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  • Atomic Blonde

    Atomic Blonde

    ★★

    Tired of neon mannerism—symmetry is boring—and arbitrary synth-pop cues, much as I dig the original tunes. Marsan squeakily unspooling tape throughout the long take brawl was the only time I detected a pulse.

  • Moses and Aaron

    Moses and Aaron

    ★★★★½

    Program notes by a S-H novice, I compiled here. A frustrated first viewing last year at MoMA gave way this time to vivid comprehension (it's dense, but subtitles help) and unexpected pleasure—i.e., Hard to Be a God's got nothing on the mud in that last scene. Pleasure bundled with mystery and also pain. A double bill with Scorsese's Silence would be borderline intolerable in practice, but also likely quite enriching: both wrestle with the gap between knowledge and media, and humanity's inability, unwillingness to close it.

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  • Hot Fuzz

    Hot Fuzz

    ★★★★½

    Like a live-action Simpsons, when the show was at its peak. So fast, so smart and yet so silly, and so committed to giving life to its world, so that we may laugh later when running jokes find their way into the mystery, the gunplay, even the architecture. Every time, I'm astonished by all the information Wright packs into this thing, all to justify the stupidest plot twist of all time. That stupidity stands out against such intelligent craft and…

  • Me and Earl and the Dying Girl

    Me and Earl and the Dying Girl

    Sometimes, cinephiles are just the worst.