- Ingrid Goes West (17, B): You wanna make Mr. Ripley even more noxious? Swap in a palpably ill stalker. Plaza the exception of a smart cast. – Sept. 1
- Death Note (17, F): Awful as an individual property, truly heinous & offensive as an adaptation. How could this protagonist be made so bland? – Sept. 2 (review)
- You can palpably feel how much the Death Note people wanted Evan Peters and Emma Roberts for this. Also this is gross as shit.
- I’m so fucking mad
- John Dies At The End (12, B+): Who needs a budget to make something this fun and trippy? Keeps finding new ways to explore itself. – Sept. 3
- Heavenly Creatures (94, A): Mad, yes, but everyone emerges as humans with their own, sometimes terrible wants. Love is in the air, and it hurts. – Sept. 3
- That last scene, but especially that last shot of Melanie Lynskey, is gonna haunt me till I die isn’t it?
- Citizen Kane (41, A): Hyperbolic sets the perfect living spaces of a man too big and finally too small to properly fill those rooms. – Sept. – 4
- Beatriz at Dinner (17, B+): What else would the death of the world inspire but it’s own righteous anger? Why is that always scarier? – Sept. 4
- Raising Bertie (17, A-): No tweet, but please rent it on iTunes. – Sept. 6
- Modern Times (36, A+): Also no tweet, and streaming on Criterion so. Find it and savor it if you can. – Sept. 6
- The Passion of Joan of Arc (28, A+): No tweet. Criterion. Pure fucking brilliance right here folks. – Sept. 6
- Little Evil (17, D): Nothing again! But honestly, there’s just so little to say about it. – Sept. 7
- Gremlins (84, B+): Amazing that you can be this morbid and this fun without bungling tone. Perfect antidote to all that holiday cheer. – Sept. 7
- Is it really kid appropriate> Not sure how much it woulds resonated with my tiny ass save Frances Lee McCain(!!) slaying all those critters.
- It (17, B+): So much dread and humor and kindess, in so many stripes. Marvelously made and indelibly cast. Has its kids and eats them too. – Sept. 9
- Lady Macbeth (17, B): Impressively constructed as a taut, almost nasty experience, though so much so tough choices wind up easy to suss out. – Sept. 10
- It (17, B+): This is such a great movie you guys. So amazingly made. Probably my favorite ensemble of the year. Who else wants to go? – Sept. 10
- It’s so incredible that Pennywise and Georgie’s scene at the beginning somehow isn’t (or is it?) the film’s best scene yet fits the tone so perfectly.
- I kept thinking of Juliette Lewis’s and Ileana Douglas’s big scenes with Robert DeNiro in Cape Fear. Those actors were amazing together. Fuck
- The Conversation (74, A): Amazing that a story of paranoia stars a character so resistant to being seen, who winds up being even less. – Sept. 11
- So many contradictions. That calm, maybe too calm score. A crime where every party plays the wrong roles. Spies who keep getting spied on.
- Trouble the Water (08, A): Finds two of the best people to lead us through a terrifying, preventable, and poorly handled disaster. – Sept. 11
- Get Out (17, A-): No tweet but friends. Romans. Countrymen. See it. Set it again. Or see it three times, like me did. – Sept. 11
- Heathers (89, B): Amazing this satire has survived near 30 years of one of the most livewire topics alive. Or dead. You hear how it died? – Sept. 12
- (Talking to someone who hates it) I definitely think it could use more punch in editing, acting. Not an all-timer. But I love how ridiculous it makes the school’s reactions.
- Even if the suicides were real everyone uses them for personal gain and learns nothing. The onlookers get satirized more than the corpses.
- Starlet: A- (17, A-): Plays like watching lives being lived. Funny, deft, and so very substantial while feeling light as a feather. – Sept. 13
- Watching Besedka Johnson realize she got bingo was the happiest I’ve felt in what feels like a long, long time. Way to go girl.
- *me, every time I watch a film where they look at the sky through gnarly, cool-looking tree branches* the cinnamontography
- mother! (17, ??): Mise-en-scene, sound impress. I get the point it’s making but this felt like the ugliest way to do it. Not going again. – Sept. 14
- I really liked parts of this. Pfeiffer’s rad. But I didn’t feel good watching this, and practically the whole theater rebelled. Poor Her.
- It felt awful watching all that happen to her. And for what? Is this what it means to be with A Great Man? Fuck men! That was fucking gross.
- The Big Sick (17, B): The warmest blanket of a movie 2017 could offer in counter to last night’s … . spectacle. Ace cast, script. ❤️❤️❤️ – Sept. 15
- True Romance (93, B): Super fun! Eclectically and charismatically cast, with a corker of a script. Badlands link weird but hey, it kinda works. – Sept. 15
- The Girl Without Hands (17, B): Simplicity of tone and tale is a marvel next to so many modern Grimm adaptations. Art style grew on me. – Sept. 16
- It Follows (15, A-): Looking at it one way, getting mono was terrible. Looking at it another way, thank fuck that’s all it was. – Sept. 16
- It (17, B+): No tweet, but guys. Go. – Sept. 17
- Maudie (17, B+): Colorfully in league with A Quiet Passion for distilling the life of a fascinating artist, with an equally inspired lead. – Sept. 17
- Baby Driver (17, C-): The more Baby became the film’s moral center, and the worse it treated the other characters, the less I liked it. Bleh. – Sept. 17
- Raging Bull (80, A): This is how you implode over the course of 20 years, and how everyone puts up with the fallout till they can’t. – Sept. 19
- The Color Purple (85, B+): Not quite the novel, but stacks up as an adaptation that carries visual and emotional power. Goldberg’s a miracle. – Sept. 19
- Agnes of God (85, D+): Actors try, Nykvist goes above & beyond. But script stinks, pacing is off. Flails with ideas it barely grasps. – Sept. 20
- Twice in a Lifetime (85, B): Applause for evoking so many points of view with such empathy. More than anyone else, the cast makes it special. – Sept. 20
- Ex Libris – The New York Public Library (17, B+): I wish we spent more times in certain areas but there’s no denying how fascinating it is to be in this library. – Sept. 21
- Prizzi’s Honor (85, C): I love Hickey’s odd vibe, but be it script, direction, or other performances, everyone’s their own kind of uneven. – Sept. 21
- mother! (17, B-): Remember how I said I wouldn’t see it again? Most interesting to me for the wronged wife stuff. And fun to talk about. – Sept. 23 (review)
- Would you believe everyone I saw mother! with had visceral, negative reactions to it?
- Arrival (16, B): I can’t be Totally There with it, but there’s no denying its ambition, not just with temporal narrative but with sound. – Sept. 25
- I think Adams is fine with it, but I kept imagining how well Louise would fit Sigourney Weaver, and especially how interesting Kristen Wiig might be.
- Obit. (17, C): Politics and process of memorializing, favorite features of reporters intrigue. Not sure there’s a feature film here. – Sept. 26
- The Girl With All The Gifts (17, B): Smarter about unsettling mood, world building, dystopian elements than so many adaptations. A gem. – Sept. 26
- The Mist (07, B): Not great with techs, but marvelously realized on a budget, and tight as a drum with story and character. Cast on fire. – Sept. 26
- Plenty (85, B): Tracing of messy, self-destructive lives impressive in a film that never shakes the feeling of being an adaptation. Streep! – Sept. 27
- Columbus (17, C+): Rapport of mature leads eventually becomes more interesting than lusty affair between the cinematography and those sets. – Sept. 28
- Fantastic Planet (73, B+): Style feels a bit cramped, but imagine adapting anything this odd with all its sharp, unusual edges intact. Hot damn. – Sept. 28
- Kiss of the Spider Woman (85, B+): I want to talk about its politics, it poignancy. Does so much, I want to make sure I’m not missing a thing. – Sept. 30
- Lost in America (85, B+): Sometimes, to reinvent yourself properly, you have to fail at it miserably. Brooks, Hagerty a wonderful duet. – Sept. 30
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