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  • The Day After

    The Day After


    For the past two years I've been finding it strange that Hong has gone from an auteurist curiosity to a full-fledged arthouse celebrity. Of course, he's been in the news, his films have opened up a bit... But to me, he's still a guy with really quite challenging and uncompromising notions about filmmaking as art, who is always dreaming up ways to sabotage established practices.

    But I think to myself some more, and maybe it's not so strange that he's…

  • La Chinoise

    La Chinoise


    Watched this at the Quad, a 9:30 showing.

    Attendance... about five other people. I sat near the front. The masking was off for the whole film (it's in 1:1.33) but I was too lazy to complain. Frightened at my own indifference, but it wasn't cutting off any of the image, so somehow I felt alright.

    Anne Wiazemsky is so young and beautiful in this. She's the girl from Balthasar! And, Wikipedia tells me, an accomplished novelist, a book of hers…

Popular reviews

  • Prisoners




    It's been a while, so the bile has most receded, although me and screening bud both agreed that this is basically the opposite of what cinema as an artform should be aiming to achieve. No doubt it's not incompetently crafted--the actors are doing what they can (probably too much), the editing is sharp and tailored to the story structure, plus y'know, Deakins (who really doesn't get much to work with here, IMO). But the writing is godawful and the…

  • Mad Max: Fury Road

    Mad Max: Fury Road



    I don't believe in action for action's sake--that capturing movement is somehow an ontological virtue regardless of context, that it's a cinematic effect somehow worth more than other effects. But I loved this film which never stops moving and which never fails to direct the camera to a movement. A few notes:

    1). I don't know if spatial coherence is really George Miller's jam. There are stunning compositions, of course, where a plan is laid out for where each…