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  • The Godfather

    The Godfather

    pretty good movie

  • Spider-Man 3

    Spider-Man 3

    "Every 'superheroic' action here has a consequence for both plot and emotion. Our notion of heroes and villains becomes complicated, and we come to see their relationship less as one of dualistic opposition, more as an ambiguous continuum where any one of them might fall, given their respective choices. This notion of choice, as voiced by characters multiple times, is central to Spider-Man 3, and, to his credit, Raimi doesn’t allow any character to get off easy."

    Strung together a few thoughts on this one over at The Film Stage

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  • Creed

    Creed

    The way Coogler judges how long to hold on faces for a first date, or edit footage of Apollo at Adonis' most (physically) desperate moment, or have Stallone react to a photo of him and his real son; it's all of an intimately felt emotional register, quiet but also triumphant like the preceding franchise. A small (therefore big) miracle of story and people craft in Hollywood's most souless age. Fought back tears throughout.

  • The Thing

    The Thing

    "How will we make it?"

    "Maybe we shouldn't."

    Fire and ice, blue and red, flares and snow. Carpenter fine tunes the formalism of his previous films to something absolute, pure (before branching outwards). The film has no fat, every shot creating atmosphere, building dread, sustaining an unbearable tension between bodies and the spaces they inhabit (as well as other bodies). In daylight, the Antarctic expanse is forbidding, rigid, sharp, but when night falls it becomes an abyss. Figures, rendered silhouettes…