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  • Abducted in Plain Sight

    Abducted in Plain Sight

    ½

    extremely weird to have a doc painting the parent's story in a sympathetic light when neither of their grown-asses found it too much a cause for concern that a forty year old dude kidnapped their infant daughter and married her in mexico. the mother also pretty directly indicates that she cared more about keeping her affair discreet than she did about her daughter's safety with the man *AFTER* she'd already been kidnapped once by him. so yeah, normal

  • Enemy

    Enemy

    ★★★★

    cool way to look at macro vs micro forms of control, particularly in partner relationships, 'confronting' inadequacy etc. the ending rules

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  • You Were Never Really Here

    You Were Never Really Here

    ★★★★½

    I see your “tired trope of a traumatised man finding violence as some kind of outlet" and “basic visual metaphors” comments and think you’re a bunch of nerds.

    You Were Never Really Here is unafraid of violence, confronting an ending of a cycle of abuse and trauma like a slow-death. It's engaging and punchy: dealing with themes of masculinity and subverting the genres of noir/modern crime films in the process. I feel like any other screenwriter/director combo would have tried to push the 120 minute mark with this script but it's perfect as is.

    It’s a beautiful day

  • 10 Cloverfield Lane

    10 Cloverfield Lane

    ★★★★

    there's a THE TEXAS CHAINSAW MASSACRE ending level of catharsis at one point and some great acting from john goodman and mary elizabeth winstead. a damn good use of the bottle movie 'genre'