Michael Marino

Michael Marino Patron

Favorite films

  • The Silence of the Lambs
  • The Thing
  • The Royal Tenenbaums
  • Ed Wood

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  • Not a Pretty Picture

    ★★★★

  • Everything Must Go

    ★★½

  • Adolescence

    ★★★★

  • Jojo Rabbit

    ★★★★½

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  • Nosferatu

    Nosferatu

    ★★★½

    The weakest effort of Eggers' career so far, Nosferatu broods with atmospheric depth, period-accurate grime, and a palpable sense of dread that almost begs to be cut through. Yet, much like its previous iterations, it remains unremarkably fine—neither exceptional nor lacking for me.

    For better or worse, this is Eggers' most commercially inclined and maybe safest film yet. His trademark atmosphere and meticulous period detail are all there, but the boldness and risk-taking that defined his earlier A24 projects are…

  • The Seed of the Sacred Fig

    The Seed of the Sacred Fig

    ★★★½

    Alright, I’m going to be straightforward with you all: I went into this film feeling pretty skeptical. Much of the chatter from this year’s Cannes focused less on the movie itself and more on the extraordinary circumstances surrounding its director, Mohammad Rasoulof, who had to flee Iran and seek political asylum in Germany after being sentenced to eight years in prison for making this film.

    My skepticism only deepened when the Cannes jury, led by Greta Gerwig, handed him a…

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  • Black Bag

    Black Bag

    ★★★

    Of the two Soderbergh/Koepp drops this year, I’m definitely more on Presence’s side, though this was still a good time—even if I didn’t vibe with it as much as others seem to.

    Soderbergh goes full juicy espionage here—no fieldwork, no kills, just a straight-up John le Carré affair. Agent Cody Banks 1 and 2 this is not. So apologies to Frankie Muniz, wherever he may be.

    Arguably, this could be considered his most conventional endeavor since Logan Lucky, which, I’ll…

  • The Shrouds

    The Shrouds

    ★★½

    Cronenberg tackles grief head-on in the strangest way possible—channeling something deeply personal, the loss of his wife to cancer, into a film that, unfortunately, I can’t say I really liked.

    The ideas here are intriguing, sure, but the film’s tone is all over the place, even by Cronenberg’s standards. It attempts to weave its exploration of grief through the usual modern sci-fi toolkit—AI, tech giants, self-driving Teslas, the whole nine yards—essentially what encompasses of an entire modern Black Mirror episode,…

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  • The Tax Collector

    The Tax Collector

    This just goes to show that David Ayer is definitely the kind of guy who would unironically still wear those types of airbrushed graffiti t-shirts that have a Looney Tunes character dressed as a gangster on them, sold on the corner of a strip mall.

  • At Eternity's Gate

    At Eternity's Gate

    ★★★½

    More of a Willem Dafoe walking simulator than a Vincent van Gogh biopic.