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  • Melancholia

    Melancholia

    ★½

    One star for a spicy Kirsten Dunst. Why was this shot like an episode of The Office? Apparently “realism” is Lars Von Trier’s excuse for not hiring a fuckin’ steadicam operator. Distracting. Poorly written, okay-ly acted. Half-star for Kiefer Sutherland, that man is welcome anytime, love him in everything. Lars Von Trier officially reigns as the king of the “Weirdo Foreign Filmmaker” trinity— which consists of Lars Von Trier, Gaspar Noé, and Yorgos Lanthimos... all directors whose films I can only watch one time and then never again because they give off mad rape-y vibes.

  • The Invisible Man

    The Invisible Man

    ★★★★★

    I’m so happy I saw this in the theater. What constitutes a 5 star review? In my book, it all comes down to if there’s anything I would personally change about a film... if there’s nothing I would’ve changed, it’s 5 stars for me. This was just great. Leigh Whannell is the man. Also, if you can give me chills, and make mine and my girlfriend’s jaw drop simultaneously, that alone is worth the price of admission.

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  • Dragged Across Concrete

    Dragged Across Concrete

    ★★★★★

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

    That’s three for three— S. Craig Zahler has made another film that I fucking love. “Dragged Across Concrete” is the story of two cops; Ridgeman (Mel Gibson) and Lurasetti (Vince Vaughn), and an ex convict named Henry Johns (Tory Kittles). One day while working the beat, Ridgeman becomes unnecessarily rough with a suspect during a drug bust by using his foot to jam a man’s face into a fire escape. A civilian films the incident from his window and it…

  • The Lighthouse

    The Lighthouse

    ★★★★★

    H                      A                       R                        K             !

    Robert Eggers’ sophomore effort ,"The Lighthouse”, is an absolute marvel of craftsmanship and artistic execution, with every department firing on all cylinders in flawless synchronization. The film begins with very little dialogue and music, allowing us to…