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  • Revenge




    There’s basically no third act, which I didn’t realize until I went looking for clips of it in the essay. It just sort of bends from 2 until the ending, like Kevin Shields changing chords. I kind of admire that. It’s just a sleek train of images that have to end at a place of semi-tragic sub-Hemingway death glamour. Scott went a long time without being this earnest again, I think he learned to mistrust how much he cared…

  • A Perfect World

    A Perfect World



    Honestly this could have/maybe should have been another hour but nobody does emotional shorthand like Clint. But by splitting it between two equally compelling plot threads he refrains from doing work I know he would have done for both narratives if he was only making one movie, but I wanted more concrete resolution for the Dern/Eastwood relationship and I wanted even more time with Costner and the boy. It’s extremely good, and I wanted more of both. To fit…

Popular reviews

  • Hereditary



    This review may contain spoilers. I can handle the truth.


    Maybe it's me but there's something kind of cheap and tawdry about giving your character a sort of accentuated handicap and playing it for scares? The treatment of Charlie broke the spell the movie attempts to cast in the first ten minutes. She produces a chocolate bar from her pocket that neither parent knows the origins of, hinting that she's one of those magic children movies love that just does things to which the parents of a heavily troubled…

  • Roma



    This review may contain spoilers. I can handle the truth.


    Lines that didn’t make it into my review: 

    “It is *about* the maid who raised Cuarón and his brothers and it is a lie...Roma’s narrative endgame is a stunning insult, a dismissal of Cleo’s agency as anything but a vestigial appendage of a family rich enough to wreck their cars on a whim...she loses her child and grieves for 16 minutes of a 2 hour and 15 minute movie. I timed it, keenly aware that she’d be ‘saved’ soon enough.”