Utterly perfect. Full of sensations that are vivid yet disarmingly unexpected. Squirming with life, struggling against corseted femininity. While only hinting obliquely toward violence, it manages to be an enrapturing treatise on the male gaze and the ownership of women’s bodies, as well as a thought-provoking take on the hubris of colonialism.
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Love Me Tonight 1932
I adore this kind of pre-Code innuendo, and here it’s done with perfect screwball slyness. With the silly but clever script coupled with some moments of genuine inventiveness and strange beauty (the film’s opening with a rhythmically in-sync Paris, the slow motion horse ride) I think this movie is kind of genius.
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Bones and All 2022
I always read about movies getting booed at European film festivals and I think that’s dumb but then I see a Luca Guadagnino movie and I get it.
This is so contrived and insincere and it recalls far more interesting movies that explore this same trauma-as-monstrousness dynamic. It wants so badly to be cannibal Bonnie & Clyde but the characters are so flat that even that movie’s French New Wave pastiche feels more original.
One star because I think the cinematography…
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Nosferatu 2024
This visual style is so heightened and so forced that it comes full circle and ends up depriving the movie of any atmosphere. The “scary” parts hinge on jump scares that are not so much scary as just loud.
Add to that performances that vacillate between woodenness and melodrama and you have a movie that for me did not land in the slightest.
I feel like Eggers’ attempts to add additional pathos to the film come across as sophomoric at…
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