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  • Repulsion

    Repulsion

    ★★★★

    Directing overtakes the lead performance, thankfully and I can’t help but think that this is the film that inspired ole mate Darren Aronovsky for mother! Rather than Rosemary’s Baby. 
    (Except Polanski has a subtler hand that smells of the avant garde filtered through the horror genre)

  • The Farewell

    The Farewell

    ★★★★

    Fare’s very well.


    Grief as communal experience underpins every scene in Wang’s magnetic exploration of family. She beautifully sets usually individual - or rather, private - experiences in shared spaces and amid public events. The wedding reception, the dressing room, the hotel hallways, the most emotional scenes in the film are exposed - or rather beautifully shared - in these spaces. Carefully handled by Wang, these scenes and each individual performance within them, reinterpret the melodrama of classic Hollywood cinema…

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  • First Man

    First Man

    ★★★½

    Can’t believe she dropped the heart of the ocean into that moon crater at the end

  • Midsommar

    Midsommar

    ★★★½

    The funniest anti-horror horror film I’ve ever seen. Give me pubes in pies and the signature Ari Aster ‘head’ stuff with a sprinkle of floral distortions (a la Annihilation) and I am THeRE. 
    Sure it’s self-reflexivity takes the venom out of the drive of the narrative and sub-plots divide any key conceptual thread but this very same self-reflexivness makes it that much more effective (or at least gives it some metafictive ground to stand on and launch itself from). It’s…