• It's a Mad, Mad, Mad, Mad World

    It's a Mad, Mad, Mad, Mad World


    Despite the pedigree of the (massively stacked) cast, this is not a straight-up comedy. You don't film a straight-up comedy in Ultra Panavision. You film epics in Ultra Panavision. And that's what this is: an epic farce, where the filmmakers go to extraordinary lengths in service of a gag. I mean, it's got its laughs, but mostly I was just in awe of how far it went, like Phil Silvers nearly drowning himself in a river or Jonathan Winters single-handedly destroying – as in, completely levelling – an entire garage.

    Wonderfully chaotic. We'll never see the likes again.

  • Jack Reacher

    Jack Reacher


    This is the fourth time I’ve logged this so maaaaaaybe it’s time to admit this is more than a 1.5 star film? Tom Cruise is still the weakest part, giving an entirely one-note performance. But the same way a broken clock is right twice a day, sometimes that one note is perfect for the scene.

  • Please Don't Destroy: The Treasure of Foggy Mountain

    Please Don't Destroy: The Treasure of Foggy Mountain


    Easily one of the top 5 stupidest films I've ever seen. And I laughed my ass off for pretty much the whole thing.

  • Before Midnight

    Before Midnight


    It’s been fun crashing through time with these films this week, and reflecting on young love and mature (but, let’s face it, still young) regret that still has a faint glimmer of hope. 

    But this one, I’m finally caught up with Jesse and Celine. Middle-aged people with two kids, who don’t have time for each other in the same way as they used to. Pointing out all the ways I saw aspects of my own life mirrored back at me might be a bit more revealing than I want from a Letterboxd review. But let’s just say: fuuuuck this one hit hard.

  • Before Sunset

    Before Sunset


    “Is that true?”
    “I dunno, I like the story though.”

    Before Sunset is a film dealing with the repercussions of youthful romanticism. It’s about loss, and regret, and the passage of time. There’s so much heartbreak in this film – Troy talking about how their missed connection in Vienna was the death of romantic love for him, Celine’s freak-out in the car – but the final lines give a little grace-note of hope that balances everything out.

    A perfect film.

  • The Killer

    The Killer


    I think it says a lot about the current media landscape that an entirely mediocre Netflix original production that's been hit with the David Fincher stick can get such breathless reviews. Michael Fassbender plays a fastidious hitman whose internal monologue is just aspirational Linkedin posts who messes up a job and then goes on a revenge road trip. And I'm sure there's a lot to be said about Fincher seeing echoes of his own story there, but I just didn't…

  • Dumb Money

    Dumb Money


    This was FINE. But thank fuck for Pete Davidson or it would lose more than one star.

  • Before Sunrise

    Before Sunrise


    Linklater’s script can pull you out of the film sometimes – apparently everyone around the world speaks with the same voice! Weird! – but the incredibly natural and incredibly relatable performances between the two leads that really drives the film. 

    Also this is the cutest any two people have ever looked on film.

    Loved this.

  • The Lincoln Lawyer

    The Lincoln Lawyer


    Perfectly servicably legal thriller that, despite its stacked cast, feels like it belongs on TV alongside shows like Bosch and Suits rather than a standalone 2-hour movie.

    Final FINAL twist is absolutely ridiculous though.

  • In the Mouth of Madness

    In the Mouth of Madness


    Carpenter at his most ambitious meets Carpenter at his most exhausted. In the Mouth of Madness is an amazing concept and there are moments of real Zulawski-lite greatness throughout. But his reach has fully exceeded his grasp here so his heart isn’t really in it and the film squanders most of its interminable second act feeling like a forgettable episode of the X-Files.

    The ending is a terrific payoff though.

  • What's Up, Doc?

    What's Up, Doc?


    “Well, the next day, today, Mr. Larrabee asked me to his house with my rocks and to bring Eunice. Or rather, Burnsy, the one he thinks is Eunice. Is that clear?”
    “No, but it's consistent.”

    Pretty close to perfect.

  • A Haunting in Venice

    A Haunting in Venice


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

    I kind of feel like the cast list is a bit of a spoiler here. You don’t hire Kelly Reilly – someone whose face is capable of portraying more heartbreak than any other modern actress – and have her play a secondary role.

    This is a gorgeous film that too quickly settles into more of an inert Sunday afternoon mystery than I think it was going for. Better than Death on the Nile but that’s an extremely low bar.