• Cléo from 5 to 7

    Cléo from 5 to 7


    Agnes Varda shot Paris the way it was, is, always has been -- like a horror mansion filled with the macabre, bizarre people and bad omens. It's kind of hilarious because Cleo jumping and flinching at every little stuff reminded me of that one homosexual Kath and Kim skit, you know the one with the Lebanese restaurant. In all seriousness this has one of the sickest openings I have ever seen, a very fitting and intriguing introduction to a film that is short and sweet.

  • The Face of Another

    The Face of Another


    I love the surreal elements in this to bits: door opening to hair, cow's corpse by the window, the floating vitruvian man on an invisible board, all superimposed upon reality forming a single contrived mass that is cold, dense and impenetrable. How the off putting set design, wardrobe, blocking, music, and a handful of other details pile on each other to allow the real and unreal to coalesce seamlessly is pure magic. Didn't know that was tatsuya nakadai until after the film, the man is simply incredible.

  • A Grin Without a Cat

    A Grin Without a Cat


    In extreme cases, someone has the power to decide which side of the street you can walk on, and if you pick the wrong side, they'll kick you back into line. So the thing that prevents you from crossing the street is the state, but if you do cross it, and you force the thing to step back, its the state that steps back.

    Marker made one of the best opening montage in history paralleling Battleship Potemkin with revolutions happening…

  • Everything Everywhere All at Once

    Everything Everywhere All at Once


    I cried because I kept imagining what if someone in the future who has never watched or heard of ratatouille somehow found this film first. I also cried when the rock said to another rock "I'm gonna get you!" it was such a small line in such a bizarre scene but it happened as the music soared and I am so, so weak to this shit. There's a strong "we are all just sacks of meat on a floating rock"…

  • Level Five

    Level Five



    It's like trying to sit down and talk about the battle of okinawa but the conversation keeps veering off. After a mere 30 minutes we've covered strategy, consequence, collective amnesia, mass suicides, grief, music, programming, commercials, nostalgia, and poetry. Sometimes, it feels like talking to an advanced AI, but Laura (played by Catherine Belkhodja), staring intimately at the camera whenever she speaks, reassures us we are not. I've watched Level 5 start to end…

  • Radiance



    Man builds a sand sculpture, it disintegrates. Girl chases after the setting sun, she knows she will fail. Man captures his last photo, it's out of focus. Film shot entirely during golden hour? The mood is impeccable. It's so bright at times though, the camera really doesn't shy away from the sunlight. Overall it kind of felt rushed (especially concerning the relationship between the two leads), I needed it to be three hours long.

  • Last Night in Soho

    Last Night in Soho


    Some cool camera/mirror tricks here and there but the only horror element in the film that actually worked was Edgar Wright using Matt Smith as a jump scare, empty film overall, put this off for so long because I didn't want to confirm that it's just as bad as everyone claims it to be, well, well well well

  • CODA



    This is a movie made in 2021, there were actors reading lines from a script in front of a camera, they were directed by a director, the script was written by a script writer, and the camera was handled by a camera handler. One of the most best picture winners of all time. Moving on.

  • The Battle of Algiers

    The Battle of Algiers


    The casbah not as mere battleground but as a central character leading the revolution, the dense weave of labyrinthine alleys and stairways makes the city seem like an impenetrable wall, and the sheer verticality of the place allows algerians to tower over the french army, when a woman chants, the entire city echoes. Pontecorvo's sharp camera placement here really highlighted the beauty of algerian architecture. This is a film filled with vigour, power, ambition, made to document, inspire and overwhelm. The film can be both exhausting and exhilarating to sit through, but I feel as if I'm coming out of this emotional journey a different man.

  • The Batman

    The Batman


    See You In Hell

    Here we have robert pattinson brooding in various locations. He's standing in the rain, he's standing in the crowd and he's thinking, "I'm the coolest person in this crime scene." Sometimes, he's thinking hard about the riddler's silly little riddles, "what's blue and not heavy?" hmmm, and he's observing his surroundings, he's so aware, he's observing his surroundings so hard, fingerprints, bootprints, dead body, all the while still brooding, thinking blue, blue, water, sky, jeans, fuck,…

  • Drive My Car

    Drive My Car


    The tenderness of simple, intimate gestures such as handing someone a cigarette or extending an arm to lift someone up are made so especially startling here. In one of the most memorable scenes Masaki Okada spoke to the camera in such heart-aching intensity it's almost impossible not to shed tears at his confession, I love these bizarre little short stories that Murakami inserts into his texts, they are always my favorite part to read in his books. It is indeed…

  • Escape from Mogadishu

    Escape from Mogadishu


    Movie doesn't know how to properly depict anyone who is not korean (north or south) as anything other than someone who shoots or someone who's purpose is to be shot at but it does know how to craft a perfect escape sequence, and the movie is 60% escape sequence, we were so close to greatness, the adrenaline rush is impeccable.