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  • Satantango

    Satantango

    ★★★★★

    Oh boy, how do you begin to write, or even talk, about this behemoth? Well, for starters, it’s my first Béla Tarr film. I’ve always found his surname befitting given his films’ reputations as glacially — no, lugubriously — slow, kind of like … tar. *rimshot*

    In fact, this trait was the only thing I’d known walking into Sátántangó, which Tarr claims only has about 150 shots for the entire seven-and-a-half hour duration. (The 145-minute Werckmeister Harmonies boasts only 39!)…

  • Mikey and Nicky

    Mikey and Nicky

    ★★★★

    I was a little stunned at how un-gangsterly this supposedly gangster crime film was. It didn’t have the usual beatings, assaults, robberies that American audiences are probably accustomed to, not that this lack was any kind of drawback. Instead it flaunted a lifetime of bitter friendship + masculine rivalry crammed into a single tragic night, evincing all the makings of a Cassavetes feature, right down to the casting of Falk + Cassavetes, though unfortunately without the raw power of spontaneity…

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  • The 15:17 to Paris

    The 15:17 to Paris

    ★★★★★

    I find it amusing that most of the complaints + bad reviews revolve around the acting. I contend there are a few clunky lines of dialogue worthy of a small chuckle, but once one has seen enough, say, Bresson, there is no point in accusing filmmakers of getting cold or unnatural performances. In the case of both Bresson + The 15:17 to Paris, the actors are non-actors, which should be the first signpost that there are other, more important forces…

  • Always Shine

    Always Shine

    ★★★★★

    I just watched a movie that I've been wanting to write for 2 years. Back to the drawing board.