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SilentDawn has written 364 reviews for films during 2019.

  • Gemini Man

    Gemini Man



    Too bad this gets caught in the tangles of its own writing, which is often unbearable, because a majority of Gemini Man is stellar. Ang Lee's steady eye and unwavering commitment to defined, clear-cut action set-pieces results in a balletic experience. I was often moved by this goofy, stupid action vehicle that would've made bank in 1996. Alas, it resorts to being another curio in Lee's recent work simply by falling into various traps it sets up for itself. Wish I could've seen it in 48 FPS.

  • Mystery Men

    Mystery Men



    "You must lash out with every limb, like the octopus who plays the drums."

    Absolutely preposterous, but incredible nonetheless. A two-hour Schumacher Batman riff that features caped crusaders such as 'The Shoveler' and 'Spleen'. Sublimely silly. I bet all of these actors keep evidence of Mystery Men locked away deep in their subconscious, but I cherish it. Filled to the brim with fart jokes and stupid slapstick and yet entirely more engaging than most superhero movies this decade. Shoutout to Tom Waits, master builder of non-lethal weapons.

  • GoodFellas




    Umpteenth re-watch. Luminous as always.

  • Read It and Weep

    Read It and Weep



    Iñárritu turned this into Birdman and no one can convince me otherwise.

  • Noelle




    Sub-standard Christmas movie that alternates between the North Pole and Phoenix, Arizona. Bill Hader and Shirley Maclaine are fun, and the colors are gloriously exaggerated, but this is mostly embarrassing. Best part is how Christmas films are *still* stuck with the subplot of technology taking over old-time traditions.

  • Drugstore Cowboy

    Drugstore Cowboy



    Possibly the hottest cast in cinema history, chilled to the bone by Gus Van Sant's direction. Free to meander as it pleases, Drugstore Cowboy still offers up an intensity of living life on the edge, on the border between addiction and process. How these characters operate is just as interesting as who they are as people, and it's often the tension that drives their lifestyle as a replacement for personality. Their habit finds root in the aimlessness of their environment.

  • Jurassic Park

    Jurassic Park




    "People are dying....
    Will you please shut down the system?"

    Spielberg, the GOAT.

  • Marriage Story

    Marriage Story



    What I love about Marriage Story:

    To begin, it's a movie about the pain within all people. What partners, in the midst of desolation, will do to protect their own self-interest. How their love is systematically broken down and fractured in the pursuit of monetary/property gain, control over their children, and the cold, ruthless separation of a friendship. Their anguish is lesser at the beginning, but in the midst of lawyers and outside opinions, it expands fruitlessly as they…

  • Lady and the Tramp

    Lady and the Tramp



    This was adorable and sweet for about five minutes. And then the dog spoke. A genre switch into pure Horror, pure nightmare fuel.

  • Pioneer




    David Lowery has found multiple avenues to explore the enormity of time. Whether it's in the independent mold of something like A Ghost Story or the big-budget exercises of Pete's Dragon - there's a clear through-line of time being the representative pain of those still with us, and the mystery that binds the line between the tangible and ethereal. What Pioneer visualizes is how even a short film offers the focus of the world beyond, in addition to Lowery's…

  • Final Exam

    Final Exam



    Ultimately very satisfying because the cast is a bunch of frat bros. It takes awhile to get going, but what's fascinating is the utter contempt it has for its characters, and how we resonate with said characters affects the ruthlessness of the eventual splatter. A slasher film built to thrill, but this is also interested in scaring those who scare others in reality day-to-day. It's after the victims.

  • Doctor Sleep

    Doctor Sleep



    An often repeated composition in Mike Flanagan's Doctor Sleep adaptation is the chilling image of a person greeting the decaying, cackling 'room 237' spirit from Kubrick's film in a bathroom far away from the Overlook Hotel, shutting the door behind them in an effort to confront the evil head-on. Whereas Kubrick's film often revealed ghosts as totems of existential memory and the pains of being alive ("great party, isn't it?"), it is the reconciliation between King's overt mythology and…