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  • Arrival

    Arrival

    It’s very easy for me to discredit this film for its overtly sentimental and self-congratulatory final 15 minutes, but the whole journey up until that point is so well-constructed that even I can’t piss any acid over it.

  • The Dead Don't Die

    The Dead Don't Die

    This is basically Jarmusch throwing up his hands and saying: “Is this what everyone wants now? Is this the discourse? I don’t know anymore, man.” A very late-career kinda film. He moves exquisite corpse-style through a non-story, disposing of all the threads before they head into their conclusion. Because where can they even end up? In the end it’s a sad old man, out of touch with society, who waxes faux-poetically about the state of the world from the comfort of his woods. Jarmusch wasn’t trying to be cool here. He was admitting defeat. And I loved it.

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  • Good Time

    Good Time

    About perpetually making the worst possible choice, tangling others into a web of mistakes, and yet only seeing one’s own ill-advised outcome as the ultimate goal, showing no remorse for the fate of those who tag along.

    Good Time has the exact same qualities and pitfalls as the Safdie’s feature-length debut. Its meandering structure has something very appealing, forming the kind of short distance road movie that they do really well. Safdie’s put their character in a situation and figure…

  • The Lion King

    The Lion King

    Looks like someone deepfaked Planet Earth and threw the original soundtrack under it.