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  • The Red Shoes

    The Red Shoes

    ★★★★★

    It is much more disheartening to have to steal than to be stolen from.

    I typically shy away from the term “masterpiece”. Perhaps that is because I conflate it with perfection rather than the mere work of a master. That perfection should be obvious to everyone and be separate from nostalgia and historical context–unless context is a conscious ingredient–and thus applies to very few films. In film, being a collaborative medium with so many people at work that go unseen…

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  • Rebecca

    Rebecca

    ★★★½

    Joan Fontaine's performance is a bit on the twitchy side and Olivier's is ultra diffident, but this melodrama is a perfectly adequate pot boiler pulled out of 30s gothic and made quite modern by Hitchcock's camera work. Perhaps it's the 4k restoration playing tricks, but Hitchcock's soundstage feels different from offer films of the period. It isn't revolutionary, perhaps, but it is open and subtly opulent (if that's possible).

  • Thirst

    Thirst

    ★★½

    While interesting for its camera and characters--including some Hitchcock-like thoughts on psychology--Thirst is too rambling. Tonally strange. But adult, which is nice.

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  • Se7en

    Se7en

    ★★★★

    The movie looks absolutely amazing. I'll have to go look at original reviews to see, but the expectation that goes along with David Fincher certainly adds to the experience. But I do have one question. Doesn't Det. Mills have an iron he could use? Those shirts are ridiculously wrinkled.

  • Mary Poppins Returns

    Mary Poppins Returns

    ★★★½

    This is probably Rob Marshall's best work. Which is why it perplexes me to no end that Rob Marshall is our Stanley Donen. There has got to be someone else out there who wants to film musicals as if the performance is paramount.