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  • Cold War

    Cold War

    ★★★½

    Ends fairly abruptly and is hampered by the extensive timespan it wants to cover, which predictably contributes to shakiness in character development and the audience's emotional connection. Nevertheless, Kulig is wonderful and the aesthetics of the production create a frequently entrancing experience. It's short, sweet, and does an admirable job of interrogating love (and its boundaries) given how little time it has to do so.

    GRADE: B

  • On the Basis of Sex

    On the Basis of Sex

    ★★★

    It's pretty basic and exactly what you'd expect going in, but it focuses on such a titan of history that it sometimes manages to overcome its repetitive blandness. Case in point is Leder's work with the courtroom scenes toward the end, which are certainly cliche but still deliver their themes with cogency and emotion. I feel like we would've gotten a more interesting film had Ginsburg's nephew not written this, but I do applaud him for only focusing on one period of time rather than losing the story while trying to cover her entire life. That's a problem that many biopic screenwriters don't avoid.

    GRADE: B-

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  • I, Tonya

    I, Tonya

    ★★★½

    There's a scene where Tonya's voiceover says "I was 15" and then we see full grown Margot Robbie and it's probably the funniest moment in 2017 cinema.

  • Dunkirk

    Dunkirk

    ★★½

    Alright Letterboxd, we have some things to discuss. Bear with me.

    Let’s get this out of the way first: Christopher Nolan is a very talented filmmaker. He and his brother have crafted several masterpieces in my eyes, and I have nothing but the utmost respect for his commitment to high(er) concept crowd pleasers. He gets a lot of shit, but his type of filmmaking is desperately needed in an age of mindless entertainment; how many other directors will garner such…