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  • Static

    Static

    ★★★★

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

    Oddball 90s independent feature about a boy on a quest for, per Peter Godwin's 1982 synthpop banger, "Images of Heaven". Reminiscent of films like Michael Almereyda's "Twister" and Trent Harris' "Rubin & Ed" in its goofy yet sincere Americana poetry and warm colors. Interesting subset of films made in the 90s that strike this peculiar yet welcoming tone. It would be fun to program a series when we're allowed in the cinema again :)

    Keith Gordon is adorable in the lead…

  • Two Friends

    Two Friends

    ★★★★

    I've been there, honey.

    An extremely poignant postmoterm in reverse of a friendship splintered apart. It wisely conveys how small differences between coming of age friends--in class, affect, family structure and outlook--can amplify over time and prove ultimately destructive to the tenuous union of young souls in flux. It also explores beautifully the relationships between girls and their mothers, and a unique subset of this category, when the relationship crosses family lines.

    I really dug the little fast motion, experimental animation laced segment about 3/4 of the way in, illustrating Kelly's letter to Louise, and their cute holiday party at Louise's mom's house looked super lit.

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  • Don't Let the Riverbeast Get You!

    Don't Let the Riverbeast Get You!

    ★★★★½

    A wry, loving tribute to 50s monster movies and 80s horror that transcends mere pastiche or drowning in irony by conjuring its own no-fi regional charm. The riverbeast is cool, but this really shines in the way it depicts a small community full of (mostly) well-intentioned kooks. I love all the characters and the attention paid to small details and traits, but my absolute favorite was Pamela, the pop-and-locking, kitty-litter-touting vagabond. And I love Farley's character of Neil the same…

  • India Song

    India Song

    ★★★★

    A curious experiment into how image and off-screen sound can form a narrative, and a calling into question of what cinematic narrative is, or can be. I think it may be useful to think of India Song as an inventory--the location of the lavish mansion, the elegant and somnambulent players and their limited, dance-like movements, the movements of the camera (more often than not a slow pan), a litany of off-screen voices describing the love affairs of the "central character",…