Favorite films

  • Smooth Talk
  • The Lady from Shanghai
  • Birth
  • Cat People

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  • Sleepwalk

    ★★★★

  • After Hours

    ★★★½

  • Red Desert

    ★★★★

  • Modesty Blaise

    ★★½

Recent reviews

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  • Cloak and Dagger

    Cloak and Dagger

    ★★½

    My favourite bits are right at the beginning when we are briefly introduced to a Nazi seductress who I guess is supposed to look tacky but to me looks incredibly glamorous. Both her outfits are completely outrageous in the best way; think rock-sized rhinestones studding the straps of a form-fitting dress with bustles galore made from some kind of wet-look moire lamé, and a jeweller's window's worth of costume jewellery over long gloves, a lavish fur, and one of those…

  • Man Hunt

    Man Hunt

    ★★

    (My 900th review!)

    A film full of American actors constantly talking about how British they are while doing a staggering array of comically terrible accents, ranging from Walter Pidgeon barely trying to cover up his Americanness to Joan Bennett's totally deranged interpretation of a Cockney Londoner. Orson Welles in The Lady from Shanghai has nothing on this ensemble. I found all of this so distracting that it constantly took me out of the film.

    There are some good parts, including…

Popular reviews

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  • Promising Young Woman

    Promising Young Woman

    Offensively stupid on multiple levels, a movie by people who think real rape-revenge films are beneath them while condescendingly co-opting those films' transgressive impact – but they can't even get that right, because any feints towards real violence are effectively neutered by some goody two-shoes bullshit where Carey Mulligan surprises would-be date rapists by giving them a stern talking-to instead of cutting their dicks off. (And let me tell you, as someone who has had their fair share of interactions…

  • Little Women

    Little Women

    ½

    Barely a movie, more like a jumble of tenuously connected scenes moving incomprehensibly backwards and forwards in time, with a tone that aims for exuberance but feels like hours of incessant high-pitched screaming. Borderline unwatchable if you're not intimately familiar with the source material – I'm not, and I think this assumes its audience is. I can't think of any other explanation for why Gerwig would go for this baffling structure. Nothing is allowed to develop naturally, every scene operates…