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  • No Way Out

    No Way Out


    I know his career wasn’t established yet— and that Hollywood billing order isn’t an indication of amount of screen time— but Sidney Poitier deserved top billing for this role. He commands the screen more than any other actor, and the intensity he exhibits is unmatched. No Way Out is anxiety-inducing, the subject matter entirely infuriating, and the film overall a really worthy landmark in Hollywood history, despite some muddled aspects that can only be attributed to a white writer/director. Still definitely worth checking out!


  • Penny Serenade

    Penny Serenade


    I’ve been in a weird mood this past week— anxious, melancholic, not quite like myself. Whenever feelings like this start biting away, I always look toward Old Hollywood films to make me feel more like me again, even if it's just temporary. A Cary Grant and Irene Dunne melodrama from 80 years ago can certainly work wonders.


Popular reviews

  • Her



    One thing I didn’t pay much attention to through all my rewatches in the past 4 years is how this film opens and closes with Theodore’s letters. The first one being an impersonal, distant version of him, a letter disguised as a form of intimacy and connection— but it’s all fake. We grow even more apart in this world despite its crowds of people and vast cityscapes, and the longing for something real is so overwhelming. Theodore embodies this longing so deeply, but, by his last letter, the beautiful words he writes ring true because he’s lived them.

    Spike Jonze, please pay for my therapy bills.

  • Captain Marvel

    Captain Marvel

    “Don’t make me do it.”

    It’s kind of hilarious that the dudebros’ chief complaint about this film—beyond, you know, the overall sexist comments— for months and months cited Brie Larson’s supposed “emotionless and wooden" acting, when, in fact:

    1) The film directly addresses how much of Carol’s life is dictated by people trying to regulate her emotions.

    2) Brie Larson can deliver so much dismissiveness, humor, and dominance in one single "okay" than most actors are capable of in entire feature-length performances.