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  • Crash

    Crash

    ★★★★★

    "Is this personal prophesy or global prophesy?"
    "What's the difference?"

    Scaffolding and fishnets, road markings and leg braces; objects designed to hold things intricately together but not in place. Design is unnatural and restrictive, and these people pursue the basest of human desires by means of injecting chaos and danger into the order and safety of these designs. Acts of violence for personal pleasure. Drivers, the blood in the city's veins, are fair game. Crashes awaken, seduce, and fertilise, and the cycle creates more crashes. "I live in my car". This is a zombie movie.

  • The Fog

    The Fog

    ★★★★½

    A great movie about how dangerous it is to cherry-pick history and ignore anything unworthy of a party or a statue. The fog billows in from the ocean as a small coastal town celebrates its centennial. A spectacle first, a glowing freak of nature drifting against the wind, and eventually an inexplicable threat — but the party carries on regardless. The local radio station broadcasts from a secluded lighthouse, but only at night, the soothing voice of host Adrienne Barbeau…

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  • La Cérémonie

    La Cérémonie

    ★★★★★

    "I feel sorry for you"

    one of the great films about manipulation and belittlement: nonchalantly throwing a dirtied tissue back at the person who provided it without saying thank you; offering to drive someone into town as if it's the noblest thing in the world; finding out someone can't read and instinctively offering to teach them. The rich family treat Sandrine Bonnaire's maid with such casual disdain and dehumanising pity that it's no wonder she's drawn to the chaos of…

  • A Tale of Autumn

    A Tale of Autumn

    ★★★★

    The way Rohmer shoots conversations between two people in this is fascinating. Characters talk objectively about their love lives together in a two-shot, before, usually as one of them says something the other doesn't agree with/want to talk about, one of them leaves the frame. The camera stays as it is, leaving one character alone in a shot made for two, while Rohmer cuts to the other in a shot of their own. The conversations continue as if nothing has…