a wonderful experience making a film about sentimental losers, wanting to be liked and people trying to find themselves in a vast universe. WATCH IT NOW.
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I Saw the TV Glow 2024
This review may contain spoilers. I can handle the truth.
A couple days ago, I was talking with a friend about why I personally didn’t care for the Matrix’s central metaphor. Mainly, it was because I don’t think it captures what it actually feels like to be trans and to specifically be in the closet. It’s too focused on its world to actually build up the tone and mood that I associate with that existence. Admittedly, this is based on my own perspective and my own experience but I feel…
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Dinosaurs: The Hunt for Life 2013
These type of nature docs are why I love filmmaking in the first place. They sent me down this road and I feel like I need to repay the debt by rewatching some of them as I approach some of the biggest moments of my filmmaking life so far. That being said, these aren't the best movies. This one is fine with some precursory information throughout it. It's a workman type doc so there's no real style but nothing terrible…
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Licorice Pizza 2021
I remember who I was when I first watched this. 16 years old, aimless and running around the city of Cary trying to figure out who the fuck I was. I was restless trying to nail my exact path in life; which, at the time, I had already figured out was making movies but I wanted to be sure. I bounced from engagement to engagement.
This came at the right time. It was like a shotgun blast to my heart.…
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Wicked 2024
Feel somewhat obliged to write a bit on this considering I saw it before everyone else.
I had a lot of fun! Granted, part of that was seeing it with a theater full of people who quite obviously were obsessed with the stage musical and musical theater in general but that only improved the experience.
To start off, yes, the film does look a lot better than the promotional material would have you believe. I loved how dynamic the camera…
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Conclave 2024
Berger shows immense poise with his camera in how he chooses to block each scene. Specifically, I really do like how he places Fiennes in every shot; especially when he meets with Cardinal Benetiez in the garden. Stéphane Fontaine shoots the hell put of every scene; using her interior spaces and lighting in a way that I found loosely similar to Florian Hoffmeister‘s work on TÁR. Volker Bertelmann’s score has a influx of strings that serve to heighten the tension and emotion in every moment they make their presence felt in.
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