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Jeremy has written 678 reviews for films during 2016.

  • Author: The JT LeRoy Story

    Author: The JT LeRoy Story


    Given the subject matter, this could have been a straight-up masterpiece. It definitely isn't that, but it's so filled with compelling gossip and improbable candor that it managed to feel entirely engaging in spite of my familiarity with the subject. Those phone recordings are an archival goldmine.


  • Ouija: Origin of Evil

    Ouija: Origin of Evil


    In my heart I’m still rooting for Flanagan to deliver on his early promise, but the most exciting parts of this decidedly unscary horror film were the fake cigarette burns on the fake reel changes.


  • Aquarius



    Obvious, but sometimes some shit just needs to be said.


  • Beduino



    This thoroughly playful feature-length experiment from Bressane scarcely has a narrative throughline (it continues the Brazilian marginal cinema tradition), yet it is clearly concerned with the transformation of the real into the cinematic. Specifically, it offers acts of poetry and aestheticization as self-justifying gestures. No grand unifying theory is offered nor needed here because the transition of profilmic event to cinematic one is such a miracle in its own right. In this sense, Beduino calls to mind dozens of precursors,…

  • Another Evil

    Another Evil


    Mark Proksch's inspired mix of desperation and delusion is the prime reason to see this no-budget horror comedy. Legitimately funny and genuinely suspenseful, which is impressive given how few elements writer/director Mell is working with.


  • Rules Don't Apply

    Rules Don't Apply


    A likeable, frantic passion project that likely deserved and once had another hour or two of runtime. One suspects that Beatty's desire to keep his performance on the screen as much as possible exacerbated the uneven feel of this cut, but there are other obvious editorial scars on display (e.g. scenes that end the moment someone finishes speaking, comedic set pieces that snip desperately in hopes of building excitement, supporting roles reduced to mere cameos). That it manages to charm…

  • Allied



    A gloriously indulgent exercise in artifice, both emotional and visual, this sumptuous throwback sees Zemeckis near peak form. There are literally dozens of thoughtful sequence shots here that cram three or more compositions into a take, but at the same time this is not the work of a filmmaker who puts himself first (it compares favorably in this respect to this year's nonetheless impressive The Age of Shadows). The shot/countershot reversals are just as deftly deployed, always reminding us of…

  • American Honey

    American Honey


    Intoxicating and exhausting. Three magnificent performances aimlessly ambling down the road.


  • Hacksaw Ridge

    Hacksaw Ridge


    A vivid, messy biopic about a madman, directed by a madman. I haven’t been on board with Gibson as a director to date, but this is a singular experience, equal parts Sergeant York and Saving Private Ryan. It captures a maniacal fervor like few films I can recall, and if I found the experience of spending time with Garfield’s unhinged Desmond Doss unpleasant, that’s probably to the film’s credit.


  • Billy Lynn's Long Halftime Walk

    Billy Lynn's Long Halftime Walk


    Seeing this in plain ol’ 2D, I wasn’t distracted by Lee’s use of technology, although his unusual frontal framing certainly felt immersive all the same, emphasizing a desire to look squarely at people who often get reduced to ideological constructs. The formal approach is at once at odds with the satirical intent of the source novel yet oddly right for Lee, who can’t commit to such mockery even if he can empathize with an inescapable sense of dislocation. Lee looks…

  • Shut In

    Shut In


    This is a wonderfully enjoyable camp thriller that almost transcends its rampant idiocy due to its creepy subtext and Watts’ willingness to commit.


  • The Edge of Seventeen

    The Edge of Seventeen


    This throwback teen drama is pleasing less due to its own accomplishments than because it instills a sense of nostalgia for more sensitively mounted teen films from a generation or two ago. Writer/director Fremon Craig indulges her protagonist’s worldview to an uncomfortable degree. It’s hard to understand if the film is undercutting her despair or validating it at times. The side effect of this uncertainty is that it takes forever for subsidiary characters to shift into focus... and many never do. As such, this underdeveloped film generally fails to feel dramatically satisfying even though it has sass to spare.