• Hangover Square

    Hangover Square

    ★★★½

    68/100

    Sorely lacks psychological depth but makes up for that, at least to some degree, with sheer intensity.

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  • Forbidden Lies

    Forbidden Lies

    ★★★★

    73/100

    Remember the uncomfortably riveting scene in Shattered Glass that sees editor Charles Lane accompany Stephen to the site of a Jukt Micronics party the latter had reported on, seeking evidence that this gathering had in fact ever taken place?

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  • Les enfants terribles

    Les enfants terribles

    ★★½

    49/100

    I like most films de Melville and I also like most films de Cocteau, but Melville directing in the style of Cocteau leaves something to be desired.

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  • Ivy

    Ivy

    ★★★

    51/100

    "Average drama of murderess snared in her own seemingly faultless plans," reads the Maltin Guide entry. "Good cast gives film added boost." Okay, let's see whether I can stretch that out for another several hundred words.

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  • Priscilla

    Priscilla

    ★★

    37/100

    Conforms so precisely to my expectations that watching it felt tediously redundant.

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  • Letter from an Unknown Woman

    Letter from an Unknown Woman

    ★★★½

    67/100

    Second viewing, last seen at Theatre 80 St. Marks in 1992. (Very first film I ever saw at a rep house after moving to New York City, in fact.) I briefly considered writing my entire review as a parody of "Stan," since the two are kinda similar both structurally and tonally—just one mammoth letter here rather than several, and the writer's death isn't deliberate murder/suicide or anything, but it's still essentially a lovestruck fan's passive-aggressive complaint at having been…

  • Pitfall

    Pitfall

    ★★★

    52/100

    We might have a Kiyoshi Kurosawa situation here.

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  • Sorcerer

    Sorcerer

    ★★★½

    66/100

    Second viewing (last seen at BAM Cinématek in 2007), no change in rating...though I find myself wondering, as I did last time, what my reaction might be if I watched it after an Eternal Sunshine-style device entirely deleted The Wages of Fear from my memory.

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  • The Killer

    The Killer

    ★★★

    60/100

    Got unduly excited by the rapid-fire, smoothly carouseled opening credit sequence, which felt—much as Se7en's did, with an assist from Trent Reznor in both cases—like a harbinger of something new and unsettling.

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  • Four Daughters

    Four Daughters

    ★★★

    53/100

    Veers so close to drama therapy that I kept wondering whether my presence as a viewer were strictly necessary.

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  • The Taste of Things

    The Taste of Things

    ★★★

    53/100

    Add, I dunno, let's say anywhere from 15 to 40 points if you're somewhere who blisses out watching food porn.

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  • Pictures of Ghosts

    Pictures of Ghosts

    ★★★½

    64/100

    Relevant to my interests.

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