goodhunterabbie has written 30 reviews for films rated ★★★ .

  • The Triplets of Belleville

    The Triplets of Belleville


    Very fun once it takes a full turn into slapstick, beautifully rendered, also essentially petty and mean-spirited. Rarely has a film hated human bodies more. That one Josephine Baker "joke" is repulsive

  • Sleuth



    The brains of everyone involved in this production are visibly leaking out of their ears

  • Spencer



    Where the thing that continues to fascinate me about Jackie is the direction straining to transcend the literalism of the screenplay, this just keeps leaning into the obvious until it crescendos in an ending so utterly galaxy-brained it might wrap back around into being good? Mostly lurid gawking interspersed with thudding statements of theme, trash made pretty by ellipticism, until the climax jettisons respectability entirely and dives headfirst into hacky liberation with such vigor that it knocks the wind out…

  • The Green Knight

    The Green Knight


    Wish this were both capital-W Weirder and less self-conscious—the best moments are little interludes like the quest for Winifred's head or the roving giants, where Lowery allows himself some majesty or whiff of the ineffable that's centered in the genuinely mystical rather than bolstered by ostentatious framing and the (admittedly quite pretty) score. On its own terms this is a carefully crafted aesthetic object, and Patel effortlessly carries and complicates the presence of a knight of old, but by the final segment I was praying for a conclusion that would let me stretch my legs.

  • Saw II

    Saw II


    Incredibly mean and incredibly stupid in its meanness, but unfortunately there's a mechanical satisfaction to each cruel turn of the cogs that I can't deny. We'll see how long that lasts across another six movies; if they're all as dopily misanthropic as this one, I can't see the appeal lingering.

  • Watership Down

    Watership Down


    Really wish this had the courage to fully get behind the mythical and abstract qualities of the book - whenever they're present, the animation is compelling in a way the literal, nondescript style that makes up the rest of the film isn't. But hey, if you can't be interesting you might as well be visceral, and it does a suitable job of translating Adams' violence to the screen. The brute ugliness of the animation is probably an asset there, its blunt mix of pink flesh and red blood deeply unsettling and doing its part to restore some tonal heft.

  • Dying of the Light

    Dying of the Light


    Dark cut.

    So did Schrader get permission to use the Upstream Color score or did he just say "Fuck it" since he was already distributing this illegally? To be clear this is a pro-stealing-shit-from-Shane-Carruth account after this year, I'm just intensely curious

  • Let It Be

    Let It Be


    The Decline and Paul of Western Civilization

  • Drive Angry

    Drive Angry

    Yeah sorry, this rips. Pure deep-fried comfort trash—I'll take any movie that ends with a grinning Nicolas Cage and William Fichtner bonding over the shared realization that even eternal torment can't stop dudes from rocking, then driving themselves back into the lake of fire to the strains of Meat Loaf. Action scenes aren't what you'd call competent but they're possessed of an amateurish glee that's infectious, and sometimes it's enough just to watch glancing shotgun blasts blow cars end over end. More redneck Constantine please.

  • He Walked by Night

    He Walked by Night


    John Alton could shoot a fucking picture—the stuff he does with shadows here is in its own way as masterful as anything by Gregg Toland. The climactic pitch-black chase through the sewers is particularly striking, prefiguring The Third Man by a full year, all low angles and encroaching spaces whose ink is pierced by flashlight beams.

    Outside the visuals, though, this can't help but play as an inferior cousin to Mann's other docudrama, T-Men—in addition to that movie's firmer grasp…

  • The World, the Flesh and the Devil

    The World, the Flesh and the Devil


    Unfortunately and unforgivably falters in all the ways you'd expect it to when it comes to the possibility of an interracial romance in a '50s movie. But Belafonte is exceptional—the first half of the movie, which he carries alone, is the best, his dark humor and growing desperation at finding himself the last man in the world commanding the viewer's attention. And even in the second half, which for the most part hobbles him with an asexual, impotent saintliness, there…

  • Scarface



    Went into my first viewing tonight not knowing this movie expects me to buy F. Murray Abraham as a guy called Omar Suárez. His first appearance knocked the wind out of me to the extent that I was unable to recover for the rest of the three-hour runtime.