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  • Roma

    Roma

    ★★★½

    Nothing outside the bounds of Cuaron’s ostensibly lived experience worked for me here.

  • Arizona

    Arizona

    Misogynistic dudebro trash

  • On The Rocks

    On The Rocks

    ★★★

    Laughed uncontrollably multiple times.

  • Ocean's Eight

    Ocean's Eight

    ★★½

    Haven’t watched other Ocean’s films, so here’s my question: do they all have zany clock wipes?

  • Cam

    Cam

    ★★★½

    Literally unbelievable that she hangs up on tech support after five minutes.

  • Our New President

    Our New President

    ★★½

    Never thought I'd long for a 15-minute middlebrow Vox explainer with overbearing narration, but here we are. This was hard to watch for the same reasons I wouldn't see a documentary compiled of archival Fox News footage: regardless of the critique implied in the film's form and montage, at a certain point the messaging begins to erode your mental health.

  • No Way Back

    No Way Back

    ★★★½

    We are merely two professionals discussing a technical matter who happen to have the same opinion.

  • Manhunter

    Manhunter

    ★★★½

    Director's cut

  • Hannah Gadsby: Nanette

    Hannah Gadsby: Nanette

    ★★★

    Watched at 2.2× speed, and the rating reflects that viewing experience. Not sure I could have gotten through it in normal conditions.

    I liked this piece a lot.

  • WR: Mysteries of the Organism

    WR: Mysteries of the Organism

    ★★★½

    Not sure what this says about me, but this is apparently in my personal canon. Even after a 12-year absence, so many of the aesthetic choices here are burned into my brain and have defined my taste through adulthood.

  • The Other Side of the Wind

    The Other Side of the Wind

    ★★★

    Extremely into the overall structure, pace of montage, and so many individual elements of this, but I'm not sure it works on a scene-by-scene basis. I keep going back to rewatch bits I remember fondly, only to discover that the actual viewing experience is a slog. Sometimes the line readings totally throw me off ("what DOES ab-JURE mean?"), or the ADR's too distracting.

    Although Legrand's score is superb in Kodar’s sections, it often seems like distracting noise on top of the already fragmented narrative, and sometimes undercuts the dramatic tension of key scenes. I'd love to see a version of this with solely diegetic music.

  • Molly's Game

    Molly's Game

    ★★½

    I'm starting to believe that Sorkin films are only successful when the protagonists are as smug, insufferable, and self-righteous as he is.

    There's some condescending, borderline offensive middlebrow dialogue in here, from the therapy scene to the appletini line. But what's most impressive about this is that it doesn't drag, despite the runtime: the dialog really runs just about as fast as your mind can process.

    The film is so reliant upon its never-ending narration that one inevitably looks for…