• Deerskin

    Deerskin

    If you’re coming across Deerskin (Le Daim), it’s likely that you’re familiar with the work of Quentin Dupieux, and that you know what kind of absurd, potentially horrific comedy to expect. If you know nothing about the his previous work, you’re in for a bizarre ride. That being said, this isn’t the kind of raucous midnight movie absurdity of Rubber’s murderous tire, nor the reality-bending surrealism of 2012’s Wrong. Deerskin finds itself in a more realist milieu, which makes its weirdness that much… weirder.

    ~ Read full review at Battleship Pretension!
    battleshippretension.com/deerskin-odd-fit-by-josh-long/

  • Suspiria

    Suspiria

    ★★★

    If you’re a horror fan, you eventually come across giallo films, and in doing so, you quickly find out about Dario Argento’s 1977 classic Suspiria. Set in a ballet studio where a coven of witches carry out dark rituals, the film is famous for its vibrant colors, eerie score, and gruesome deaths. Forty years later, Luca Guadagnino (Call Me By Your Name) is trying his hand at this story, although he says it’s more of an “homage” than a “remake.”

    ~ Read the full review at More Than One Lesson! - morethanonelesson.com/the-beauty-is-just-skin-deep-by-josh-long/

  • Tyrel

    Tyrel

    ★★

    Despite what you might hear from some of society’s louder voices, awareness of racism in its many forms is growing in the United States. Perhaps the racist voices themselves have gotten louder at the same time, but studies show that a majority of Americans see racism as “a big problem.” Even if the man on the street might not see it, Hollywood has certainly been forced to, in the wake of “Oscar’s so white,” and similar grievances. In the last…

  • Private Life

    Private Life

    ★★★★

    Tamara Jenkins makes the best kind of dramas. They focus on real people in difficult real life situations, but peppered with humor at the absurdity of real life. All of her characters are too well-rounded for us to ever declare one as “good” or “bad.” They make stupid decisions, but we understand why they made those decisions, and knowing why makes it hard to judge them. Jenkins’ newest film, Private Life, turns an unflinching, uncritical eye on infertility – the result is alternately heartbreaking and heartwarming, as it should be.

    ~ Read the full review at Battleship Pretension! ~ battleshippretension.com/private-life-gestation-period-by-josh-long/

  • Isle of Dogs

    Isle of Dogs

    ★★★★½

    I really don’t want to be such a Wes Anderson apologist. I feel like it undermines my credibility as a critical filmgoer to like his movies as much as I do. Especially since he has, especially over the last ten years, become a major draw to so many casual film lovers. Wouldn’t it be better for my cinephile cred to dismiss him as derivative of the nouvelle vague and shift topic to Roman Coppola’s CQ? Trouble is, Anderson’s films connect…

  • Logan Lucky

    Logan Lucky

    ★★½

    Jimmy Logan, the protagonist of Steven Soderbergh’s Logan Lucky, lives in south-eastern West Virginia, close to his daughter and ex-wife. The action of the film begins when he’s fired from his job at Charlotte Motor Speedway. Somehow, the film doesn’t mention (or doesn’t realize?) that his daily routine includes a 3 hour, 200 mile drive from home to work, and then the same drive again at the end of each work day. Does this matter? Let me put it this…

  • Valerian and the City of a Thousand Planets

    Valerian and the City of a Thousand Planets

    ★★★

    Science fiction film is in a bit of a strange place in the 2010s. Star Wars is back. Star Trek is back. Even Blade Runner is back. The majority of high-profile sci-fi fare banks on nostalgia, while remaining (intentionally or not) mired in a mise en scène redefined by the Marvel Cinematic Universe. Outliers that buck the pattern are risky – the Wachowskis’ Jupiter Ascending was a critical disaster and squeaked by on a narrow worldwide profit margin.

    And now,…

  • Landline

    Landline

    ★★★½

    In 2014, writer/director Gillian Robespierre hit the scene with her feature debut, Obvious Child. This year we’re treated to her follow-up, Landline, also starring comedienne Jenny Slate. While the former film deals with one woman’s personal development, the latter explores family dynamics and the kind of dysfunction that can lie beneath the surface of a seemingly “normal” family. Set in the 1990s, a decade familiar to the teen years of both Robespierre and Slate, the new film examines the challenges of a middle-class family changing in unexpected ways.

    Read full review at Battleship Pretension ~
    battleshippretension.com/landline-tell-me-why-i-love-you-like-i-do-by-josh-long/

  • The Bad Batch

    The Bad Batch

    ★★★½

    Ana Lily Amirpour’s first feature, A Girl Walks Home Alone at Night, was a revelation in the 2015 film scene. Sleek, edgy, cool, with an inescapable socio-political message, it stood out from the crowd in a way that made many of us excited to see what the filmmaker would do next. No one could say it would be easy to top her first film, but Amirpour is definitely up for the challenge. Her new film, The Bad Batch, is longer, bigger budget, and has a much broader scope.

    ~ Read full review at Battleship Pretension! - battleshippretension.com/the-bad-batch-comfort-zone-by-josh-long/

  • The Big Sick

    The Big Sick

    ★★★★

    Generally, I don’t enjoy romantic comedies. There are exceptions, of course, but many of them fall into regular traps; weak characters, predictable structures, pandering. So even when people that I love (Kumail Nanjiani and Michael Showalter) collaborate on a rom-com, I’m a little trepidatious. Could it be a When Harry Met Sally, or is it going to succumb to the lower common denominators of the genre? Fortunately, The Big Sick has a big factor playing in its favor: authenticity.

    ~ read the full review at MORE THAN ONE LESSON!
    morethanonelesson.com/authentic-romance-by-josh-long/

  • Personal Shopper

    Personal Shopper

    ★★★½

    As beautiful as Olivier Assayas’ films appear, they are certainly enigmatic. The filmmaker is not interested in a world that is clear, explicable, cut, and dried. It is intentional that his viewers leave with questions about what was real or imagined, and whether there can ever be a clear line between the two. In Personal Shopper, he dives into the world of ghosts and spiritualism, and Assayas’ dreamy quasi-reality perfectly surrounds such a subject.

    ~ Read full review at Battleship Pretension! - battleshippretension.com/personal-shopper-dead-and-living-it-by-josh-long/

  • The Paul Lynde Halloween Special

    The Paul Lynde Halloween Special

    Pure. Genius. Disco baby!