• Poltergeist



    Beautiful anti-American film about being a hot mom who smokes weed. Every scene where Hooper piles on his trademark feverish hysteria is truly glorious.

  • A Good Marriage

    A Good Marriage


    A charming, funny, occasionally painful (that birthday party sequence) 95 minutes in the company of a very cute, autistic French woman; Béatrice Romand rules.

    Maybe my favourite Rohmer so far in terms of aesthetics: a lovely warmth to the light and colours, gorgeous old Le Mans locations, beautiful train journies and car rides, homey early 80s interiors.

  • The Outsiders

    The Outsiders


    (Theatrical Cut)

    Minor Coppola, but I like how elusive and fleeting this is, snapshots of a heightened storybook past. Peggy Sue Got Married expands on his exploration of golden-hued fantasy nostalgia to much greater and more satisfying effect but there's some lovely little moments in here.

  • Some Came Running

    Some Came Running


    Pure pain. Wholesome smalltown America implodes in an acid-sharp miasma of secrets, grudges, suffering, cruelty and crippling self-absorption, this is astonishingly dark and subversive for 1958. Amazing Elmer Bernstein score, very fun Sinatra/Martin homoeroticism and an utterly unreal, heartbreaking Shirley MacLaine performance that steals the movie.

  • Secret Ceremony

    Secret Ceremony


    Kept looking around in shock and disbelief during this in a "can you believe that just happened?!" way even though I was watching on my own.

    It's camp, it's surreal, it's gothic, it's a bit gay (real "well who am I to judge if it makes them happy" hours r.e. Leonora and Cenci), it's got some of the most disgusting dialogue ever captured on film via Robert Mitchum's character... it's generally not like anything else I've ever seen.

  • Born Yesterday

    Born Yesterday


    Judy Holliday love of my life.

  • Hello, Dolly!

    Hello, Dolly!


    I can take or leave the storylines with the other couples tbh, but when this is fully focused on Barbra, the eye-popping spectacle and the choreography it feels like one of the best films ever made. Almost every song slaps.

  • Sweet Charity

    Sweet Charity


    Fosse's cinema goes so fucking hard, jaw-droppingly stunning and exhausting in equal measure. There's so much going on here emotionally, visually, thematically that I almost couldn't keep track of it, but I do know it's brilliant; like All That Jazz I can see this being a full five stars on rewatch. Shirley MacLaine is, of course, completely phenomenal.

  • Ronin



    Beautiful film. Robert De Niro and Jean Reno should have kissed at the end.

  • The Children's Hour

    The Children's Hour


    Shockingly modern, sensitive, heartbreaking film ultimately about why you should never out someone before they're ready. It's very pleasantly surreal to see glittering technicolor screen icon Audrey Hepburn in something like this and she's great, but Lesbian Shirley MacLaine just means the world to me, truly incredible performance.

  • Magnificent Obsession

    Magnificent Obsession


    I'm just in awe of the impossibly lush picture postcard worlds that Sirk painstakingly crafts for his films. This one, which is breathtakingly insane at points, would completely fall apart if it weren't so gorgeously imagined, every cosmically-infused soapy flourish hitting with the perfect pitch of warm emotion. Rock Hudson is at his lovelist here.

  • Crimes of Passion

    Crimes of Passion


    Wouldn't even begin to know where to start talking about this breathtakingly complex and tonally deft piece of work, only that Russell, Turner and Perkins all clearly geniuses. So transgender to the extent it simply had to be intentional.