Jeremy P. has written 11 reviews for films with no rating during 2020.

  • Heat


    I first “saw” Heat at a pizza place where they play old VHS movies on the TV without audio. I couldn’t for the life of me stay present in the conversation I was in, constantly distracted by what I saw on the screen. If a film could grab my attention that much without even hearing it, I had to find out why. Packed with action and an intense power play between De Niro and Pacino. There are no good guys and bad guys, just bad guys.

  • Entertainment


    The most pathetic portrayal of a comedian ever. If anyone? He’s not remotely funny and isn’t trying to be. He’s on the road, being ignored by his older daughter, with no destination beyond his next gig at the next shithole dive bar. “Why?” is the question of the night. Every night.

  • Heli


    I’ve only dipped my toes into Mexican cinema, but I want it all and then some. Heli begins with two young men badly beaten, tied up in the back of a truck headed apparently nowhere. One is hung off a walk bridge. The other is left for dead. Then we go backwards to find out how a small family gets all mixed up with all the wrong people after a senseless theft. This film is brutal, but that might be what makes the moments when it’s not so wonderful. Such is life?

  • The American Friend

    The American Friend

    Dennis Hopper plays a cool cowboy type who flys between NYC and Hamburg selling forged famous paintings at auction to the highest bidder. It’s the first film adaption of the book that made what Americans know as “The Talented Mr. Ripley”. Robby Muller and Wenders are the duo of dreams. That green neon light, ladies and gentlemen, that green neon light.

  • True Stories

    True Stories

    Byrne’s adventure into directing made for a totally whacky and deadpan trip through the heart of America: Texas. It’s a story of a small town, but moreso a story about the country at large. John Goodman, a mere kid at the time, shines through as a gentle bundle of a love. He’s searching for a wife and will stop at nothing: including the entire town dismissing his TV ads looking for female candidates. The entire film is narrated by Byrne, both by his voice and Byrne himself walking in and out of scene, sporting a three piece suit and a perfect cowboy hat.

  • Winter Brothers

    Winter Brothers

    Much like The Mountain, a mostly still camera follows two filthy young brothers working in some kind of mining operation. One of the brothers makes liquor at home. It’s quite the hit until it starts killing its consumers. After being ostracized, he becomes obsessed with guns, combat, and a British infantry instructional video, drifting in and out of his own harsh reality. Jealousy, curiousity, and white powder cover every inch of this wonderful little film.

  • Vernon, Florida

    Vernon, Florida

    We’ve all heard the tropes of Floridians. Having lived in Florida for years, I can corroborate many of them. This is paramount. Morris’ breakout film began with him reading a tabloid talking about an unnamed town in the South where residents had taken to self-amputation. In widespread insurance fraud, residents collected pay outs on life insurance policies for “dismemberment”. After getting beat up pretty bad, he set aside interviewing the “nubbies” as they were called, and found himself fascinated by…

  • The Mountain

    The Mountain

    Alverson might be my favorite contemporary director. He’s totallly uninterested in giving you the whole story. You’ve gotta do some work. The Mountain is his most calculated work yet. Every frame is ridiculously intentional. Goldblum delivers a fantastic and haunting performance as a celebrity lobotomist at the end of its widespread use. He’s grappling with the fact that his profession is suddenly obsolete. Despite the horrific topic, the tone is dull and poetic, a far cry from say, Shutter Island. The posters show Goldlum, but the real star is Denis Levant. I can’t even explain how good this ends.

  • An Elephant Sitting Still

    An Elephant Sitting Still

    The first thing you'll read about this film is that it's almost four hours long. I admittedly watched it in two parts. Hu Bo masterfully braids together the stories of four people across a single day in scenes that are largely one single long take. The second thing you'll read about this film is that Bo killed himself not long after the film was finished. This heartbreaking swan song is a series of vignettes that leave you asking all the right questions, not just about the characters, but about yourself.

  • Vagabond


    My first Varda film. The story of a runaway young girl, Mona, moving from place to place across the French countryside. The film opens up with Mona dead, her body frozen in a ditch. Despite the harsh beginning, it's a kind film, full of heart and all the things that will break one. Varda does an odd thing, every character, but Mona address the audience directly, almost in a documentary style.

  • Violet


    Devos’ feature debut. A story of grief. A teenage boy in Belgium witnesses his friend being being stabbed by some other kids. We only see this play out on a crappy CCTV monitor from four awkward angles. Despite it being quite far from America, I found the characters, their riding BMX bikes around winding suburban sounds, and love for black metal quite relatable. Critiziced for being glacially paced, expect to sip this one like a good glass of wine.