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  • Gunga Din

    Gunga Din

    ★★★

    Mileage will vary depending on capacity to bracket off a lot of racism. What it has going for it as a counterweight is a warm camaraderie between the three leads and a swashbuckling, only semi-serious tone. A lot of the fighting is silly--Cary Grant regularly takes out groups of five or more armed men with uppercuts. The film curiously upholds homosociality to the point that Fairbanks is presented as in the right for ditching his fiance to involve himself in further hi-jinks with the boys.

  • Sylvia Scarlett

    Sylvia Scarlett

    ★★★½

    Easy to see why this bombed, but its idiosyncrasies distinguish it from other 30s Hollywood films in positive ways. Often did not understand why what was happening was happening, and that's its own form of fascination.

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  • Toni Erdmann

    Toni Erdmann

    ★★★★

    1. I like this a lot, but don't love it as much as some. That said, it clearly rewards repeated viewings given the level of detail. It is sometimes, often deliberately, difficult to follow where it's going in individual scenes.
    2. The poster is a spoiler and that's annoying.
    3. Sandra Huller is so good here, and much of the film relies on her facial reactions to Simonischek's more active performance.
    4. Quite good as satire of both neoliberal corporate…

  • Victoria

    Victoria

    ★★★

    Great stunt, decent film. Ironically, VICTORIA is at its best when flouting the hyper-immediate realism that its single take brings (viz. sequences where Frahm's score drowns out diegetic sound, the opening scene). Also, goes about 30 minutes too long, foregoing the chance to end on a high note. Fun, exhausting.