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  • Mad Max: Fury Road

    Mad Max: Fury Road


    george miller needs to hurry up and give us the furiosa cinematic universe we deserve!

  • My Favorite Shapes by Julio Torres

    My Favorite Shapes by Julio Torres

    todd phillips and co who believe that comedy is dead need to watch this. there's a way to do smart, intelligent comedy and none of it involves punching down on marginalised communities.

  • Rocketman



    i'm usually a sucker for musicals but this was incredibly bland, overwrought and by the numbers. it did the typical biopic thing and just ran through a list of events you could've looked up on wikipedia. bleh.

    what i want to pull focus to is: BRYCE DALLAS HOWARD doing the absolute least in the most iconic fashion. she operated at 2% throughout, collected her paycheck and waltzed right out. honestly i stan. in five years time i hope she does an interview and takes a few seconds to remember if she was in this or bohemian rhapsody.

  • Volver



    almódovar has repeatedly spoken about his reluctance to work with hollywood (because it would mean being at the mercy of execs) and, while watching volver, i understood what he meant.

    penélope cruz's beauty is outstanding - almost distractingly so at times - and hollywood's male gaze has reminded us of that time and time again. execs might have suggested inserting a romance subplot between raimunda and the film guy. under almódovar, the film guy returns to the restaurant for the…

  • Ghosts of Sugar Land

    Ghosts of Sugar Land


    this documentary had a lot of potential to unearth how vulnerable muslim youth get lured into these organisations but it spends too much time meandering in conversations with clark's friends who don't do much other than give repetitive backstory. hopefully tariq can do more substantial a follow-up now that clark is back in the states.

  • Women on the Verge of a Nervous Breakdown

    Women on the Verge of a Nervous Breakdown


    almódovar's films and the fashion house jacquemus have a lot common. they both peddle in explosions of colour, exaggeration, that sweltering feeling that summer brings and hyper-stylised musings on youth and sex appeal.

    this film - his introduction to the international stage - is filled to the brim with all his best qualities. it tends towards style over substance but the style employed (reminscient of fassbinder) is so sumptious you'll find yourself forgiving the film's missteps.

  • Parasite



    watched it for the first time in a cinema and experiencing it with people being shocked and stunned by the twists and turns was such a joy. my love for this film runs so deep!

  • Paprika


    not even sure how to rate this bc i understood very little of it but was in awe of all of it.

  • Still Walking

    Still Walking


    on the surface it's kore-eda's simplest set-up: the chronicling of a day in a family's life. and yet it's his most emotionally dense and narratively rich. kirin kiki is frightening behind her veneer of pleasantry. 

    this is character-driven story-telling at its very best - and my personal kore-eda favourite.

  • Law of Desire

    Law of Desire


    a gay arthouse telenovela, as only almodóvar could pull off. killer ending.

  • Interview with the Vampire

    Interview with the Vampire


    This review may contain spoilers. I can handle the truth.

    the homoeroticism and queer subtext in this is off the charts. 

    tom cruise sucking on brad pitt's neck while flying through the air is so camp and such a perfect way to prepare you for the rest of the film - in which brad pitt proceeds to sport perfectly manicured nails and together they raise a high-functioning child who exposes the toxicity of their relationship.

    ultimately this film gets what twilight didn't...vampire films are lowkey about sex. and this one is campy and sexy as hell. loses it in the end but those early tom and brad scenes are a joy.

  • La La Land

    La La Land


    maaaaaan...we were spoiled (read: blessed) to have this and 'moonlight' released in the same year. 

    on every technical level it's an incredible achievement. i still feel there are too many montages that clog up the middle and it's too referential to truly feel fully original or groundbreaking, but those are personal nitpicks.

    i have no doubt that it'll stand the test of time and who 40 years time this ode to old hollywood may inspire another young filmmaker to craft a masterpiece.