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  • Zama

    Zama

    ★★★★

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

    [8]

    Undoubtedly different from the rest of Lucrecia Martel's highly idiosyncratic filmography, Zama is nevertheless every inch a Martel film. Not only is it the work of a master, with each and every cut and framing so perfect as to feel somehow holy writ. It is, much like La Cienaga and The Holy Girl, a droning symphony of waiting, a study in suspension. And, like The Headless Woman, Zama is centered on a protagonist whose sense of entitlement is so…

  • The Force

    The Force

    ★★½

    [5]

    As a statement on current affairs, Peter Nicks' The Force is valid in every way. But watching the film, I could not help but wish he had been willing or able to go further in his analysis. By primarily restricting his vantage point to the daily grind of policing (academy lessons, squad car calls, paperwork), there's a sense that the documentary is always playing catch-up. Nicks makes the most of the access he is given, but that means that…

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  • Creepy

    Creepy

    ★★★

    [6]

    I miss the old Kiyoshi. The can't-be-sold Kiyoshi. Back in the fold Kiyoshi. That was the bold Kiyoshi. Remember Cure Kiyoshi? That wasn't your Kiyoshi? 'Cause that was my Kiyoshi. Damn, that was fly, Kiyoshi! You came with Kairo, Kiyoshi. That shit was fire, Kiyoshi! Even Bright Future Kiyoshi, that ill repute Kiyoshi. I dug it all, Kiyoshi. So why'd you stall, Kiyoshi? And then that Journey to the Shore? You got some gall, Kiyoshi!

    I miss the real…

  • The Imitation Game

    The Imitation Game

    ★★

    [4]

    If you happen to follow my Twitter feed, you'll know that I've already gotten a bit hot and bothered about this film. In retrospect, it was probably a good deal of energy wasted, or at least misdirected. I tend to forget that useless dreck like The Imitation Game is pimped on every streetcorner around Oscar season by an industry that considers movies as product, not art. Most of the time, that product is slathered in Adam Sandler, and it…