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  • They Shoot Horses, Don't They?

    They Shoot Horses, Don't They?

    ★★★★½

    Entertainment for wealthy citizens extracted from the desperation and misery of the lower class, singing and dancing and sweating and dying for dirty pennies tossed on the floor. An unexpectedly brutal viewing experience.

    more thoughts in my piece for Blood Knife

  • I Married a Strange Person!

    I Married a Strange Person!

    ★★★★

    Legitimizes the demented, hyper-sexual spasms of a gleefully sick mind by giving the main character powers of imagination that provide in-world justification for each and every absurd and inventive animation witnessed within — in particular the satirizing of a multinational media corporation that manufactures birdbrain-level entertainment for the masses and is so powerful it deserves its own branch of the military

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  • Dangerous Game

    Dangerous Game

    The "film-within-a-film" segments of Madonna and Russo's violent romantic relationship are compelling, lasting long enough to muddy the waters between artifice and the more acknowledged form of artifice to be found in any work of fiction — the two halves engage in a dance, obscuring meaning and intention and when a given scene has gone too far, like a precursor to Clouds of Sils Maria. Keitel is a stellar stand-in for Ferrara, a director's director. I'm a sucker for this exact flavor of movie, and Dangerous Game more than delivers.

  • Mangrove

    Mangrove

    McQueen’s visual language is put to good use here: clean presentation of opinion through locked-off, wide-angle close-ups as members of the Black Panther Party fight back verbally against the British Crown, catching the latter powers-that-be in linguistic traps to reveal the unethical tactics of the Notting Hill Police Department. Although some of the speech-making is a little too historically-minded to feel realistic, the pathos is strong, electrifying a slew of fantastic feats of performance within unbroken, multi-minute takes that allow…

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