Discovering good movies, one bad movie at a time

One cannot talk about Memoria (if one is an American, anyway) without talking about the simply batshit release strategy that its director, Apichatpong Weerasethakul, and its U.S. Distributor, Neon, have concocted for it. In short: one screen at a time in North America, one week at a time, and it will theoretically just float from […]

The Tragedy of Macbeth comes burdened with a simply relentless amount of baggage, as much as any motion picture released in 2021. First, there’s the matter of the material itself: why in God’s name do we need another film of Macbeth? It is perhaps the Shakespeare play to have been the best-served by the movies: […]

There are many indelible moments sprinkled across the 128 minutes of The Power of the Dog, writer-director Jane Campion’s first feature film in the twelve long years since 2009’s Bright Star (which was itself her first film in the six long years since 2003’s In the Cut, so if I am doing the math right, […]

The idea of Kenneth Branagh writing and directing a semi-autobiographical story of his childhood in Belfast, right around the time that tensions between the nationalists and loyalists in Northern Ireland broke out into open violence in 1969, is not one that fills me with any great amount of automatic optimism. Branagh is quite a sufficiently […]

The French Dispatch isn’t the “best” Wes Anderson movie, and it’s maybe not even the “most” Wes Anderson movie. But I do think it might well be the most “fuck you” Wes Anderson movie, the one where you are either going to follow modern American cinema’s fussiest and most aesthetically controlling director where he is […]

It’s missing the point, I know, but the question I feel compelled to start with is: did we need a revisionist version of Sir Gawain and the Green Knight? The 14th Century Middle English poem is a timeless favorite of medieval literature buffs, but how many of us can there possibly be? Certainly not enough […]

Just explaining the concept of Bloody Nose, Empty Pockets potentially constitutes a spoiler to the sufficiently way reader, so I guess the best way to start is to say: if you are a lover of human beings, this is a film for you. And if there is any shred of justice in this world, filmmaking […]

An apology, or if you prefer a warning: this is perhaps less on the order of a review than it is a rant. The thing is, I found Nomadland to be a completely repulsive movie, cloying when it works and actively pernicious when it doesn’t, and simply having to choke it down was galling enough; […]

To have made one of the most sublimely beautiful urban-set movies of a decade is a sign of talent. To have made two of them – maybe literally the two best-looking movies about cities of the whole of the 2010s – is a sign of outright genius. And that’s the place where director Diao Yi’nan […]

Every film director in the history of the medium has made, or will have made, their final film. Most of them scrape out some dumb nonsense, the kind of half-assed project that a fading, aging artist can get financed. The lucky ones are able to do so at least semi-knowingly, ending their career on a […]

The good news first: Waiting for the Barbarians is one of the finest overall pieces of craftsmanship I have seen in any film released in the United States (for the appropriately cautious definition of “released”) in 2020, a heady mixture of gorgeous cinematography, deliberately cautious editing, aggressive sound design, and atmospheric music that combine to […]

It is perhaps ironic for a film titled News of the World to have nothing actually new within it. Fortunately, it’s doing very familiar things very well, so even if the exact people most likely to enjoy what it’s doing (diehard Western fans) are exactly the people most likely to have seen it all before, […]