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  • Vox Lux

    Vox Lux

    ★★★★½

    Does precisely what it sets out to do, eventually earning (or mitigating) its wide-collared self-importance.

    In the genre of Columbine-9/11 Millennial Psychodrama, this one is up there. Not that it's as textually deep or profound as it hopes to be. Just that it grooves. A movie that grooves finds all the profundity it needs in rhythm and texture. Take out the overwritten narration, even better.

  • Street Scene

    Street Scene

    ★★★★

    King Vidor orchestrates absurdly overflowing NYC crowd scenes. He's one of the silent era directors who didn't let the advent of sound lock down his ordinarily adventurous camerawork. The camera here is as freewheeling as that of Wolf of Wall Street, with nearly as many seamless visual effects fleshing out the cityscape. His cranes are flying.

    There's an outrageous moment of violence where everyone in the neighborhood comes running to looksee, in a flurry of Seven Samurai cuts. Each nosy…

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  • Blade Runner 2049

    Blade Runner 2049

    ★★★

    Man, I'm loving how this app permits me to be the armchair mogul/film asshole I truly am:


    BR2049 was doomed to be merely impressive the moment Roger Deakins chose not to shoot it with anamorphic lenses.


    It was the one simple choice he could have made to tie this film to its predecessor and lend it similar subliminal gravitas and mystery. But naw, he hates anamorphic lenses--even though every frame of this Scope ratio film is composed and lit in…

  • Suspiria

    Suspiria

    No fun. The color palette and some startling cuts keep you awake for awhile, until the ideas take over.

    Naming this movie SUSPIRIA is like having PETEY WHEATSTRAW go by the title GANJA AND HESS.

    Matterfact, if you remix this movie with PETEY WHEATSTRAW, you've got something.