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  • Only God Forgives

    Only God Forgives


    Utterly dense and patient. This film gets flack for its lack of story and dialogue, but I have to admit it feels more whole—less ambiguous and surreal—than, say, Refn's 'Drive' or 'The Neon Demon.' I actually found myself wishing it would further the abstractions. The reoccurring visual themes and metaphors were really enjoyable on second viewing. I think this will get better with each watch. Looking forward to it.

  • Chappie



    Was so hard not to justify all the holes and shortcomings of this movie simply because I _wanted_ it to be wonderful. As much as I wanted to love Die Antwoord, they just fell flat for me (although, not quite as flat as the execution of the majority of the story). It was visually gorgeous and the _good_ things about Chappie himself were just tremendous. So much in here that was done remarkably well. That's what kept it moving for me. Sadly, there's plenty in here to keep it from being great.

Popular reviews

  • Interstellar



    Gorgeous film. Had to "release my brain" from getting hung up on numerous plot holes. Wonderfully creative story. Visually stunning. Hella long.

  • Lost River

    Lost River


    Gosling's surreal-noir-fantasy-midnight-arthouse debut is a grand slam out of the park. There's space in the film's pacing that harkens to surreal contemporaries like Lynch, Jodorosky, Aronofsky and surely a great influencer of his craft, Nicolas Winding Refn. Gosling's effort here—and arguably in this genre as a whole—is far more concerned with mood and conflicting impulses than "story." Questions left unanswered, backstory left untold. You find yourself filling in the gaps as the art brushes itself onto the canvas in front…