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  • The Blood of a Poet

    The Blood of a Poet

    ★★★★

    Kicks off the trilogy in style, with many nods to Un Chien Andalou and impressive experiments in special effects that only got wilder as Cocteau kept making movies. But it peters out a bit by the end.

  • Burn After Reading

    Burn After Reading

    ★★★★

    The camera is a sadistic menace, taunting and teasing the characters to no end. Low-angle views of them at their worst moments exacerbate the idiocy that defines them (e.g., while Malkovich tries to poor booze from the shot glass back into the bottle or while Manolo repeatedly states where he found the CD). This is never more the case than with Clooney, whose paranoia that he's being followed is sort of justified, less by those actually following him and more…

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  • It Comes at Night

    It Comes at Night

    ★★½

    I came out of it thinking it was like watching part of a movie, lacking a beginning and an end. (Sheesh, even Godard might bristle at the prospect.) Now I think that's not quite right, like, it has a beginning and an end but they're underdeveloped...and so is the middle. Haven't been much of a horror guy, but lately am more interested in how tools like sound are used sooooo manipulatively (not saying this is a bad thing) to elicit…

  • Baby Driver

    Baby Driver

    ★★★½

    A long-form classical Hollywood-style music video that highlights the way that Hollywood sound conventions ultimately annihilate the diegetic/non-diegetic distinction by way of viewer engagement without actually identifying us with the central character in a substantive way, rather only as a means toward an affective end, which is actually pretty much okay with me. But, as with others, I found myself regularly imagining a different actor (usually not male) occupying the protagonist's role.