• The Box

    The Box


    Deeply yearning for more pictures that recognize the schism of affect in narrativity and form, and the bifurcation of ideology that can be simultaneously articulated in contradiction through a well orchestrated structure. As far as American films go, it was here, then a large gap, then Old. Perhaps I’m forgetting one or two…

  • Thirst


    A soft extrapolation of religiosity, nothing much to consider further…

  • Irma Vep

    Irma Vep

    The privilege to lose oneself is a promise hurdling towards nothing.

  • Nope


    Sturdy work. Wonderful use of negative space as an active negotiator for scale. The battle between images of western and sci-fi and horror cradles the flimsy thematic — used really only to motivate the puncture of the diegetic gaze  giving momentum to the action — which seeks this staggering gesture towards the legends history gets made into: cinema, its violences, and the Angel and its violences, too, all wrapped up in the iconography of that which remains both unidentified and conspicuous. Laid back and playful spectacle that writhes in a dopey reflexivity.

    Being looked back at is all it takes, here. All about the image, baby.

  • Elvis


    A 3hr montage thats failure is to seek pathos at the core of its construct. A machine that’s yearning for blood, which in itself is a fascinating extrapolation that I’m happy to have.

  • Thor: Love and Thunder

    Thor: Love and Thunder

    We’re at the child soldiers are cool phase of this. Very excited to see what’s next. Unsure what this was about?

  • Minions: The Rise of Gru

    Minions: The Rise of Gru

    I did not sign up for a Gru origin story to be Plot A. This is MINIONS: rise of gru, please why not a 90 minute hyperactive desensitization to thought that’s at least 87% composed entirely of maximalist physical comedy. If you want to fit a plot into the remainder, go ahead, but have the decency to know where your strengths lie.

  • The Red Detachment of Women

    The Red Detachment of Women

    *Hammer and Sickle emoji*

  • Heat



    Pacino running down the stairs, out of the hospital, a glean of pure adrenaline and joy in his eye - that’s the good stuff

  • The Departure

    The Departure

    Been having trouble with Skolimowski. While the formal vivaciousness is always intriguing and, in many instances, provocative, there’s a wrung intellectualism that’s incessantly reflected through indexical formal flourish. He’s a clever filmmaker that enforces his eye into a corner. It renders the works either flattened or repetitive. Though there are always sequences of genius (final scenes of Deep End and Moonlighting, the eponymous scene of The Shout, the invasive roaming of a telephoto lens in Hands Up! and Walkover), it’s…

  • Star Wars: The Last Jedi

    Star Wars: The Last Jedi

    Has me considering the merits of Children’s films… how growth offers greater dimension to, say, a Miyazaki picture, but this has only aged to become transparent, it’s articulation of ideas amounting to exactly that didacticism without any problematizing of its whole. Certainly the only film in the sequel trilogy to seek out Lucas’ ideology, but there remains the contradiction of a Jedi being that ideal through which hope can be striven for. Only hints here, yes, and certainly more than…

  • Spiderhead


    The New Yorker