Novelist, poet, music journalist, cinephile.
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I'm Still Here 2024
This is a beautiful production that subtly yet forcibly paints a picture of a joyful, loving family that is suddenly torn apart by the evils of a dictatorship. That, and the fierce lead performances by Torres, makes it a must see. I was surprised, however, by how traditional a biopic form it takes. It looks incredible but there is not much innovation in storytelling here besides the performance, which is a study in quiet rage and fortitude.
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My Old Ass 2024
It starts out like a standard stoned buddies film and ends up being one of the most moving films I’ve seen in a long time. The premise is ridiculous but somehow draws you in, mostly due to the endearing performance by Audrey Plaza, great here as always. The sense of place is vivid and each character is clearly and succinctly drawn. All the performances are compelling and lovely. A real treat, building an entire world for us a tight ninety minutes. This is the biggest surprise of the year for me.
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The Substance 2024
There is much to admire here but in a wildly original film meant to critique the beauty standards put on women (and it’s always spelling that out in big neon letters), it’s puzzling that it so often falls into gratuitous nudity and sexualization. Many of its best production design qualities are not so much homages as they are derivative, which again is nonsensical for a film that is otherwise so inventive. Yes, it’s body horror, but in the third act it…
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The Last Showgirl 2024
I went into this film solely for the performances of Anderson and Curtis. They were both wonderful but the film is so much more than just them. Beautifully written and filmed in gauzy, bright hues that capture the gaudy depression and abandon of Las Vegas, making it a wonderful sense of place film. Shipka, Lourd, Song, and Bautista all give vulnerable, layered performances. The main thing I came away feeling was how humane the whole film is. It’s about being…
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