Simon Rask

Simon Rask Pro

Another Gentleman Loser

Favorite films

  • Inside Llewyn Davis
  • Unforgiven
  • Hail the Conquering Hero
  • Midnight Run

Recent activity

  • The Firm


  • The Aviator's Wife


  • Cinderella Man


  • Michael Clayton


Recent reviews

  • The Firm

    The Firm


    Overlong, convoluted, and a bit silly, but still entertaining enough in that conspiratorial airport-novel ‘90s thriller kinda way. The cast sells the pulp.

  • The Aviator's Wife

    The Aviator's Wife


    Rohmer's films peel back cinema to its bare essentials, confident that conversation and romantic messiness—if honestly displayed—are a sufficient dramatic engine. All artifice is eschewed, music is never employed, the cutting strives for invisibility. But his frames are still dynamic, enlivened by glowing interior lives of the characters.

    The Aviator’s Wife is particularly strong in its relational truths. It understands (1) that a man romantically pursuing a woman will, to an onlooker, almost always be-clown himself; (2) that a woman's…

Popular reviews

  • Everything Everywhere All at Once

    Everything Everywhere All at Once


    Doesn’t really surprise me that a film which (1) was produced by A24, (2) exhibits excessive formal maximalism, and (3) concludes with an extremely of-our-time moral plea has ascended to the upper echelons of Letterboxd favs. I try not to judge art along rigidly ideological lines, only reacting favourably when it conforms to my own beliefs about the nature of reality—i.e. there are many films which I love while disagreeing with the message. And there’s a lot to admire here…

  • House of Games

    House of Games


    Maybe State and Main was just an anomaly, but here Mamet’s approach to dramaturgy seems fundamentally ill-conceived and downright awful. Crouse’s performance gets a lot of criticism for being “robotic” (which it is), but it’s been a good long while since I’ve witnessed a purportedly serious drama/thriller with an ensemble so all-encompassingly inept. This isn’t the wooden performances in a Bresson picture or the stilted work in a Lanthimos or Wes Anderson film—no, this is like if a cast of…