Jordan Barbosa

Jordan Barbosa

Form // Content // Emotional Engagement 

Each rating listed is + or - a HALF STAR based on how I’m feeling at any given moment.

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  • Silent Souls

    Silent Souls

    ★★★

    A film that lives and dies on its stark simplicity. It contains the downbeat narrative tone of films like Loveless (but quirkier) and combines it with an almost matter of fact ethnographic study of a Herzog movie.

    Through it, we see these men take one of their dead wives for a traditional funeral that involves burning the body on the shores of a lake. There is not much else here but mood and craft. It’s rather empty. Still that mood…

  • 35 Shots of Rum

    35 Shots of Rum

    ★★★★

    People grow old, move on, get sick, loose touch, and gradually become discontented— from each other and from meaning in their own lives as well. Denis borrows liberally from Ozu and Late Spring (father/daughters, trains, etc) to make her own meditation on change and the modern world. She introduces each character gradually, from one to another. They’re all connected in some way. Then a retirement party is celebrated. It’s a monumental change and change is scary. From there, the characters…

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  • Pulp Fiction

    Pulp Fiction

    ★★★★★

    Watching this again after years and years convincing myself that this was in fact Tarantino’s crowning achievement was a strange experience. The first half of the film was all fine and good. It was all mostly how I remembered it. Occasional moments played out slightly differently though. Just tiny things here and there that were slightly skewed, probably due to recollecting the social memory of this film rather than the actual film itself. 

    Aside from this, the only thing I…

  • Drug War

    Drug War

    ★★★★

    Imagine a film like Hard Boiled then strip it of all moralizing, extremity, and operatic filmmaking and you get this. This is minimal action thriller filmmaking to the nth degree, like if The Driver was a drug bust movie. Walter Hill would be proud.

    It’s got threads of The Wire or 24 in its bare bones inertia as well the sparse, economic, and stylish direction of Mann or Soderbergh or Fincher. Everything shown and the way it is shown is…