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  • Onward



    2020-05-24 Somehow I forgot to log this in my diary when I went to see it in theaters back in March. It’s so good. Maybe not as stridently top shelf as Pixar’s best, but still really genuinely loving. And I can’t even stand Chris Pratt.

  • Onward



    Don’t sleep on this!

  • Groundhog Day

    Groundhog Day


    All the supporting players are pretty much perfect.

  • Charlie's Angels

    Charlie's Angels


    Designed to be silly and insubstantial, which is fine, whatever. But it’s weighed down so badly by strained humor and an inordinate attention to glamour and glitz that it seems to move in slow motion.

  • Tigertail



    A short film stretched to barely sufficient feature length. Directed with feeling but not really with much to say.

  • Incredibles 2

    Incredibles 2


    Only seemed disappointing in the context of the first installment. On rewatch it’s very good on its own merits. The designs of the supporting characters’ faces are extraordinarily nuanced.

  • Mad Max: Fury Road

    Mad Max: Fury Road


    It’s amazing how Miller makes every detail count in this film but it’s even more amazing how every detail conveys so much with so much economy. The scenery and props do an incredible amount of the expository work, and far more is explained in action, movement and the actors’ gestures and facial expressions than verbally in the script. 

    I watched the black and chrome edition this time for the first time. It’s exquisite but it’s hard for me to un-see…

  • Bringing Up Baby

    Bringing Up Baby


    A feast.

  • Ash Is Purest White

    Ash Is Purest White


    A morality tale wrapped in a meditative art film of the sort that is hard to fault, so careful is the filmmaking. But it veers heavily into the melodramatic, and its third act, which tries to wrap up the privately epic, decade-and-a-half emotional journey with a Hallmark Channel-like comeuppance, is a bit of a groaner. The movie also relies too heavily on the exceedingly handsome visages of its two leads for emotional depth. Unfortunately neither of them are able to dig…

  • Moonraker



    People say that the James Bond you grow up with is the only real James Bond for you, and I definitely have a soft spot for Roger Moore. But I just can’t abide the revisionist view that his movies were any good. Not a single one of them holds up, including “Moonraker,” a film which metes out its overlong, meandering plot almost like punishment for the audience. By the time it actually ends up in space—some ninety minutes or so in—and the actors start feigning slow motion movement to poorly mime a weightless atmosphere, you’re numb.

  • The Incredibles

    The Incredibles


    A few years ago my daughter went through a phase where she was watching this week after week. So when she wanted to revisit it tonight I felt a little wary. I remembered it fondly but too well, and wasn’t sure I’d get much out of another viewing. The first half hour or so didn’t do much to lift my spirits; the mundanity of civilian life is felt a bit too accurately. But when the heroics start, Bird and his crew truly come alive, and so does the artistry.

  • The Avengers

    The Avengers


    The only movie in the MCU with a real script.