• The Lost Daughter

    The Lost Daughter


    I didn't expect to love this, but found myself hypnotized. Further proof of Olivia Colman's genius; Leda is an unforgettable character.

  • Nitram



    «My eyes are fully open to my awful situation –
    I shall go at once to Roderic and make him an oration.
    I shall tell him I've recovered my forgotten moral senses,
    And I don't care twopence-halfpenny for any consequences.
    Now I do not want to perish by the sword or by the dagger,
    But a martyr may indulge a little pardonable swagger,
    And a word or two of compliment my vanity would flatter,
    But I've got to die tomorrow, so it really doesn't matter!

  • C'mon C'mon

    C'mon C'mon


    All of Mike Mills' feature films are about growing up. How a person grows up, how other people help someone grow up, and how they also grow up in the process. All of his work feels genuine and nurturing, completely intimate and idiosyncratic but still universal. C'mon C'mon is no exception.

  • Don't Look Up

    Don't Look Up


    I stand by my statement that Adam McKay is one of the worst directors and influences on North-American cinema today. His work is not just condescending, it outright stupefies everything it touches and is a detriment to our societies. It is hyper-annoying, ugly-looking, and reveals such a lack of self-reflection and self-conscience that it would be laughable if it just weren't so sad to watch. If anything, Don't Look Up embodies everything it so hardly tries (and fails) to criticize.

    And despite a star-studded cast, Cate Blanchett is the only one actually doing something worthy of attention.

  • Belfast



    Caitriona Balfe and Jamie Dornan are one hot couple, plus their kid might be the most adorable child I've ever seen. Despite that, Belfast isn't great in any way, except for the last shot with a soul-crushing Dame Judi Dench.

  • CODA



    The highlight here is Troy Kotsur. Everything else is sweet and well thought out but sticks to the formula exactly as you expect. It might actually be the most predictable movie I've ever seen, and yet... the feelings land.

  • Karen Dalton: In My Own Time

    Karen Dalton: In My Own Time


    This documentary's rating in no way reflects my opinion of Karen Dalton's artistry, which is considerably higher. Although I very much appreciate the effort to tell her story and let new generations discover her music, the film isn't particularly well made and resorts to over-used strategies and a rather conventional structure. As such, I don't feel it really captures Dalton's personality, especially given the scarcity of footage with her and the fact we barely hear her in her own words.…

  • Pig



    Simple, effective, surprising. A carefully constructed film that inverts revenge stories and profoundly explores grief and egos. Although humorous in some of its more implausible events, it's still an affecting debut feature.

  • A Symphony of Noise

    A Symphony of Noise


    Matthew Herbert is a super cool guy, his music and artistry are awesome, so inevitably this documentary is fascinating. Thankfully director Enrique Sánchez Lansch structures the film in an interesting way, works well with sound and finds some beautiful images along the way. Beautiful.

  • The Children Act

    The Children Act


    Almost exactly two years ago I watched this for the first time. Today I rewatched it thinking I'd never seen it, even though throughout the film I had a feeling of familiarity. There is something about this story and Emma Thompson's character that deeply attracts me.

  • Cruella



    The only thing I truly appreciated in this was how fashion was actually woven into the plot. Not just in the sense that characters disguise themselves through costumes, but that major plot points depend on clothes and how they are made. Of course Emma Thompson is also fabulous, but then when isn't she?

    Cruella is seriously lacking any type of social consciousness and political commentary (especially given who the characters are, how they navigate socially, and the time period), but…

  • About Endlessness

    About Endlessness


    Somehow each frame works as a verse of a poem, but the poem itself is endless. And it's no poem at all, because each frame is intrinsically cinematic – Andersson is a master of composition, depth of field, movement within the frame, space, production design, sound, and duration.