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  • Le Cercle Rouge

    Le Cercle Rouge

    ★★★★★

    189/200

    Melville's best. He's so focused, he doesn't ever reach further than he needs to. Very little rear projection, no models, just men in rooms doing complex arithmetic about how to escape in six seconds.

    www.bkmag.com/2017/05/03/nyc-repertory-cinema-picks-may-3-9/3/

  • Crash

    Crash

    ★★★★★

    197/200

    www.rogerebert.com/mzs/the-unloved-part-41-crash

    So...I can't remember when exactly, but I think it was 7th grade, maybe 8th grade, but my dad bought me Joe Bob Briggs' Profoundly Disturbing as a birthday gift and I read the whole thing on our next car trip towards a family vacation. I then spent the next long while tracking down the films he talks about that I hadn't already seen (Ilsa, She-Wolf of the SS took the longest to find). Crash may not have been…

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  • Mad Max: Fury Road

    Mad Max: Fury Road

    ★★★★★

    184/200

    Entirely satisfying. The score provides just the right amount of pathos so that the emotional underpinning isn't lost during the absolutely insane early going. Miller's direction has lost none of its hyper giddiness at throwing the next mind-boggling image at you. When the trailer first debuted last year, I compared it to Hard to be a God, and it turns out I wasn't super far off the map. The film is all moving parts and every aspect has to…

  • Manhunter

    Manhunter

    ★★★★½

    168/200

    In which Michael Mann proves that his use of music, to invade and map spaces both internal and external, is an anomaly in film. There is nothing comparable to the scene where Dollarhyde imagines the kiss on the front step while "Strong As I Am" plays in any movie I've ever seen. And of course the "In-A-Gadda-Da-Vida" montage is the perfect fusion of experimental montage and operatic genre grammar years before John Woo's The Killer. A few days ago…