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  • High Life

    High Life

    ★★½

    I must've missed a few dots that needed connecting. Right?

    Deep space experimentation working as a microcosm for Earth and humanity at large is a fun ride that spurts with vivid and deeply enshrined frames that turn into shots that turn into sequence out of sequence and back into itself. Fluids and expressions of sexual acts are uncomfortable and void of reciprocal pleasure (as they should be in the context presented) but it's overdone and overkilled. Could this be the…

  • Her Smell

    Her Smell

    ★★★½

    Moss projects such brutality, such anxiety, such fear, and such wishful thinking here as a punk rock goddess played like a light sucking black hole. I'm reminded of THE WRESTLER as it relates to the photography and treatment of/with the settings, making us feel too intimate and awfully fly on the wall/painful observer to the transgressions that go on. Perry has been more interesting as a filmmaker but still shines with a penchant for capturing and conjuring moment after moment,…

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  • 9/11

    9/11

    Utterly deplorable. Horrid melodrama with a time and setting used only for dramatic exploitation. Nothing new is revealed or anything found within us, just people weeping, bickering, coughing and yelling like Nolan's Batman. When you use green screen, cgi smoke and desaturated lighting to indicate fiery conditions, you're telling me how cheap and uncreative you are. Rushed through to ... make a buck? To capitalize on ... that sweet 9/11 nostalgia we all share? Why was this movie made? It…

  • It Comes at Night

    It Comes at Night

    ★★★★★

    A devastating production that's less scary but more tragic than you'd think. It holds back on exposition and meaning, leaving the images and action to speak for themselves. At twenty-four paintings a second, never wasting a sequence, the film is like a Cormac McCarthy cover song if performed by David Lynch. That's a dangerous pairing.

    Go in knowing nothing, come out feeling everything.