Kern

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♥ : Love

Favorites: Recently loved films.

Favorite films

  • Enys Men
  • Evangelion: 3.0+1.0 Thrice Upon a Time
  • Paper Moon
  • Walden

Recent activity

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  • Glengarry Glen Ross

    ★★★★½

  • Mouchette

    ★★★

  • The Dark and the Wicked

    ★★½

  • Sharp Stick

    ★★★

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  • Babylon

    Babylon

    ★★★½

    Kinda incredible this works as well as it does. The madcap energy alone would have kept me on board for the 3+ hour runtime, but underneath the zaniness, there's a genuine sincerity that the film earns through its vibrant characters and their interconnected stories. Chazelle is in a completely different mode here—loose and manic—and though I think it's being oversold as vulgar or provocative, its ambition is undeniable. Might have outright loved this if the finale worked for me; it's…

  • The Banshees of Inisherin

    The Banshees of Inisherin

    ★★★★

    McDonagh reunites the leads from In Bruges for his best film yet. The writing in this is just incredible—it's thematically rich, emotionally potent, and frequently hilarious but never at the expense of the dramatic weight at its center. I expected this to be a two-hander, but it's much more of an ensemble piece. Gleeson and Farrell are excellent, of course, but Condon and Keoghan also give strong performances as well. The setting and characters feel lived-in and organic. As a Three Billboards hater, I'm delighted to have really enjoyed McDonagh's follow up.

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  • Mouchette

    Mouchette

    ★★★

    I think I've started to turn a corner on Bresson's work for whatever reason. Here, I find the naturalism he's aiming for somewhat undermined by the stagey qualities of his filmmaking. The story is undeniably harrowing story and the lead performance is strong, but there's nothing in this that wasn't already better encapsulated by Au Hasard Balthazar the year prior.

  • The Dark and the Wicked

    The Dark and the Wicked

    ★★½

    Solid direction and performances wasted on a fairly generic grief horror drama. Its bleakness is its strength, though it doesn't take it far enough to be really memorable. Some effective scenes, but overall it's too derivative to stand out from the recent deluge of somber horror films.

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  • Us

    Us

    ★★½

    Starts off strong, effectively building tension through striking cinematography and sharp editing/pacing, but once the table has been properly set, it's a gradual nosedive to the perplexing finale. The acting is undeniably committed and the child actors are pitch-perfect, but the exaggerated, go-for-broke lead performances teeter into overkill and would have been more effective if reined in a bit. Also, the frequent attempts at humor, though sometimes successful, completely undercut the unnerving tone. It felt like Peele wasn't confident in…

  • The Dead Don't Die

    The Dead Don't Die

    ★½

    Jarmusch's work occasionally falls flat for me but with The Dead Don’t Die, he goes beyond anti-comedy and anti-horror, essentially creating an anti-film so lazy and uninspired—the cop car's number is “001”—it’s as if complete apathy is his entire approach. Some may be charmed by the lack of style, substance, character development, purpose, and, well, anything to really latch onto, but to me, Jarmusch's refusal to commit to anything is maddening. The social commentary is so thin, it almost feels…