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  • Maze Runner: The Death Cure

    Maze Runner: The Death Cure

    Dammit, these films are so forgettable I end up watching the next one because I can’t remember how bad the previous one was. Lots of money up on that screen though.

  • The Other Side of the Wind

    The Other Side of the Wind

    ★★★★

    Welles does navel gazing better than almost everyone else (*coughkiarostamicough*), and even though it doesn’t quite reach the level of “divine accidents” that Welles craved (it feels way too much like a manufactured mess for that), the mirroring and layering are endlessly fascinating.

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  • Get Out

    Get Out

    ★★½

    Let’s the good out of the way first. Between the Key and Peele duo, Jordan always seemed to be the more cerebral and deliberate (and talented) half, and much of the first half of GET OUT delivers on his promise. The pre-title sequence is among the best staged horror I’ve seen post-SCREAM. The camerawork on display, with his ability to deploy intricate tracking shots and extreme closeups, is pretty rare for a feature debut and reminiscent of Shyamalan’s poise. Peele…

  • Force Majeure

    Force Majeure

    ★★★★½

    This film explores the primal instincts of men vs women a la Loktev's THE LONELIEST PLANET from 2012. Where that film was vague and essentially binary in it's progression (before event vs. after event), FORCE MAJEURE is explicit in its thematic notions and plays with them in several different scenarios throughout the runtime. Quite hilarious and contemplative. That scene at the ski lounge with the two male characters getting approached by women is gold. Also laughed my ass off at the dad's sobbing outburst near the end.