• Chungking Express

    Chungking Express


    I watched Chungking Express for the first time when I was nineteen or twenty, a baby really. I remember falling in love with the film and its lush colours, its air of longing, the way its characters were always shouting over California Dreamin. I hardly understood anything about the film when I was nineteen, but today I watched it again, fully cognizant this time of all the quiet heartbreak: Cop 223, buying a can of pineapple every day for thirty…

  • Inception



    Much better upon re-watch. The scope of this film is absolutely breathtaking - I just wish they’d gone deeper into the Robert/Maurice Fischer relationship. That would have provided an emotional counterweight to the Dom-Mal story, and it would have made viewers care more about the mission itself. But what do I know. This movie is even better than I remember. Loved nearly every minute of it.

  • The Invisible Guest

    The Invisible Guest


    Loved this twisty little thriller. I wasn't expecting much when I decided to watch it last night, but this movie turned out to be surprisingly good. It reminded me inexorably of Hitchcock, for some reason, of watching a neat little b/w thriller in color. Perhaps I'm less discriminating than I used to be (or perhaps not), but honestly, I enjoyed The Invisible Guest from start to finish.

  • Andhadhun



    Honestly, one of the best Bollywood films I've seen in a very long time. Highly recommend for anyone new to Indian cinema.

  • Shutter Island

    Shutter Island


    Everything from the music to DiCaprio's tortured brow felt about 1000x more intense than I expected it to be, but overall, Shutter Island was intriguing despite its faults. I'd watch it again, if only to see if that twist was the only reason the movie kept me glued to my seat.

  • The Philadelphia Story

    The Philadelphia Story


    I watched this today for the second time with my mother, and found myself going huh? far too many times for my liking, because I remembered absolutely loving The Philadelphia Story the first time around. I still do have some qualms with the idea that Tracy is to blame for taking a stand against her ex-husband's alcoholism and her father's extramarital affair, but perhaps that's exactly the point... forgiveness as an essential virtue of the true woman and all that…

  • I Vitelloni

    I Vitelloni


    I Vitelloni is quiet, assured, and bursting with atmosphere. The characters are careless jerks, sure, but you can’t help but like them anyway. The existential ennui they face is all too familiar. I Vitelloni captures the bittersweet aimlessness of fast-fading youth in a way that makes it seem both nostalgic and frightening. To be stuck in limbo like that for an indefinite amount of time in such a small town, regardless of how sweet and sleepy it is... it’s hard…

  • Some Like It Hot

    Some Like It Hot


    Some Like it Hot is... all right. I didn't find it riotously funny, or consistently engaging, or really, anything special at all. It's watchable, thanks to the constant stream of double entendres and Jack Lemmon's hilariously earnest posturing, and that marvellous last line almost redeems its lengthy runtime, but as a whole, it's a bit of a slog. Man, I never thought I'd say that of a Billy Wilder film.

  • Sixteen Candles

    Sixteen Candles


    Look, even if I were to ignore the icky date rape situation, or the way the otherwise likeable geek repeatedly forces himself upon Ringwald, or the questionable treatment of a minority character with an unfunny name, it's evident that the rest of Sixteen Candles is several notches below The Breakfast Club. It's a bunch of situations strung haphazardly together, never quite coalescing into a complete narrative. Every character gets their arc, but everything feels much too patchy for the film…

  • Holiday



    "When I find myself in a position like this I ask myself, 'What would General Motors do?' Then I do the opposite."

    Holiday is the sweetest sort of dupe: you’re so thoroughly taken in by its charm that you don’t really mind what it’s selling. It’s sort of against the American dream, but that’s only because it’s selling another nearly impossible one. It’s about falling in love when you least expect it, with someone you aren’t supposed to love. But…

  • The Breakfast Club

    The Breakfast Club


    Pauline Kael described The Breakfast Club as “a movie about a bunch of stereotypes who complain that other people see them as stereotypes.” That's certainly true, but The Breakfast Club is also about teenagers who realize that their peers are far more complex than the restrictive labels they're boxed into. That, I think, is what sets the film apart from most other high school comedies. It's funny as hell, but it's also sympathetic and understanding of the choices these teenagers…

  • Dear White People

    Dear White People


    Representation isn't about scaring politically correct white artists into including POC characters in their stories to satisfy some imaginary diversity quota. Representation is about getting to make films like Dear White People, and in creating an environment in which filmmakers of color can get the backing to make films about their communities. It's incredibly refreshing to see complex, ambiguous characters with hyphenated identities taking center stage in a film. It's almost enough to make me want to overlook the numerous…