• Belfast

    Belfast

    ★★★½

    I see this becoming a big awards contender in the coming months, and its likely going to stir up a lot of fuss with people, especially on Film Twitter. And while I get that this sort of sentimentalism isn't everyone's cup of tea (it usually isn't mine either), it's just sincere and charming enough that I ultimately find it endearing. Obviously, its far from the best thing I've seen this year, but it's a sweet little romp and it works well for what it is.

  • The Power of the Dog

    The Power of the Dog

    ★★★★

    This is my first time watching anything from Jane Campion, and if this film is any indication of what to expect, I'd be really interested to see what else she has in store. Remarkable direction coupled with a rich character-driven story, and featuring some truly laudable performances, particularly from Cumberbatch and Dunst.

  • House of Gucci

    House of Gucci

    ★★★

    Largely entertaining, if not a bit uneven, and the performances are all-around commendable, with the exception of Jared Leto's, which is cartoonishly over-the-top and sticks out like a sore thumb compared to the rest of the cast.

  • Ace in the Hole

    Ace in the Hole

    ★★★★

    Billy Wilder really was one of the best writer-directors of his era. A searing critique of American media and the culture of opportunism, wrapped in an endlessly riveting plot, and featuring a great lead performance form Kirk Douglas.

  • Cape Fear

    Cape Fear

    ★★★½

    Makes exquisite use of black and white cinematography that not only looks stunning but significantly enhances the unsettling tone. However, the real standouts here are Gregory Peck and Robert Mitchum, both perfectly cast in their respective roles; Peck as the strong and respectable hero, and Mitchum as the dastardly villain (who's enjoyable yet intimidating), and it's this core dynamic between them that really drives the film.

  • Spencer

    Spencer

    ★★★★½

    Following in the footsteps of the utterly stellar Jackie, director Pablo Larraín returns to once again delve into the private life of another beloved public figure; in this case, the Princess of Wales herself, Diana Spencer. Set over the course of a single weekend, Spencer, instead of merely narrating events of Diana's life to us, actively takes us on a psychological journey through her fragmenting psyche, as she struggles to escape her captive lifestyle among the royal family; and you…

  • The French Dispatch

    The French Dispatch

    ★★★★

    Charming, quirky, dynamic, and visually engaging— in other words, a Wes Anderson film. Honestly, I don't have much else to say; the movie was a lot of fun and was definitely one of my more enjoyable theatrical experiences this year.

  • Last Night in Soho

    Last Night in Soho

    ★★★

    I feel very conflicted on this one. From a purely technical standpoint, Last Night in Soho is absolutely remarkable— from its impeccable pacing, to its inventive visuals, to its dynamic editing and camerawork— I expect nothing less from an Edgar Wright movie. The performances in general are also quite solid, the standouts, of course, being Thomasin McKenzie and Anya Taylor-Joy. But for all that's admirable about it, the film ultimately falters due to a lackluster script comprised largely of surface…

  • Laura

    Laura

    ★★★★½

    An endlessly gripping film noir narrative with a charming set of characters (all exquisitely performed) and an ingenious set of twist and turns that left me both in awe and excitement. A top tier entry in the genre.

  • RiP!: A Remix Manifesto

    RiP!: A Remix Manifesto

    ★★★

    [Watched for a school assignment]

    Overall, pretty well put together, especially in terms of its editing, and it makes a really solid case for its thesis, but considering how much both the internet and our media landscape have evolved (for better and for worse) since this films release, a lot of it comes off as quite dated.

  • Creature from the Black Lagoon

    Creature from the Black Lagoon

    ★★★½

    The underwater scenes easily make up the best portions of the film, possessing an almost sensual and dreamlike quality along with a real sense of horror that ultimately elevates this from a generic monster movie to a genuinely fascinating take on the genre. I can certainly see how filmmakers like Guillermo del Toro could draw such inspiration from it.

  • The Bride of Frankenstein

    The Bride of Frankenstein

    ★★★½

    A significant improvement from the original film, which I personally found underwhelming. The increased production value does a lot to enhance the overall mood and brings out a chilling feel that I didn't quite experience with the first movie. The performances are all-around a lot better as well– the standouts including Ernest Thesiger's enjoyably creepy portrayal of the villain Doctor Pretorius, and Boris Karloff's reprised role as the infamous Monster, who the film makes an effort to humanize in a manner more akin to the original novel (something I can definitely appreciate).