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  • The Company

    The Company


    The Company is special to me, partly because it feels so familiar. As a once-serious, classically-trained ballet dancer, I’m always reluctant to watch films featuring ballet; rarely do I feel that they accurately capture the world I saw. But The Company really does. It captures the feel of being part of something that others don’t really understand. It captures the drama and the pettiness and camaraderie of the company, the feel of the dressing room, the feel backstage. It captures…

  • Rosemary's Baby

    Rosemary's Baby


    An exceedingly disturbing portrait of a woman unable to control what happens to her own body. Timely!

    Although Repulsion is more pure psychological horror, Rosemary’s Baby also works extremely well on that level, and brings body horror into the mix. The horror of the film comes not so much from the Satanists themselves, but from the fact that they come so close to convincing Rosemary (as well as the viewer) that it is all in her head.

    I didn’t find…

  • Premium Rush

    Premium Rush


    I guess this was fun. I watched it with two friends - one loved it, another liked it, I did not so much.

    And I know this is like heresy, but I really don’t loooove JGL. He’s fine. I don’t love him.

    I really didn’t like Jamie Chung and her horrible attempt at an accent and badly stereotyped portrayal.

    I really didn’t like Michael Shannon and his horrible overacting (wth? he was really bad!).

    And I really really didn’t like…

  • The Big Gundown

    The Big Gundown


    A smart spaghetti western; maybe too smart for its own good.

    Morricone seems to be the only one involved going totally balls-to-the-wall. That theme and end music is fucking insane. Everything else feels clean and controlled. Very good, yes, but almost sterile feeling.

  • Purple Noon

    Purple Noon


    Purple Noon is bright, lush decadence. Sun-washed streets and care-free jaunts around Europe. Endless time, endless money. The world is populated with painfully beautiful people, none more so than Alain Delon, in his first major role (that poster does not do him justice). The film is desire - all-consuming desire, sexual desire, desperate desire.

    Purple Noon is the first film adaptation of Patricia Highsmith’s The Talented Mr. Ripley. Alain Delon plays Tom Ripley, a man whose desire is his driving…

  • Finding Nemo

    Finding Nemo


    One of my favorite Pixar stories, and an excellent example of what Pixar does best - simple, yet powerful ideas that connect to all of us. These are stories made for families - stories that appeal to the children, stories that transform the adults into children. They speak to the fears, hopes, and senses of humor of both children and adults. While there are nods to only the adults (e.g., The Shining reference), they never stoop to the level of…

  • The Night of the Hunter

    The Night of the Hunter


    Second time around, and I was just as thrilled and enamored as I was the first time.

    But, as much as it pains me to say this, I do think that some of the weaknesses of the film are due to Laughton’s direction. It is still a remarkable film. But watching some of Charles Laughton Directs “The Night of the Hunter,” (a collection of outtakes and behind-the-scenes footage) and some of the interviews, I was surprised by some of the…

  • The Next Three Days

    The Next Three Days


    Possibly spoilers??

    Not as interesting or as complex as it could have been, making it disappointing. There were a few opportunities to ask some really interesting questions, but in the end the feel-good story wins out, when I would have preferred the feel-bad story (who am I kidding - I always prefer the feel-bad story). Crowe’s character struggles with some interesting ethical questions, but the film never allows him to be anything but the good-guy hero.

    Russell Crowe was great,…

  • Django



    I don’t know if I can say anything coherent about Django, I’m too caught up staring into Franco Nero’s eyes (seriously, that man is soooo fine). The camera loves his eyes too, using them judiciously, withholding them until the most effective moments.

    Django starts with an incredible image - the lone figure trudging across empty land, dragging a heavy coffin behind him, bringing death with him. That figure is an enigma, but the film gives just the right amount of…

  • Yojimbo



    Try as I might, I just can’t seem to get into Yojimbo. I didn’t like it when I watched it a few years ago. I had trouble paying attention when I watched it just a few days ago, so I tried again a few days later, and it still didn’t capture me in the way that Sanjuro did.

    It is a beautiful film - Kurosawa is a master of depth of field, and composes some of the most interesting shots.…

  • My Neighbor Totoro

    My Neighbor Totoro


    I want to hug ō totoro

    The perfect mix of childlike purity, complex emotion, and total cuteness without being too fucking whimsical.

  • Santa Sangre

    Santa Sangre


    I feel ashamed to admit this, but I didn't really care for Santa Sangre. Reading about it, I feel like I should; the psychological elements are there, the imagery is vivid and bold. I get what people see in it. But something didn't hit with me. It didn't scare me, or freak me out, or leave me feeling disturbed, and I can't put my finger on why (how I could remain not freaked out by circusfolk, you've got me). My…