    Her Smell

    ★★½

    PFF 27 - Film 30

    A rolling stone gathers no Moss.

    Really knocked that one out of the park, even if the subgenre of rock doesn't line up, and is certainly applicable because for much of the film Moss doesn't slow down at all.

    Easy to find her all consuming, but Alex Ross Perry's script is sharp enough to balance it with moments of great turmoil around the Becky character for her to bounce off without being draining. Way 'bigger'…

  • Vox Lux

    Vox Lux

    ★★★

    PFF 27 - Film 29

    Alternate Title - A STAR IS DEAD

    There were comparisons to be made between BLACK SWAN and PERFECT BLUE even before that became trendy, and once again Portman finds herself in a position where her role could be compared to Kon's masterful work, but the structure here really allows it to grow and find its own identity. Likely going to need more time to wrestle with a few of the ideas, especially how the Finale…

  • The Favourite

    The Favourite

    ★★

    PFF 27 - Film 28

    Even though it isn't penned by Yorgos himself, there are more than enough of his sensibilities in the script that the style he brings is a natural fit. There's the central notion of power, how that relates to sex, and the different forms of control and command that are used, all framed in an historical context which makes these ideas feel much more timeless. Still grappling with the use of fisheye (or wide angle? Not entirely sure), but I trust that Yorgos knows more than I.

  • Long Day's Journey Into Night

    Long Day's Journey Into Night

    ★★★

    PFF 27 - Film 27

    Perhaps the most technically impressive use of 3-D since HUGO or AVATAR, though not nearly what GOODBYE TO LANGUAGE did, and blends well with the film, but even more impressed by the use of late title card.