Miss him more with each passing day, really the best to ever do it.
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I'm Still Here 2024
Obviously it is very skilful and the central struggle is definitely done tastefully, with Fernanda Torres the mantlepiece that holds everything together in an insane performance — but also focusing the story only on her allows the events to unfold in that middle-class bubble detached from the brutality and turmoil around it. And for that reason, there are a few moments that worked extremely well for me, but the rest of it, not so much. Too shallow, empty, and surface-level with…
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Mickey 17 2025
With Mickey 17, Bong Joon Ho pulls a Kid A — making something that's so tonally different than his last outing, yet rooted in that similar disdain of capitalism that's existent throughout his filmography. His English movies have always been blunter, goofier, and thematically more palatable than his Korean movies, but it's a known fact that most people prefer his latter works because of the richness and the depth that one may be left looking for in Snowpiercer and Okja.
But…
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The Brutalist 2024
The runtime flew by just like the first time, but an interesting differing experience was finding the second half, widely agreed to be the worse of the two, much more gripping and consequential this time. I also appreciated the score more, which was maybe a bit too much to take in on the first watch.
Props to Brady Corbet and Mona Fastvold for incorporating Wittgenstein's ontological premise into one of the most beautiful moments in a film: "Is there a better description of a cube than that of its own construction?"
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