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  • Knives Out

    Knives Out

    ★★★★★

    Rian Johnson has done to the Agatha Christie template exactly what he did with Star Wars - subverted expectations, added new ideas, and made it feel very of the moment, while not in any way denying any of the core pleasures, giving you everything you'd want from the genre.

    I loved it.

    I thought I had the twists figured out, but the actual twists were better.

    Daniel Craig's accent is a bit weird at first, but maybe that's part of…

  • The Irishman

    The Irishman

    ★★★★★

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

    So good that I managed to get through all three and a half hours without needing a single wee. Scorsese can say whatever the hell he likes about Marvel, he’s earned it.

    This really is cinema, everything the medium can be - thrilling, fast, funny, sad, human.

    I particularly liked Al Pacino's character, because he shares my dislikes of lateness and shorts.

    Those comedy moments work so well because they're not just gags but they reveal character. Jimmy Hoffa's irritation…

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  • Sin City: A Dame to Kill For

    Sin City: A Dame to Kill For

    So damn manly.

    Men going around smashing other men. Big muscly scary men. Pulling each other's eyes out, throwing them through windows, kicking them in the manhood. The manliest place to kick a man.

    Sure, the women get to jump around and have fun murdering too – "strong female characters"? – no, they're without exception motivated, defined even, by the big muscly scary men they're in love with.

    Nothing original, nothing emotional, nothing clever. Lots of face-smashing.

    It looks nice, though.

  • The Gay Divorcee

    The Gay Divorcee

    ★★

    They dance the Continental.

    They dance until they ache, and they keep on dancing. They dance until their muscles give in, and they keep on dancing. They dance until they sleep, and they keep on dancing.

    Is it the magic of cinema keeping them going? The magic that kept Harold Lloyd hanging to the clock, that turned the gears of Metropolis, that came out of Al Jolson's mouth?

    Or is it a darker magic?

    The paper cutout of two lovers…