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  • Hulk



    Ambitious as hell. Boldly trades in superhero action for instead being a character piece about emotional suppression and traumatic repression and how they both correlate to memory (this and CAPTAIN MARVEL would make such a *perfect* double feature). On top of that, as I’ve mentioned in my previous review, there are so many audacious choices made here, whether it be the camerawork, editing, or even in its approach to being a blend between Frankenstein-esque tragedy and King Kong-esque romance.

    One of the boldest studio films that has ever been and ever will be produced. I absolutely adore it, and I still can’t believe it exists.

  • All the Bright Places

    All the Bright Places


    How does one go from making the sincere and emotionally authentic Hearts Beat Loud to making hackneyed and borderline exploitive trash like this?

  • The Way Back

    The Way Back


    A cliché-ridden, incredibly manipulative, overly sentimental, Hollywoodized melodrama that hardly touches upon the surface of addiction and mental health, almost as if The Way Back were explicitly designed to be a vehicle for Ben Affleck’s return to the screen from personal recovery while also being something easily digestible for mainstream audiences, who will use words like “raw” and “realistic” to describe it because they probably haven’t seen many films (especially indies) that have done this type of thing far better.…

  • Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)

    Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)


    Not sure whether it’s hilarious or sad that this is so much better than the rest of the DCEU by such a wide margin.

    MEW = MVP

  • Free Fire

    Free Fire


    2017 Ranked
    A24 Ranked

    Simultaneously acts as an fun yet thrilling action-comedy, a darkly hilarious satire on gun violence (the film is even intentionally exhausting at times to accentuate this point), a deconstruction of various genre tropes, and succeeds at all three of these things. On top of being formally top notch (cinematography, editing, and sound design are highlights) with a strong attention to detail, Ben Wheatley and Amy Jump give each actor of their ensemble just enough material to…

  • Onward



    Pixar Ranked

    There’s some neat ideas present, the character stuff is fairly decent, and, as expected from Pixar, the animation and voice acting are good, but it largely feels painfully unadventurous and too formulaic/same-y. On top of that, there’s a sense of dissonance between the concept/setting and themes of brotherhood and fatherhood. As mentioned more eloquently by @BrendanCassidy"What holds the film back for me is its connectivity between setting and theme, something Pixar is usually quite great at even in their…

  • The Invisible Man

    The Invisible Man


    Much like Gareth Edwards’ magnificent GODZILLA, this is the rare studio reboot that has genuine admiration and appreciation for the original work that inspired it, while also giving it a timely update, and in doing so, improving on the original. The domestic abuse/#MeToo allegory is truly genius, and the film uses it to full potential.

    On its own merits, this is masterful horror filmmaking. No cheap scares, no painfully tired horror clichés, no unbelievably incompetent characters...none of that bullshit that…

  • It Chapter Two

    It Chapter Two


    2019 Ranked

    Further evidence that whatever good qualities present in the immensely overpraised first film, which I found to be decent enough as a coming of age film but absolutely awful - bordering on unintentional hilarity - as a horror film, were due to Cary Fukunaga’s contributions to the script. The stuff with the Losers’ Club here is comparatively far more dull, and that’s partly because the adult actors both lack chemistry and pale in comparison to their younger counterparts,…

  • Cats


    2019 Ranked

    This is certainly a motion picture I just watched.

  • Just Peck

    Just Peck


    Feels like a completely different film when Brie Larson - who displays some of the potential that would eventually lead to her becoming one of the greatest actresses, if not the greatest actress, of her generation - is on screen given that she exudes a sense of energy and nuance, which gives depth to a character that would likely be superficial without her, that the rest of the cast is lacking, even going as far as to elevating Keir Gilchrist…

  • Bitter Orange

    Bitter Orange


    Someone please cast Brie Larson in a feature-length noir.

  • 21 Jump Street

    21 Jump Street


    An absolutely hysterical and insanely creative Hollywood reboot of an older property that acts as an incredibly clever satire on Hollywood reboots of older properties, and proof that even earlier in their careers, Phil Lord & Chris Miller had far more creative inspiration than a handful of modern mainstream filmmakers in the American film industry.

    Jonah Hill and Channing Tatum are dynamite. Ice Cube steals every scene he’s in with ease. Brie Larson is just the fucking greatest.