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  • The Eyes of Orson Welles

    The Eyes of Orson Welles

    ★★★★

    Irish introvert Mark Cousins continues his series of interviewing absent filmmakers. This one comes after his one-camera Bunuel-in-Mexico travelogue.
    And I'm down for it.
    His halting, question filled narration is still comfortably close to how I watch any film. So any new Cousins is always welcome here.
    This is an incredible sincere bio of Welles the artist, watch it twice for that alone. Three times for the incredible footage.
    Cousins knows faces are a big pull for the human brain,…

  • Sid & Nancy

    Sid & Nancy

    ★★★★★

    Cox's Romeo and Juliet-as-lens device holds up better decade after decade. It's the super-brief (23 months?) dead end romance journey of the most notorious borderline addicts in the 20th century.
    It almost comes off like a memoir journey of their ghosts, reliving and re-ignoring the class warfare landscape around them, what with the inappropriate age of Oldman & Webb, and the haunted interludes and transitions defying time, logic, or likelihood that only increase as they approach their demise.
    But hey .…

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  • 13 Ghosts

    13 Ghosts

    ★★★★★

    Plays the Derridian fiddle between 'death' and 'debt' pretty convincingly.
    Our family of protagonists are facing imminent financial collapse as their furniture is being re'possessed' in the first scene, while dad ruminates on how humanity ever survived the Pleistocene age.
    We get reminded about once every 15-20 minutes how money is on every one's minds, right up to a haunted staircase that spits out bills to son 'Buck', monitored by skeevy lawyer 'Benjamin Rush'.

    Didn't expect a cheeky subtext to…

  • Another Round

    Another Round

    Subversive Danish take on masculinity disguised as a pop culture pleaser from Vinterberg. The Big Chill in a flask, laced with absinthe.

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  • Suspiria

    Suspiria

    ★★★★★

    Sometimes I doubt your commitment to Sparklemotion.

  • Hell or High Water

    Hell or High Water

    Inexplicably depressed Nationalist propaganda film about open carry, Ford trucks and actually gettin the feels about yer dead Mexican/Indian sidekick. There are no villains in the story, just heroes and bystanders cuz Texas.

    If ever there was a case for story being nearly inconsequential to how good a film is (a case I make always), it's this story, written by Taylor Sheridan . . . who also wrote Sicario and won awards for it. HoHi's screenplay begs for another go-round…