• Queen: Hungarian Rhapsody - Live In Budapest

    Queen: Hungarian Rhapsody - Live In Budapest


    One of the best concert documentaries I've seen. It helps that the music is some of my favorite, but the presentation here also drew me into the performance, instead of feeling like it loses energy as compared to watching live, which is what I usually get from concert documentaries.

  • Rock Haven

    Rock Haven


    Surprisingly sensitive and well handled. The actors are completely amateur, but the director's intent still shines through. It's a very knowing and honest look at the difficulties of discovering you are gay and coming out, under the duress of your family and religion telling you it's wrong. Despite the very low budget constraints, there are still some lovely landscape shots here and a nice musical score. The ending is hopeful without being overreaching or unrealistic. Good job.

  • Judy



    A horribly inept biopic, with Zellweger giving a superficial and ineffective performance. Everything she does here is SO obvious and cloying, with mannerisms that aren't inhabiting a real person but instead are only an actor being twee and trying to garner sympathy. I could not stand watching her, it was such a cheap caricature. AND THE SINGING MISSES THE MARK.

    You can not play Judy effing Garland and not be able to deliver vocally, if doing your own singing. The…

  • Motherless Brooklyn

    Motherless Brooklyn


    I loved Ed Norton here, so sensitive and unpredictable; it's a performance worth studying. The tourettes aspect was very well handled and added a dynamic layer to the proceedings. The central thrust of the film is the struggle to discover the truth, and it's ironic how the main character can't help but to blurt out his own truth when under pressure. How much better the world would be if only we all were naturally so open.

    This is an unassuming…

  • Love, Antosha

    Love, Antosha


    The absurdity and mystery of life, the need to discover, the breadth of desires within the human soul. Anton Yelchin was a fascinating, talented individual whose bizarre and unfortunate death ironically seems to mirror part of his own personality. The film connects those dots well, and it's especially very good for how it never shies away from revealing his "darker" peculiarities. He has a simple joyfulness but also a critical and philosophical mindset, he is a puppy dog but also raunchy, and he is outgoing but intrinsically vulnerable. The film is quite moving in the end, which ties this all together into a beautiful little package.

  • Queen & Slim

    Queen & Slim


    A moving twist on Thelma & Louise (NOT Bonnie & Clyde), with the perspective shifted and centralized around injustice towards black Americans. What this film does so well is show the emotional turmoil of people who feel the world falling on them, and have seemingly no choice but to run away, as the path behind them is continuously becoming hell. They literally run in this case, but it works on a metaphorical level as well, with their journey being representative of both…

  • The Ten-Year Lunch

    The Ten-Year Lunch


    Unbelievable this thing won a Best Documentary Oscar. Very thin and unimportant, and nothing notable from a filmmaking perspective either.

  • Bombshell



    The first half of Bombshell is great; funny and probing and full of sprawling energy. It seems to be weaving into an insightful portrait of discrimination and misconduct, within a setting of victims who are themselves very problematic individuals.

    Unfortunately the film does not deepen as it goes along and instead just reaches for easy platitudes, while failing to look closely enough at the women who are the subjects of the story. The end result still conveys a commendable enough…

  • A Hidden Life

    A Hidden Life


    Cumulative Impact. The end of this journey is transcendent. Yeah, the movie definitely could have been 30 minutes shorter. Yeah, Malick is still overindulgent with putting the camera directly in the actor's face or shooting from garishly low angles. These flaws are a bit less damaging because there's at least some connection to the arduous struggle of the characters here; the struggle of resistance against a society that is constantly pushing you towards evil.

    How much do our choices matter…

  • Richard Jewell

    Richard Jewell


    Kernels of truth and sympathy, but delivered in a frustratingly mediocre fashion. Eastwood is too lazy to be taking on subjects like media hysteria and the damage caused to the souls of those who are labelled as pariahs. I'm not much of an Eastwood fan, but I am a defender of The Mule from last year, so there was hope of something with more of a perspective here.

    Unfortunately, Eastwood contributes virtually nothing but the totally obvious with his visual…

  • The Mule

    The Mule


    The shot of the flowers at the end is one of the most beautiful, introspective things Eastwood has ever filmed. This performance is also one of his best ever; he commands the screen and has the effortlessness of someone who understands a character inside-out and knows they can deliver it. There's never a sense of pushing for affectation or doing mental gymnastics.

    When the film reaches its denouement, there is such a simple and direct admission of guilt, and of…

  • Unstoppable



    There is a very sexy shot of Chris Pine shirtless in bed at the start of the movie. I haven't much else to say about this Speed-wannabe.