• The Scary of Sixty-First

    The Scary of Sixty-First

    ★★★½

    There is something inherently tacky (and not in a good way) about being permanently, tragically on-line. Maybe the biggest strength of "Scary of Sixty First" is able to make a sexy and haunting version of it, with half-baked but sincere aesthetic call-backs to different types of horror-paranoia movies, filtered through a very tasteful oneohtrix type synth-storm. It is very precise in locating exactly where are the gates of hell inside the QAnon K-holes of the internet; nothing scares me more in this world than looking at pictures of Little Saint James.

  • The Big Sleep

    The Big Sleep

    ★★★★

    I don't think i've ever seen a plot this deliberately confusing and dense, full of neurotic and frayed dead-ends, be so monumentally charming. whatever sort of cynical, dead-beat fun Bacall and Bogart are having...I want some of that in my life too

  • Víctimas del pecado

    Víctimas del pecado

    ★★★★½

    pure, un-explained, and irrational LOVE as the one and only thing that can save and redeem us, from the cradle to the grave

  • Birds of Passage

    Birds of Passage

    ★★★★

    Perhaps one of the things that keep us at the edge of our seats while watching mafia movies is that we are always eager to see where these ruthless men draw the line; how they justify their actions to themselves; how they measure , and orchestrate, acts of loyalty and revenge. As such, the signs may differ (cannolis or scottish whiskey, whatever) but the dramatic movements tend to feel the same. "Birds of Passage" knocks itself out in it's mobster-movie-conventions…

  • Irma Vep

    Irma Vep

    ★★★★

    my major problem with Irma Vep (and Assayas' work ingeneral) is that he probably thinks he's a funnier guy than he actually is, but the way Maggie Cheung's character moves through the petty drama and enflamed passions of the production is truly masterful; the articulation of how, in the right context, open-hearted curiosity and careful responsibility can almost feel like a state of grace (and how that can both confound and enrapture) is something to watch (and be totally intoxicated by)

  • Saturday

    Saturday

    ★★½

    Second Giorgetti film I've experienced and I am big fan of how he is able to conjure the acrid, rotting texture inside a specific type of fading, brazilian bourgeois decadence...like someone important silently shitting their geriatric diaper while they wait in the lobby for their presidential suite to be ready. they know you know and tension escalates from who will condemn the smell first. Still, maybe one of the worst cases of "short-film-idea" extended to feature lengths I've ever seen, so everything overstays its welcome severely...

  • A Cut Above

    A Cut Above

    ★★★½

    impressively packed script that manages to introduce many different cultural ideas with charm and a light touch despite the movie's pace working so hard against them...additional half star for making one of the most romantic songs of all time such a central plot point and introducing it to the rest of the world - www.youtube.com/watch?v=SVw_SaF2RYI i tear up everytime i hear those synths....

  • Pleasure

    Pleasure

    ★★★

    labor

  • X

    X

    ★★★½

    if this is what's at the end of the tunnel of "elevated horror" we're not too bad off!!

  • Memoria

    Memoria

    ★★★

    cabeça de rádio

  • Crimes of the Future

    Crimes of the Future

    ★★★★½

    Maybe the most at-ease and deliciously over-stuffed I've felt a Cronenberg picture, instead of "trying to be cool" (or sustaining mood w/e) the man is riffing, hard and loose, over everything he loves here: you get a wacko pynchon-esque detective story with all the inter-secting political bickering and slap-dash humor you'd expect out of it, slimy body-horror inventions w/ unique explorations of orifices (everything sounds like old ladies stepping on grapes to make wine), different sects of people desperately looking…

  • Dashcam

    Dashcam

    ★★★½

    there was a certain shamelessness in "Host" that I was very drawn to, how savage gave us the thinnest plot points possible to usher us from from jump scare to jump scare and then ending it when the potato was still hot in your hands. If DASHCAM has the same love-lorn shamelessness in how it designs it's best moments (I appreciate that there is at least 2 scenes of people filming themselves cleaning up fecal matter in this!!), it also…