Twenty-four hours later, I still feel the film. While it dragged a little more than I’d like, and the visual system sometimes threatened to overwhelm the narrative, the haunting beauty of the thing is undeniable. Authentic, nuanced friendship between young men will just hit different for that demographic, and I’m no exception (sans the “young.”) I appreciate the film’s effectiveness in portraying the feeling of being black. I appreciate the film’s ability to evoke what memory feels like. And what love feels like.
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The Assistant 2019
There is something horror-esque about the well-executed tension and dread. And everything comes to a very satisfying head near the end of the middle of the movie, with a scene written and performed so well that I often revisit it. There's an authenticity about it all, too - the lead character joylessly existing in this hyper-competitive job, prompting the evergreen existential question: what is all this really for, anyway?
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Nosferatu 2024
This feels like a sobering example of how hard it is make truly great cinema. This has some of the origins of one. Eggers' cinema is built on distinct image systems, layered in literary-level metaphors, with OCD-inducing historical accuracy. I'll be damned if I could find what fresh components he brought to this property. Impressive? Of course. But this movie did not bring its audience to climax, which what great movies do. And it starts with stringing together great scenes…
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A Different Man 2024
With the death of David Lynch recently, I thought of The Elephant Man while I watched this movie. The Elephant Man is one of Lynch's more accessible films (apart from Dune), which is to say—there's less weird shit. What's more, is that a bought a photo of Joseph Merrick and kept it on my wall for much of last year. There is something undeniably inspiring about being the product of such calamatious genetic misfortune, yet choosing to be content and…
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