• Ten Minutes in the Morning

    Ten Minutes in the Morning


    All power to the swoletariat.

  • Inland Empire

    Inland Empire


    David Lynch is the only director who understands the dramatic potential of Laura Dern's face.

  • Tricia's Wedding

    Tricia's Wedding

    Some highlights:

    • Mamie Eisenhower saying the word "well".
    • Eartha Kitt telling Lady Bird Johnson to kiss her ass.
    • A wedding procession of cartoonish, pancaked faces completely dead behind the eyes, like zombies in a Jack Smith film.
    • Eartha Kitt turning the whole thing into Climax (2018).
    • Sylvester as Coretta Scott King whipping a writhing pile of white socialites.

    Not everything aged well or lands right, but what's left packs a punch.

  • Memoria



    The first time it happened, my dumb ass thought someone slammed the theater door, even though I was sitting there waiting for it happen. And the studio scene? Perfect.

    A terrific film to be starting to fall asleep to.

  • Jamon Jamon

    Jamon Jamon

    I appreciate how suddenly this movie will veer between a dramatic mode and just like, hot sluts making poor decisions. It's a bit uneven in how some of the characters are situated between the two, but fun nevertheless.

  • La Dolce Vita

    La Dolce Vita


    I saw a lot of myself in this film, in the sense that it has a gay who finds himself incredibly moved by the concept of dawn.

  • Shit & Champagne

    Shit & Champagne

    Thank you to the San Francisco Public Library for ordering this for me. You truly are an invaluable source of knowledge and culture.

    Anyway my favorite part was when the queen shat herself and dragged it across the floor and then the guy slipped in it.

  • Parallel Mothers

    Parallel Mothers

    The guy behind me kept whispering "yass" under his breath and he was right.

  • Brouillard #14

    Brouillard #14


    If I were gonna describe a Signac, this looks like all the words I'd use.

  • Parallel Mothers

    Parallel Mothers

    One of Almodóvar's more restrained films, comparatively speaking. The plot is told almost completely linearly, with inconspicuous cuts marking sudden leaps in time. The set design isn't as flashy as the home furnishing catalogs in which The Human Voice or Pain and Glory are set. This is probably his more straightforward work since Volver, with its focus directly on the relations of these two mothers, and all the lurid, messy stories that come out of it.

    It's a directness that…

  • Carol



    I turn into a puddle every time Carol makes some forward gesture, her face all poised and composed; Therese pauses, caught off guard; and then chaos breaks out on Carol's face when for just a moment there's a void that she doesn't quite know how to bridge. Even when Haynes stages that interaction, shot from a different room with walls covering all but a tiny sliver of the frame, I stare at the 10 pixels he fits them into and melt.

  • Nightmare Alley

    Nightmare Alley


    A heartfelt tribute to two of cinema's greatest achievements: Carol (2015) and the promo for season 10 of Degrassi.