YOU KNOW WHAT TO DO, TURN THAT SHIT UP
YOU KNOW WHAT TO DO, TURN THAT SHIT UP
As much as I may feel this is a 3-lead movie, Christina’s nuanced placement among her sisters lends itself to a specific deferential dynamic that kind of blew me away. Every scene with Lizzy as a sweaty sister trying to hold shit together was such a treat.
As much as I may feel this is a 3-lead movie, Christina’s nuanced placement among her sisters lends itself to a specific deferential dynamic that kind of blew me away. Every scene with Lizzy as a sweaty sister trying to hold shit together was such a treat.
Like many others, I loved Reinsve in WORST PERSON and have been eager to see what she does next. Reinsve is keyed into DIFFERENT MAN's particular tenor perfectly - of all the film's amazing performances, hers was the one I most found myself being won over by.
Like many others, I loved Reinsve in WORST PERSON and have been eager to see what she does next. Reinsve is keyed into DIFFERENT MAN's particular tenor perfectly - of all the film's amazing performances, hers was the one I most found myself being won over by.
Maclin in SING SING is genuine movie star shit - I caught this movie at MSPIFF last spring and Maclin's performance hasn't left me since. He offers just the right mix of pluck and edge, without which I'm not sure SING SING works nearly as well as it does.
Maclin in SING SING is genuine movie star shit - I caught this movie at MSPIFF last spring and Maclin's performance hasn't left me since. He offers just the right mix of pluck and edge, without which I'm not sure SING SING works nearly as well as it does.
While I'm still not 100% sold on the film's trajectory, I cannot deny the sheer thrill I felt upon meeting Pill's character in TRAP. It's a perfect leveraging of someone like Pill, who can show up and offer an earnest explosion of exactly what's needed, as she does here.
While I'm still not 100% sold on the film's trajectory, I cannot deny the sheer thrill I felt upon meeting Pill's character in TRAP. It's a perfect leveraging of someone like Pill, who can show up and offer an earnest explosion of exactly what's needed, as she does here.
THE END was a late cut for my film picks but it checks loads of my boxes, including big swings across the entire cast. I loved Shannon's juggling of the "Father" character's absolutely bonkers layers - easily my fave performance from someone who follows me on insta.
THE END was a late cut for my film picks but it checks loads of my boxes, including big swings across the entire cast. I loved Shannon's juggling of the "Father" character's absolutely bonkers layers - easily my fave performance from someone who follows me on insta.
I cannot imagine loving HIS THREE DAUGHTERS as much as I do without the presence of Sanders; I treasure his splash of emotional bulldozer magic (idk how else to characterize it). What a banger performance. THE DAY AFTER TOMORROW alumni stay winning!
I cannot imagine loving HIS THREE DAUGHTERS as much as I do without the presence of Sanders; I treasure his splash of emotional bulldozer magic (idk how else to characterize it). What a banger performance. THE DAY AFTER TOMORROW alumni stay winning!
I adore that Amelio is seemingly now in Linklater's Stable of Guys. He can play a variety of weirdos - from harrowing to harmless - to perfection and the deployment of his naturally offbeat manner (opposite another Linklater Guy!) is a joy to behold. We need more of him!
I adore that Amelio is seemingly now in Linklater's Stable of Guys. He can play a variety of weirdos - from harrowing to harmless - to perfection and the deployment of his naturally offbeat manner (opposite another Linklater Guy!) is a joy to behold. We need more of him!
This movie doesn't quite work but Saldaña is hard to write off. She's really bringing it here, most (if not all) of the best & most successfully showstopping moments are hers. If nothing else this made me hopeful for more Saldaña projects not tethered to a franchise!
This movie doesn't quite work but Saldaña is hard to write off. She's really bringing it here, most (if not all) of the best & most successfully showstopping moments are hers. If nothing else this made me hopeful for more Saldaña projects not tethered to a franchise!
Of the daughters, Rostami stood out for me as the one who cast the first stone against her father. SACRED FIG is a heater about Iran's political climate (many of the film's cast/crew had to flee the country) and Rostami is at the heart of it all.
Of the daughters, Rostami stood out for me as the one who cast the first stone against her father. SACRED FIG is a heater about Iran's political climate (many of the film's cast/crew had to flee the country) and Rostami is at the heart of it all.
Knew nothing of this story and needed some time to clock the stunt casting of Mr. Jackson, but he elevates what could otherwise merely be a smaller restrained role. He carries so much with a single glance and you feel him no matter his placement in a scene.
Knew nothing of this story and needed some time to clock the stunt casting of Mr. Jackson, but he elevates what could otherwise merely be a smaller restrained role. He carries so much with a single glance and you feel him no matter his placement in a scene.
An egregious example of me stumpin' for My Guys but I found great joy in how Nivola is deployed in THE BRUTALIST, wielding the right amount of slime in a man eager to show how polished he is. I love to see him and thankfully he's popped up a ton for me lately.
An egregious example of me stumpin' for My Guys but I found great joy in how Nivola is deployed in THE BRUTALIST, wielding the right amount of slime in a man eager to show how polished he is. I love to see him and thankfully he's popped up a ton for me lately.
I cherish every chance that I get to see Hamish Linklater in something - he appears here as a character that unequivocally scares the shit out of me for three scenes. For all that NICKEL BOYS has going for it, Linklater brings a little sauce that goes a long way.
I cherish every chance that I get to see Hamish Linklater in something - he appears here as a character that unequivocally scares the shit out of me for three scenes. For all that NICKEL BOYS has going for it, Linklater brings a little sauce that goes a long way.
I've found it optimal to check into a Kurosawa Klinic with as little context as possible so while I'll say very little, I want to highlight Daiken Okudaira as an instrumental piece of a world that feels distinctly Kurosawa - such a great and fun performance.
I've found it optimal to check into a Kurosawa Klinic with as little context as possible so while I'll say very little, I want to highlight Daiken Okudaira as an instrumental piece of a world that feels distinctly Kurosawa - such a great and fun performance.
A somber anchor for NICKEL BOYS who I appreciate even more when looking back on this film. Of all the electric individuals housed within this movie's ecosystem, I maybe most often found myself anxiously awaiting the next move of Ellis-Taylor's Hattie.
A somber anchor for NICKEL BOYS who I appreciate even more when looking back on this film. Of all the electric individuals housed within this movie's ecosystem, I maybe most often found myself anxiously awaiting the next move of Ellis-Taylor's Hattie.
An x-factor for a movie like NICKEL BOYS is how well a mesmerizing screen presence can maintain engagement amid harrowing beats. Wilson really nails that here - such an enchanting relationship with the camera in a film built upon your relationship with the camera.
An x-factor for a movie like NICKEL BOYS is how well a mesmerizing screen presence can maintain engagement amid harrowing beats. Wilson really nails that here - such an enchanting relationship with the camera in a film built upon your relationship with the camera.