RSS feed for Bill
  • 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 better as a filmmaker but still shines with a penchant for capturing and conjuring moment after moment, discomforts…

  • A Night at the Garden

    A Night at the Garden

    ★★★★★

    Tears developed in my eyes as history broke down into all too familiar pieces. Aghast and helpless under this weight, I feel.

  • Relaxer

    Relaxer

    ★★★★★

    Is it really a sibling rivalry if one has already accepted defeat?

    It's another character study from Joel Potrykus, this time of the man-baby variety. So pathetic, our "hero" is, living for a game glitch scam that amounts to nothing - and yet, amounts to everything. He looks like Buster Keaton, but his slapstick routine is one of body horror and grotesqueness. So many gags out of such a specific and small setting. Absolutely endearing, absolutely hilarious, absolutely disgusting, and absolutely a whiff of now by way of then.

    Decades have passed since Y2K hysteria, but we'll always have the couch.

  • Climax

    Climax

    ★★★★★

    And you thought Jodorowsky's FANDO Y LIS was a freakout...

    An acid zombie or cannibal movie, made of long single takes and hypnotic dances ranging from joy to pleasure to horror to beauty. A descent into hell or madness - take your pick. Youth in revolt against one another and against themselves, caring only for sex and death, which are the very two elements of life that make living interesting and dramatic. Ecstatic Greenaway dressed in thumping bass and hot bods doing bad.

    OMG.

  • Captain Marvel

    Captain Marvel

    ★★★★

    It's GREEN LANTERN done right. It's WONDER WOMAN at an angle. It... stands up on its own beyond these simple comparisons. Where I worried about overt 90's references, I was surprised and delighted by the weaponization of era-related cultural aspects to express Carol Danvers regaining her strength and independence. She goes from mystery to full-blown Infinity Stone embodiment over the course of self-discovery. Perhaps too fluffy for some, perhaps too girl-power for man-babies, but I was left heightened, cheering around her victory - not of blowing up spaceships, but of finding confident individuality without beating us all up about it.

    Fun. It's just plain fun.

  • 1999

    1999

    ★★★★★

    A docu-collage-glitch artifact that reflects upon the visual nature and rapturously tortuous feeling of human memory and pain. It finds its way to a satisfying reconciliation to potential stability for individuals and a community alike as they spent the previous runtime visiting the ghosts of their high school years, not to mention questions on existence and survivors remorse. Reminds me of works by Jodie Mack and David Lynch, but this is most assuredly the vision of a filmmaker and her editor and her friends and family. Stunning.

  • The Bad and the Beautiful

    The Bad and the Beautiful

    ★★★

    I'm pretty obsessed with this film, despite souring a bit on how it pats itself on the back often. It's critical of Hollywood, but only by way of showing how it was/is. The machismo. The toxicity. The sheer balls to treat people the way they do. And the self-importance of an industry that makes dreams but is very much an exploitative business. Kirk is great, Lana is great, Pidgeon is fun, Powell is fire.

  • An American in Paris

    An American in Paris

    ★★★½

    Gorgeous and brimming with all things happy, though some melancholy or even reflective joy would've been preferred over "that" conclusion in the last few seconds. After all of the love entanglements, the artist conversation, the street songs and the coffee, a wonderfully impressionistic dance number is punctuated with an unfortunate last-minute change in tempo. Maybe our American was "rewarded" for his faith in Paris, or maybe the final moment was but a dream. Maybe so is that city. Maybe so is romance. Or maybe...

    My prudishness or my philistine-isms may be holding back my understanding. Will investigate.

  • Donnybrook

    Donnybrook

    ★★★★

    Sutton's America is a purgatory of violence, plagued by death and aggression. The dream is a nightmare, and everyone would rather sleep than be awake. Grillo is icy and frightening and despicable, but also an encouraged product of the impoverished landscape of this country. Main Street USA is broken up and pot-hole filled now. Might as well bulldoze for AirBnBs and move in yuppies and hipsters. Well, the white ones, anyway. For everyone else, get off welfare, get behind the barbed wire, and get punching each other.

  • The Other Side of the Wind

    The Other Side of the Wind

    ★★★★

    Re-Watch:

    Cinema for cinephiles. Everyone/anyone else will be left out of the loop. The meta nature is off the charts, with so many whip-smart, blink and you'll miss references in the form of character, style, writing, and placement. A grand experiment that works for sure, but for who? Orson? Probably just him, and that's ok. A colossal achievement, decades in the making, that exists past legacy and even time - whatever that means. Meaning. Some moments have it, others don't.…

  • Cornholios

    Cornholios

    ★★★½

    Amusing. Cute.

    The millennial man-child nostalgia might not be a result of media obsession but rather dreams unfulfilled. Life with no real promise.

    A one gag skit, for sure, but "I moved to New York to be a cornholio" kills me, both comically and heartbreakingly.

    Could stand for more exploration, actually.

  • They'll Love Me When I'm Dead

    They'll Love Me When I'm Dead

    ★★★★★

    Turns out, in the year that featured the completion of Orson Welles' final film, the documentary about its making and the turmoil around it would be the main course to its supplement. Both are great (don't get me wrong), but I think this is tops for not just chronicling the exercise of Welles' race to the finish line, but also in realizing the prophecy promised by the style he was pushing for. To go further. There's still control and command, but also many "happy accidents" in juxtaposition and contrast. In drawing the line. In the editing.

    It's all in the editing.