- Tuesday, After Christmas (11, B+): Adroitly crafts points of view for all three of its protagonists, all without making itself predictable. – Aug. 1
- The poignant, telepathic emoting in such stillness is the richest thing Romanian cinema has given us.
- After the Storm (U.S. 17, A): So delicate sculpting a web of family members while focusing on the foibles of one, and of the future. Stellar cast – Aug 3
- Hounds of Love (17, B-): A bold gamble in so many storytelling respects, but too technically besotted with itself. Couple shaky. Cummings! – Aug. 3 (review)
- Singin’ in the Rain (52, A+): N/A but fuck you guys it’s perfect – Aug. 3
- Landline (17, C-): Such genuinely messy lives and characters. Mature, with few answers, fewer decisions that feel right, or permanent. Okay yikes I can’t support my original tweets anymore but I originally gave it an A- and I was wrong. – Aug. 4
- Wakefield (17, D-): Profundity over nastiness feels misguided if we don’t leave his head. Cranston needed more Higginsian bite either way.
- Their Finest (17, B): Saggy middle can’t beat a charming start and poignant finish. Gets closer to Hidden Figures for white ladies than I expected. – Aug. 6
- All These Sleepless Nights (17, C-): Soundscape impresses but there’s only so much going on in this docudrama, blurry as the line is. – Aug. 6
- 20th Century Women (16, A): N/A, but you know I love it – Aug. 8
- Detroit (17, C-): Never feels like it has a grasp on what it’s saying, just gets closer and farther from it. So many strange, awful choices. – Aug. 11
- Personal Shopper (17, B): Second run-through shows a lot more than I saw the first time, in tone and texture. Stewart’s so fucking great man (review)
- Death Becomes Her (92, B): Feat of makeup, style, and stylization, with top notch actressing and a fun script. Willis the only weak point. – Aug. 14
- i don’t feel at home in this world anymore (17, B): Durably strange and funny, somehow just as valuable the second time around. So, so fun. – Aug. 14
- Atomic Blonde (17, B+): Stylish as fuck, with its own morality and charisma to burn. A bop, a banger, and a jam, as the kids say. Holy fuck. – Aug. 14
- The boyfriend was talking about Sofia Boutella in Atomic Blonde and called her Salma Hayek so now I have to tell you all about it hi babe!!!
- The Dinner (17, C): Flabby and weirdly lensed, but dissection of so many vicious white neuroses, illnesses, and delusions is admirable.
- I Killed My Mother (U.S. 13, B+): First-timer energy, potency, mess, all in service of ever-thornier portraits of mother & son, together & apart.
- Raising Bertie (17, A-): Indelible multi-year portrait of a slice of America whose voices deserve way more attention than they’ve gotten. – Aug. 16
- The Lost City of Z (17, B+/A-): Time is always moving, as are we, molding new ambitions to fit old ones and the world to fit us. – Aug. 16
- Logan Lucky (17, B-): Easy to see what to cut, but displays real charm and ingenuity even without Ocean’s ancestry. Craig top of the cast. – Aug. 17
- Starless Dreams (17, A-): Makes the bleakness of these girl’s stories more powerful in refusing total misery, with bright and dark spots. – Aug. 17 (review)
- Annabelle: Creation (17, D-): My boyfriend really liked it and that’s not just what counts, it’s the only thing it has going for it. – Aug. 20
- Logan (17, B-): Gambits I admired on first view pass less interesting, but I still appreciate that they were taken. Cast all it has. – Aug. 20 (review)
- Bound (96, A): This slick, deliciously plotted and styled lesbian/mob caper is built like a clock, endlessly charismatic, and so much fun. – Aug. 21
- Alice Adams (35, B+): Stevens pulls over something heartsore and luminous about a family I might not have liked if not for him and Hepburn. – Aug 21
- Like holy fuck Katharine Hepburn is so lovely and astonishing and sincere in this. It feels so miraculous to watch her.
- Shadow of a Doubt (43, A): I am so, so happy that this was the first film I get to watch to kick off the new semester. Hell fucking yes. – Aug. 22
- Suspiria (77, B+): N/A – Aug. 24
- Possession (U.S. 83, B): Passionately bonkers, greatly enabled by go-for-broke crew. Aced Suspiria class of getting the most out of the most. – Aug. 25
- Whose Streets? (17, A): As vital, potent, and full of strength as a beating heart, pulsing through a community, a movement, and its people. – Aug. 25
- Go. Go see this. Make this the biggest film of the year. Make it happen.
- The Lovers (17, B-): Adept cast gets on a pretty sweet groove after half an hour. Weird end. Interesting notes could exist on sharper plane. – Aug 27
- The Untamed (17, C-): Picturesque take on the violent fallout of pimping out the Possession beast should have more going on than this does. – Aug. 27
- Good Time (17, A-): So richly elevated and utterly hypnotic with its desperate, shortsighted short cons via sound, style, camera, Pattinson. – Aug. 27
- Die Hard (88, A-): So compellingly crafted it’d be more surprising if there weren’t nine million imitators and knock-offs running around. – Aug. 28
- The Talented Mr. Ripley (99, A-): Artfully made, has its own spin on Highsmith without sycophant loyalty or delusion. Feels like a diamond. – Aug. 28
- Philip Seymour Hoffman in Ripley looks like if Tintin grew up into a gay frat douchebag and it’s astounding
- The Salesman (U.S. 17, A-): N/A – Aug. 29
- Nanook of the North (22, D?): So romanticizing, exoticizing, and baldly manipulative I’m not surprised it’s staged. Tough watch in all ways. – Aug. 31
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