• Baby Boy

    Baby Boy


    John Singleton's ambitious character dramas seem like a total anomaly in mainstream cinema today but even then it's only until recently (and even then in relatively small circles) that Baby Boy has been regarded as the modern classic it is, even if its a movie that practically every millennial came across at least once while channel flipping in the mid 2000s.

    And no disrespect to the station of course, but perhaps being an iconic staple of mid-2000's BET limited this…

  • Belly



    Looking at reviews of Belly from the time of its release irritates me to no end - constant talk over the films supposed "style over substance," complaints about a thin plot (bizarre even moreso in retrospect, because it's actually rather intricate), & I suppose I could at least partially forgive the former given that this movie completely defined the look of hip-hop in the 2000s - something of course spearheaded by Hype Williams himself and still imitated to this day. Of…

  • Elvis



    "If you don't know how to do business, the business does you."

  • Romeo + Juliet

    Romeo + Juliet


    There's not a whole lot you can really say about Romeo and Juliet that hasn't already been said for the....last 400 years. And Baz Luhrmann knows that too, which is why this movie is all aesthetic - and rightly so. And aside from the fact that Luhrmann's own style of rapid-fire editing and heavy, dense compositions has aged remarkably well in our own age of heavily oversaturated visual and social media, "updating" the material to the mid-90s isn't a crass,…

  • Numéro deux

    Numéro deux


    This is still a genuinely insightful breakdown of the traditional marriage structure into semantics and signifiers - despite the fact that Godard's split-screen dynamic doesn't always work, but that's okay. This starts essentially as a examination of the market economy system affecting the nature of our increasingly transactional relationships in real time (of course, in the mid-1970s but eerily prescient today), even the most intimate ones until naturally intimacy is eroded. But this really becomes Godard at his best when…

  • The Conversation

    The Conversation


    When I was a teenager learning about movies for the first time, watching the classics, etc, I recall The Conversation being frequently upheld alongside Coppola's other 70s works - yet today it seems almost forgotten and at worst, regarded as minor. But not only does this thing look like the most actively influential of Coppola's films in retrospect, it might have actually aged the best - even if it lacks the grandeur and majesty of his other three films from…

  • Die Nibelungen: Kriemhild's Revenge

    Die Nibelungen: Kriemhild's Revenge


    Ruthlessly annihilating your enemy in the name of true love, even when that enemy is your own family. A very big mood! In all earnesty though (not that I wasn't being) this movie has me lost for words. It's nice to still have a deep cut like this sitting around waiting for you. A new favorite, and one of the greatest movies I've ever seen.

  • Elvis



    As exhilarating as it is exhausting - which is par for the course for the Baz so I'll probably like this even more on a second go, as usual. But even then, this is unusually nuanced for the director and despite Elvis's contemporary cultural irrelevance, this being almost entirely front-to-back montage keeps itself exciting and engaging even when it seems to repeat itself - as though the films limitations are only because of the limitations of Presley's own repetitive life.…

  • Top Gun: Maverick

    Top Gun: Maverick


    Aside from the abominably boring first 30 minutes, this kind of rules? Very earnest attempt at making a war movie that offends no one. Just planes flying around, shooting down planes, good vibes all round and some nice life lessons by Mr. Tom Cruise on ruthlessly destroying your enemy

  • Crimes of the Future

    Crimes of the Future


    .....long live the new flesh

  • The Conformist

    The Conformist


    There's about a billion things one could say about this movie, which at times (like this) I'm convinced is the greatest work of narrative art ever produced in visual media. On the relationship of the other to the normative and its frequent position of repressed object of desire, the normative's own fear of being "othered," and how the normative sustains itself by killing off the object of desire itself.

  • Pat Garrett & Billy the Kid

    Pat Garrett & Billy the Kid


    Peckinpah's typical nihilism, while not unwarranted, can be a bit exhausting at times - but in this one it's replaced or at least mandated by a sense of poetic melancholy: it's a movie about the world becoming a little more ruthless than it was before, the vicious return of old and outmoded traditions, freedom, the unshakable relationship between the law and capital, the end of an era. One day the world is a friendly place for "outlaws," bohemians, drifters (casting…