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  • Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)

    Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)

    ★★★★

    Birds of Prey (and the Fantabulous Love Story Between one Harley Quinn and a Breakfast Sandwich) is a beautifully composed, lushly colored, delightfully profane, comically violent, genuinely funny and perfectly self aware comic book movie. While I was initially afraid it was going to tonally fall into the Deadpool trap of thinking it's funny when it's really just annoying, Birds of Prey finds its own voice and declared itself, loudly, to be pretty much the exact opposite of the self-serious,…

  • Woman at War

    Woman at War

    ★★★★½

    This film shares a spiritual kinship with the novel 'Drive Your Plow Over the Bones of the Dead' by Olga Tokarczuk (which I loved); fierce women on ethically sound but practically doomed one-woman crusades against the perils of a changing climate. 'Woman at War' is the quirky, feel-good pro-eco-terrorist comedy thriller I have been waiting for, guys. When Halla is not leading her local choir outside Reykjavik, she is committing acts of sabotage against the local aluminum plant, which become…

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  • Suspiria

    Suspiria

    ★½

    Vergangenheitsbewältigung is a German word without an English equivalent, roughly translating to the collective coming to terms with trauma in the recent past. The post-Nazi, post-GDR processing of this past is essential to understanding German culture and art. The mostly artless, affected, boring and not at all scary remake of Suspiria tries and fails to harness this complex mood. Setting itself in the midst of RAF/Baader-Meinhof attacks of 1977, and somehow trying, I guess, to draw a connection between that…

  • Kiss Me Deadly

    Kiss Me Deadly

    ★★★★★

    "They? A wonderful word. And who are they? They're the nameless ones who kill people for the great whatzit. Does it exist? Who cares? Everyone everywhere is so involved in the fruitless search for what?"

    The darkest, most utterly nihilistic and beautifully apocalyptic of the classic noirs, Robert Aldrich plumbs the shadowy depths of the post-war American psyche. Ralph Meeker's blunt take on Mike Hammer illuminates that this archetypal character is grossly out of time, powerless against the rising, existential forces that allude his grasp. A film I've watched a number of times, and never get sick of. A+ filmmaking.