Favorite films

  • Thief
  • The Dark Mist
  • Basara: Princess Goh
  • Night Cries

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  • Unforgettable

    ★★★★

  • Under Capricorn

    ★★★★★

  • House of Tolerance

    ★★

  • Mr. & Mrs. Smith

    ★★★½

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  • The Searchers

    The Searchers

    ★★★★★

    Like the homesteader, we await excitement. Ethan Edwards is but a blip upon the horizon in the beginning moments of the film—a black spec getting larger—as a family gathers upon their front porch to see what heads toward them. As we soon learn, Edwards is constantly grouped upon the outside of society, his contemporaries, and even his own kin. He is a recluse, a mysterious stranger, the romanticized cowboy, but proves with his actions throughout The Searchers he is a…

  • Strangers on a Train

    Strangers on a Train

    ★★★★★

    All of Hitchcock's trademarks are here; Oedipus complexes, incest, a strong central motif that ties to a greater theme, an innocent man on the run, rich elites discussing murder as an artful or comical idea, and of course, murder itself. Of the aforementioned, the rich elites discussing murder as a playful topic is one that Hitch was fascinated with but never made numerous iterations of. Out of his filmography the only true companion to this idea is 1948's Rope, where…

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  • Unforgettable

    Unforgettable

    ★★★★

    This is a tribute to Ray Liotta. RIP. Thanks to nomenclature for the rec!

    Gun shots, slick city streets, screaming sirens, the "hiss" of a camera's shutter penetrate the opening moments of Unforgettable as we are introduced to Ray Liotta's forensic scientist. John Dahl's heavily stylistic direction breathes deep blues and reds, carrying momentum with every dolly shot and flashback. I'm not surprised this came from the director of 1993's excellent neo-noir Red Rock West as it shares so many…

  • Under Capricorn

    Under Capricorn

    ★★★★★

    Viewed with the Amazing Edith’s *Collab Film Group*.

    Please read my first review of this film here.

    Notes from my second watch:

    The monologues given by the two leading women are just astounding. Margaret Leighton and her conniving words cut deep through Joseph Cotten’s estranged ex-convict while Ingrid Bergman’s stroll down memory lane is an eye-opening riff of nostalgia (and home) for Michael Wilding’s naive irishman. The symmetry of these monologues is dissected by the lone ballroom sequence as the moment of…

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  • Pig

    Pig

    ★★★★★

    Nicolas Cage #54

    We don’t get a lot of things to care about.

    Is the line that has lived rent free in my head since I watched Michael Swarnoski’s debut feature film. Pig is Nicolas Cage at his most subdued and most utterly transfixing in years, potentially his most electric showing of his career rounded out with grizzled grunts and weary glares. Robin Feld is as lived in a character as we have known in cinema and Cage makes him…

  • Thief

    Thief

    ★★★★★

    For my buddy, Rolf. Cheers dude!

    Michael Mann (at least in the 80s and up to Mohicans) has this style that strictly oozes confidence with an undeniable ear and eye for matching picture with sound, particularly music. It’s not quite like a music video. There’s negative space and patience with an underlying chaotic energy. The composition of a scene in Thief is layered with city lights and bar signs bleeding onto cars, melting into city street puddles, or twinkling in the…