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  • High Life

    High Life


    Like Trouble Every Day, this sees the human body as a sack of fluids and grotesque urges, but here, Denis at least has hope that the fruits of these disgusting bodies might be worth it.

  • Under the Silver Lake

    Under the Silver Lake


    David says "Withdrawing in disgust is not the same as apathy."

  • Public Enemies

    Public Enemies


    Despite the absolute insanity of the digital look (which, it should be said, is the best thing about this movie), this is Mann at his most strait-laced and least romantic, which also makes this the least interesting Mann for me (it's also the one Mann that starts to feel its length at times). But still, Mann's eye ensures that it's never boring, it's got a few superlative action sequences, and the build-up to the ending is pretty superb. I also…

  • Almost Famous

    Almost Famous


    The exact point at which Cameron Crowe both became a romantic enough filmmaker to create a world heightened enough for his dialogue, and was writing heightened language that could still conceivably exist somewhere besides his head exclusively.

  • The Matrix Reloaded

    The Matrix Reloaded


    A lot of the stuff on Zion is not interesting enough for me to fully love this (the pansexual cave rave is the grand exception), but I'm totally on-board with much of the rest, which is a 500-level philosophy class interrupted by boss-ass action sequences. God bless these Wachowskis.

  • Bound



    The inspirational true story of how two queer women stole money from cis idiots and used it to follow their passions in grand fashion.

  • The Hi-Lo Country

    The Hi-Lo Country


    I hadn't considered that an actor could look unconvincing in a cowboy hat until seeing Billy Crudup in this. Between that and clean-shaven Sam Elliott, this is maybe the closest a completely live-action film has gotten to the uncanny valley.

    A bad omen is set by the credits seeming to take a small eternity to go by, and the rest of the movie lives down to that. It reminds me of another early Crudup vehicle, Inventing the Abbotts, in that…

  • Jesus' Son

    Jesus' Son


    This was a very pleasant surprise the first time I watched it, but now I wonder if it isn't an all-time favorite. It's pretty much everything I want in a movie; a loose enough structure to allow for digressions and silliness, enough tonal freedom to go from raucous comedy to devastating sadness, aesthetics that are heightened without completely exiting the real world, and an incredible performance as the anchor. But often the movies I love like that end sadly or…

  • Miami Vice

    Miami Vice


    Spent most of this thinking that this is probably the most Michael Mann movie (which is impressive considering Heat is an hour longer and fills that hour to the brim with Mann-liness), with the flowery street-poetry, wistful stares into the distance, overwrought romance, and convincingly sloppy action pushed to 11. I then spent the last third wondering if this isn't also the best Michael Mann movie, a position I wasn't totally sold on last time. Time is luck, and a stopped ship is an apartment building.

  • Collateral



    A terrific thriller but a superlative study of modernist structures, so vast, empty, and sealed-off that they can only be occupied by the loneliest of the lonely. Connections can be made, but only with gunshots loud enough to wake God. If Paul Haggis didn't have such a stick up his ass, this could've been Crash.

  • The Beach Bum

    The Beach Bum


    Harmony Korine is keeping the spirit of Limey-era Soderbergh alive while making movies that no era of Soderbergh would be caught dead making.

  • Stardust Memories

    Stardust Memories


    "I love you. I mean, I love your work."