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  • Strangers on a Train

    Strangers on a Train

    ★★★★½

    The writing in Strangers on a Train is impeccably good. Shoutouts to Pat Hitchcock. Lots of genuinely great humor intermixed with well-built suspense and increasing stakes. Totally elevates a seemingly routine game of tennis. Superb use of foreshadowing and recurring motifs. Crisscross this, crisscross that. Top-notch performances. Before there was Norman Bates, there was Bruno Anthony. Instantly catapulted up there to be one of my favorites in Hitchcock’s filmography.

  • Macbeth

    Macbeth

    ★★★

    Ah, good ol MacChef.

  • Random Harvest

    Random Harvest

    ★★★★½

    "It's pretty, and it's sad! I think we should watch it." — Ava Clouden, 2019

  • Beautiful Boy

    Beautiful Boy

    ★★½

    While Beautiful Boy certainly does bring a very important social issue to the mainstream conciousness, it really isn't Oscar-worthy in any aspect and the final message that it delivers is arguably damaging, dubious at best.

    Check out Kassandra's review for how the addiction topic isn't quite tactfully handled in the last act of the film. I am thankful to have stuck around after for a Q&A with the real David and Nic Sheff, who brought up the key takeaways, and…

  • Home Again

    Home Again

    ★★

    Oh wow, Nat Wolff is still around. 😲

  • Reality

    Reality

    ★★★★

    I wanna be Quentin Dupieux when I grow up. 
    “Kubrick, my ass.”

  • Gentlemen Broncos

    Gentlemen Broncos

    ★★★★

    If you liked the concept of a “liger” as seen in Napoleon Dynamite and you wish there was a feature film full of that aesthetic, you’ve come to the right place.

  • Raiders of the Lost Ark

    Raiders of the Lost Ark

    ★★★★½

    Actually not quite as good as I remember it; Raiders of the Lost Ark has those classic Spielberg moments here and there, but they feel shorter than memory serves. On the whole, I’d chalk this up as having more in common with some of the better Bond films. Beautiful sets and cinematography and visual effects (for its time), but what holds this a bit back for me is, ironically, Indiana Jones himself. I think, without the trilogy that follows which him some further backstory, he’s not quite the most interesting protagonist. Still, there’s no denying the visual iconic nature of this movie.

  • A Cure for Wellness

    A Cure for Wellness

    ★★½

    Calling Gore Verbinski a "visionary director" is certainly a stretch of imagination, but Verbinski certainly has a way of imbuing some form of fantasy and whimsicality into all of his works. For me, it's no surprise that his most recent film, A Cure For Wellness, falls a bit flat in terms of really hitting the mark of being a true 'psychological horror' film. Undeniably, this is a visually-stunning work, but the abundance of style adds up to an overall shallow…

  • Border

    Border

    ★★★★

    Very very very deserving of the Prix Un Certain Regard award from Cannes.

  • Mustang

    Mustang

    ★★★½

    David Ehrlich was right on the money with this one: Mustang really plays out like the Turkish Virgin Suicides, with “Turkish” being the operative word.

  • Destination Wedding

    Destination Wedding

    ★★★

    If you ever wanted to see what it’d be like if Before Sunset was cheekily remade with Keanu Reeves (essentially John Wick) trying to win over Winona Ryder, this is definitely for you. The dialogue is quite a bit overwritten and awkward, but I found it lovable. Keanu’s character had me laughing every other line.

    Please consider this my formal request for a trilogy of Keanu Reeves & Winona Ryder romcoms.