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  • Midsommar



    Felt even more emotionally invested in Dani this time around. The ending just exudes pure heartbreak for me. Hope Pugh gets an Academy Awards nomination, she deserves it more than almost any other actress this year.

    Pogorzelski's cinematography is almost its own character, it's that beautiful.

    Watched on MacBook Pro. 720p, didn't really care though.

    (that was my Sean Baker impression)

  • The Godfather

    The Godfather


    Don't call the FBI (filmbro behavior investigation) but I'm incredibly disappointed in members of the film community for ever saying that this was overhyped. Not really much to say that hasn't already been said. Masterpiece.

  • Knight of Cups

    Knight of Cups


    I have no words. I literally have no words. Malick has blown me away once again, except this time his vision was a bit more relenting. Even when his films drag a little they’re still so transfixing and mesmerizing thanks to the expressiveness and lurid beauty of the filmmaking. I found myself admiring this film more than I did personally enjoying it, as it was kind of hard to grasp, which is weird because I’m normally able to form my…

  • Barely Lethal

    Barely Lethal

    “Meth = death. Crack is whack. Coke’s no joke.”

    End my life pleaseeee

  • Mulholland Drive

    Mulholland Drive


    "It's no longer your film."

  • Happy Together

    Happy Together


    "Turns out, lonely people are all the same."

    I think the opening act of this movie, which is shot in black and white, serves as less of a simplistic rendering of the past and instead comes across as a contrast of fractured dissonance, a mirror of romance and abuse and the superficiality that makes up this relationship. Lai's struggles to pull away when Ho pushes into his psyche exude a heartbreakingly realistic take on toxic relationships that never fails to…

  • Only God Forgives

    Only God Forgives


    So much to unpack here, from the obvious symbolism of Chang as God to the gratuitous hand imagery (in a good way), but maybe the biggest idea being played with here is that Refn and Gosling need to make a third film. Period.

  • The Neon Demon

    The Neon Demon


    Every movie should include a pulsating score by Cliff Martinez featuring a heavy climactic track, you all know it's true. Also, am I the only one who finds it hilarious that Refn is color-blind?

  • Battle at Big Rock

    Battle at Big Rock

    André Holland. That’s it, that’s the review

  • A Clockwork Orange

    A Clockwork Orange


    "I was cured, all right..."

    When someone says the phrase "Kubrick's masterpiece", I always have to ask which one because he's literally a flawless filmmaker, this being no exception. A nightmarish provocation crafted from the mind's inner sadistic nature, repressed but still there under the surface, and a deranged whirlwind of violence and masochism that shows the consequences of our actions. Such a deeply disturbing but darkly...moving? Not sure how to put it, but its themes are just as relevant today as they were in '71. Scenes from this film will be burned into my mind forever. And that score...that score...

    A surreal masterpiece.

  • Parasite



    "All you'll have to walk up the stairs."

    I haven't been this physically ravaged by a film in a long, long time. Bong Joon-Ho's masterpiece Parasite is top-tier cinema, a brilliant sociopolitical thriller that strands two families on the battlefield of the economic spectrum and leaves both sides grappling for the solid structure of balance. It's got a script that's as gut-wrenching as it is downright hilarious at points, but the tonal shifts never come off as forced, only…

  • Tall Girl

    Tall Girl


    n*tflix and b*zzfeed can go fuck right off...