• The Vast of Night

    The Vast of Night

    An impressive homage to a time when aliens in film wasn’t a genre of it’s own but a substantial instrument in well done horror.

  • Pieces of a Woman

    Pieces of a Woman

    ★★★

    Yes, the first 30 minutes are an absolute tour the force and should be dissected, examined and analyzed over and over again; however, the following 10-15 minutes was when the film had me the most captivated. The haunting imagery of Vanessa Kirby’s character, showing an eeriness on the surface but letting the audience see beyond that by subtle yet eloquent looks, is where her performance starts to show its power.

  • Yes, God, Yes

    Yes, God, Yes

    ★★★½

    Similarly to Shithouse, the film has a very honest and sensitive portrayal of very relatable experiences; so relatable in fact that when the more cinematic moments are presented, they stand out more than one would like. In both, the verisimilitude can be put to question, however, that does not take subtract from the message that I imagine I would have liked to have taken away from the actual experience rather than from their cinematic reincarnations.

  • Shiva Baby

    Shiva Baby

    ★★★★½

    This brought back so much anxiety that I hadn’t experienced for a while due to the pandemic, truly terrifying stuff.

  • Shithouse

    Shithouse

    ★★★★

    Shithouse could easily be mistaken for your typical college rom-com due to the recurrent cliches and almost dream-like narrative, if it wasn’t for Cooper Raiff’s confident direction and emotionally truthful screenplay. 

    His sense of pace is outstanding as he has complete trust in the viewer when moving forward with a scene or taking his time with the more dramatically dense pieces. Once he gets the audience to the comfort zone that’s when he really gets going. He takes you to…

  • Never Rarely Sometimes Always

    Never Rarely Sometimes Always

    Less than 24 hours ago abortion was legalized in my country, so I don’t think there was a more perfect time for me to finally watch this.

  • The Devil's Advocate

    The Devil's Advocate

    ★★★

    The “last shot-banger credits’ song” combo is definitely an all-timer.

  • Freeway

    Freeway

    ★★★½

    Freeway blatantly invokes Pulp Fiction in order to twist the Little Red Riding Hood fairy tale into a dark but immensely entertaining reimagination. 

    Although, it is not a perfect borrowing of Tarantino’s second directorial effort. Despite having some social commentary and themes that are more clearly spelled out, it does not have the courage to go to the lengths that Quentin did when it comes to the visual representation of such. Still, it has some daring scenes but it relies…

  • Wonder Woman 1984

    Wonder Woman 1984

    ★★

    I wish for the DCEU to be rebooted

  • Soul

    Soul

    ★★★½

    Pixar please cool it down with the pure concept films, some of us want a story in there too.

  • Remember the Night

    Remember the Night

    ★★★½

    “Well I-... I’m not exactly ugly...”

    Talk about an understatement...

  • High Fidelity

    High Fidelity

    ★★★★

    This and Scott Pilgrim vs. the World form the perfect “Personally (not so personally) attack every straight, white, young adult male” double feature.