A collection of informal movie reviews for the purpose of documenting my thoughts on the films that I watch.
Friday, October 19, 2018
Empire Records: Allan Moyle
Is it any wonder why Allan Moyle's Empire Records is a cult classic for people of my generation? It's the kind of movie that could only have been made in the 90s: a breezy teen dramedy about young people safely ensconced in general economic security who have little more to do then worry about relationships, hang out with their genuinely benevolent employer/father-figure, and glue quarters to the floor. Yes, the film deals with subjects like sexual immaturity, drug addiction, and suicide, but these are clearly depicted as aberrations. This is a world where the only pressing problems are personal ones--the world outside is nonexistent. It also helps that the music rocks and Liv Tyler spends the entire movie in an amazing plaid short skirt that, combined with her long brown hair, informed more about my pubescent interest in girls than I'm willing to admit.
Rating: 7/10
Tuesday, October 16, 2018
Season of the Witch: George A. Romero
The first thing you notice watching George A. Romero's Season of the Witch is how central the rapid-fire editing is. More than any of Romero's other films, the editing seems to be the central artistic crux of the film, disassociating the images into sharpened fragments that predict the climactic montages in Tobe Hooper's The Texas Chainsaw Massacre (1974). It's fascinating to watch and actually makes one look past the dime-store campiness of the props and sets (including a grimoire simply titled something like "Becoming a Witch: A Primer") as its hallucinatory dreaminess imbues everything with a veneer of deliberate artificiality. The problem here is that the interesting bits make up maybe a third of the film. The rest are soul-crushingly tedious scenes of people sitting around in bedrooms and livings rooms talking about this and that, having sex, and smoking pot. And trust me, none of that is as interesting as one would expect from an almost-exploitation film from the early 70s.
Rating: 4/10
Monday, October 15, 2018
Hold the Dark: Jeremy Saulnier
Watching HOLD THE DARK. I completely understand why a LOT of Jeremy Saulnier fans might not like this movie, particularly in light of the wacky hyper-violence of MURDER PARTY (2007) and the nail-biting suspense of GREEN ROOM (2015).— The Executioner’s Hood (@NateHood257) October 16, 2018
But you guys, this movie is right up my alley. Love the harsh, suffocating textures of the Alaskan wilderness and the scorching Middle Eastern desert. Love the understated performances, the muffled dialogue. It all just works perfectly.— The Executioner’s Hood (@NateHood257) October 16, 2018
Rating: 8/10Oh yeah...that barn shoot-out is an all-timer.— The Executioner’s Hood (@NateHood257) October 16, 2018
Sunday, October 14, 2018
Private Life: Tamara Jenkins
— The Executioner’s Hood (@NateHood257) October 14, 2018
One of my favorite little details in PRIVATE LIFE is that it has a soundtrack ripped straight out of a 90s Nora Ephron romcom. It even has Harry Nilsson's "The Puppy Song," the piece that played over the opening credits of YOU'VE GOT MAIL (1998).— The Executioner’s Hood (@NateHood257) October 15, 2018
Rating: 8/10Superb film. Loved its refusal to feel ashamed or abashed by any of the nitty-gritty details of conception and childbearing. It's also so achingly authentic in its emotions.— The Executioner’s Hood (@NateHood257) October 15, 2018
Pontypool: Bruce McDonald
Bruce McDonald's Pontypool might be the most wildly inventive horror film in decades. Why? Because it isn't about what we see--the crux of 99% of all horror films. It's about what we hear. The idea of a viral language that infects people through words, English words, is amazing. But even better than the concept is the execution: framing it as a single-set horror film much like George A. Romero's Night of the Living Dead (1968). But even more than that, making it like an old school radio drama like Orson Welles' infamous War of the Worlds broadcast. It's perfect perfect in every way. And hey, centering the film around Stephen McHattie's amazing voice was brilliant!
Rating: 9/10
Seaman and 207: Sophia Tewa
REPRINTED FROM THE NEWSLETTER OF FIRST PRESBYTERIAN CHURCH OF DEL RAY
Up north in Manhattan, past the Cloisters and Bennett Park, past where the rigid city grid starts to melt and stretch to the right like taffy, there sits a van at the corner of Seaman Avenue and 207th. The signs in the window read “Believe & Repent!” while the windshield declares “Come Out of Religion!” The van has been there in the same spot for five years, never moving, come rain and sleet and snow. Sometimes the two passengers crack the window at night to let air in so they don’t suffocate, and sometimes they keep it all closed tight so passersby won’t spit or throw dog feces at them. But day after day, night after night, Yacahudah Harrison and his wife Danetia Harrison keep their eternal vigil as missionaries for Jesus Christ, preaching for those who will listen, praying for those who will not. When they met in 1994, he was a bodybuilder and she a psychoanalyst. But after a few years Yacahudah read a book by Arthur W. Pink, famed British evangelical, that tore his mind from his life of professional vanity and directed it towards Christ. So together with his wife they left their jobs and set up their impromptu chapel. “They don’t know where to put us, in terms of categorizing,” Danetia wryly murmurs, “they never heard of missionaries in the United States, because we have so many churches and we’re not trying to convert anybody.” And they’re not. If there’s one thing we learn from Sophia Tewa’s documentary Seaman and 207, it’s that Yacahudah and Danetia are not interested in mobbing people in the street and shoving a Bible under their nose. Instead, theirs is a ministry of presence—they give of themselves their time and attention to anyone who comes by. Most of the day they sit in their car listening to audio books of the Bible or roaming the two parks near their intersection, playing chess with the old-timers and waving at the children crossing the street to school. They don’t know where their next meal will come from, they don’t know if they’ll have enough money for gas to keep the engine going and the heat flowing when it grows cold. But they persist. And miraculously, it works. Over and over again we see strangers from the neighborhood come up to their car and tap on their window. Who are you two, they ask? I always see you two here on my way to work, but I never thought to ask. And invariably the topic turns to Jesus. Some of them are struggling Christians hungry for affirmation, some are nonbelievers who want to challenge their theology, and some are people who just want to know who this Christ is they keep talking about. And they always answer. Seaman and 207 is one of the more fascinating portraits of missionary work in some time, in part because while the film clearly admires Yacahudah and Danetia for their efforts, it isn’t afraid to cock an eyebrow of doubt and incredulity towards their odd behavior. It pairs scenes of Yacahudah facing down a belligerent, mentally ill man harassing Danetia with Christian love— “You will never make me hate you,” he bellows—with moments where he has to be restrained by neighbors from physically attacking someone trying to call the cops on them. It zeroes in on the inner sadness of Yacahudah, a convert from the Black Hebrew movement, who still yearns for the Jewish prayers and community for his childhood. Little attention is spared to Danetia and her reasons for going along with Yacahudah in their self-imposed homelessness—but one gets the feeling it may have been reticence on her part, not carelessness on Tewa’s. Still, Seaman and 207 burns and sears the emotions with its simple, earnest portraits of two elderly voices crying out in the wilderness. Few times in modern history has the Church struggled more to connect with the public at large and the prevailing zeitgeist. Partly it’s due to increased scientific skepticism and other socio-economic forces. But partly it’s due to our own failings as a community for Christ. We are too insulated, too myopically concentrated on outdated traditions, ceremonies, and prejudices. But as Yacahudah and Danetia demonstrate, sometimes all you need to do is sit down, meet the world on its own terms, and let it come to you.
Rating: 7/10
I Am Cuba: Mikhail Kalatozov
To read this review, go to: http://www.unseenfilms.net/2018/10/nate-hood-declares-i-am-cuba-1964-nyff.html.
Rating: 10/10
Ash Is Purest White: Zhangke Jia
To read this review, go to: http://www.unseenfilms.net/2018/10/nate-hood-on-ash-is-purest-white-2018.html.
Rating: 7/10
The Ballad of Buster Scruggs: Joel Coen, Ethan Coen
To read this review, go to: https://www.theyoungfolks.com/review/126145/the-ballad-of-buster-scruggs-movie-review/.
Rating: 8/10
They'll Love Me When I'm Dead: Morgan Neville
To read this review, go to: https://www.theyoungfolks.com/review/125764/theyll-love-me-when-im-dead-movie-review-nyff-2018/.
Rating: 7/10
Tuesday, October 9, 2018
Carmine Street Guitars: Ron Mann
To read this review, go to: https://www.theyoungfolks.com/review/125552/carmine-street-guitars-is-a-breezy-look-at-one-of-the-last-true-craftsman-of-greenwich-village-nyff-2018/.
Rating: 7/10
Shoplifters: Hirokazu Kore-eda
To read this review, go to: https://www.theyoungfolks.com/review/126175/shoplifters-is-the-latest-emotional-sucker-punch-from-japanese-maestro-hirokazu-kore-eda-nyff-2018/.
Rating: 8/10
Grass: Sang-soo Hong
To read this review, go to: http://www.unseenfilms.net/2018/10/nate-hood-takes-in-grass-2018-nyff-2018.html.
Rating: 4/10
Monday, October 8, 2018
Lucía: Humberto Solás
To read this review, go to: https://www.theyoungfolks.com/review/125769/the-film-canon-lucia-1968/.
Rating: 9/10
Burning: Chang-dong Lee
To read this review, go to: http://www.unseenfilms.net/2018/10/nate-hood-on-burning-2018-nyff2018.html.
Rating: 7/10
Angels Are Made of Light: James Longley
To read this review, go to: https://www.theyoungfolks.com/review/125555/angels-are-made-of-light-is-a-devastating-look-at-the-struggles-to-educate-the-next-generation-in-war-torn-kabul-nyff-2018/.
Rating: 7/10
Sunday, September 30, 2018
A Cock and Bull Story: Michael Winterbottom
Laurence Stern’s Tristram Shandy is a novel about the impossibility of writing a novel. So it makes sense that a movie adaptation would be about the impossibility of making a movie. That’s exactly what Michael Winterbottom did with A Cock and Bull Story (2005), his “adaptation” of Sterne’s 18th century masterwork. The film follows a disastrous attempt to adapt the novel into a lavish costume drama. But various difficulties keep popping up—casting difficulties, creative differences, incompetently (and expensively) shot battle sequences that prove completely unusable in the final cut. At the center of it all is Steve Coogan playing a caricature of himself as a vain actor playing Stern’s titular role. During the first fifteen or so minutes which recreate the four early traumas of Tristram’s life—his “disturbed” inception, the smashing of his newborn nose, his inauspicious naming, his accidental circumcision by falling window-pane (don’t ask)—Coogan’s character acts as an omnipresent narrator who actually gets into arguments with the various figures populating the story. These scenes are brilliantly executed and get the chaotic rhythm of Sterne’s non-chronological storytelling down perfectly. They even preserve one of my favorite unspoken jokes in the book: Tristram’s male relatives merrily talking about nonsense for an hour and nonchalantly testing out the accursed forceps that would crush his infant nose all the while happily oblivious to the shrieks of his mother going through labor in the room right above them. But after the birth scene the production gets stalled and we enter “real” life as Coogan and his co-stars try to figure out what the bloody hell is happening to their movie. From there the film loses quite a bit of steam, feeling at times an improvised directionless mess. Sometimes the result is brilliant, such as a historical reenactor of eighteenth century warfare brought in to coordinate the battle scenes whose meticulousness mimics the obsessiveness of Sterne’s Uncle Toby. There’s also a brilliant bit of business about casting American actress Gillian Anderson at the last minute as Uncle Toby’s amour, the Widow Wadman. But too much of the film centers around not-Coogan’s abortive relationship with his personal assistant Jennie (Naomie Harris), a film buff who—unlike almost everyone else—has actually read and understood Sterne’s novel. Put bluntly, this affair is tedious and uninteresting. A Cock and Bull Story is an admirable effort, but an ultimately disappointing one.
Rating: 6/10
Wednesday, September 26, 2018
My Life as a Zucchini: Claude Barras
Ever since I heard of Claude Barras' My Life as a Zucchini, I've been fascinated by what a movie with such a title could be about. As it turns out: orphans and child abuse. Not what I would've expected from a colorful claymation movie. Curious, then, that the movie comes out quite wonderfully. The juxtaposition between subject matter, art style, and the different tones of grief, misery, and joy blend quite well. I do wish it was a bit longer, though. But the vignette storytelling helped compensate.
Rating: 7/10
Monday, September 24, 2018
Exit Music: Cameron Mullenneaux
Ethan Rice’s music is odd and crunchy—like mid 50s Thelonious Monk it revels in odd atonal rhythm chords and chromatic melody lines that blossom into strange, unpredictable shapes. Clearly influenced by 90s indie rock like Neutral Milk Hotel, his music feels like a blown raspberry at all things stuffy and self-serious. There’s precious little of it, and there will never be more, for Ethan Rice is dead now. He was twenty-eight years old, surviving approximately 27 years and 9 months longer than his doctors expected when he was diagnosed with Cystic Fibrosis as a newborn. Refusing to give up, his family reshaped itself to provide him with around-the-clock care, his father Ed even becoming a stay-at-home dad. A Vietnam veteran with PTSD, Ed had retreated into a world of therapeutic art, one he eagerly shared with Ethan as he grew and struggled and, somehow, survived. Yet Ethan’s time was limited—everyone knew the oxygen tanks, chest massages, and antibiotics were only stalling tactics. But these gave Ethan the time to create and his family the time to love him. Cameron Mullenneaux’s Exit Music is an almost impossibly moving and poignant documentary of Ethan’s last days, charting his fatal decline, hospice preparations, and final moments, all while painting a portrait of a young man defiant to the last to drink every drop of life the cosmos owed him for his unfair existence. But instead of regarding Ethan as a passive subject, Mullenneaux engaged with him as a collaborator, using his original music as a soundtrack and his stop-motion animations with action figures and Play-Doh as interludes. The result is a cinematic hybrid literally conversant with its subject, giving Ethan the dignity of setting the tone and timbre of his dying. Exit Music is also the portrait of a family struggling to cope with a dying child they know they can do nothing to protect. There are multiple interviews with Ed where we realize his ordeals with Ethan pulled him from the hell of PTSD into one possibly even more traumatic, and we get the sense from his mother and brother that Ethan’s survival was both a blessing and a prison. But Ethan lives now, forever, here in these 75 minutes. He can’t suffer or hurt anymore—there’s just a young man, his memories, and his music. Rest now, Ethan. And thank you.
Rating: 8/10
Sunday, September 23, 2018
Commander Arian - A Story of Women, War and Freedom: Alba Sotorra
To read this review, go to: http://www.unseenfilms.net/2018/09/nate-hood-on-commander-arian-story-of.html.
Rating: 7/10
First Stripes: Jean-François Caissy
To read this review, go to: http://www.unseenfilms.net/2018/09/nate-hood-on-first-stripes-2018-camden.html
Rating: 6/10
Saturday, September 22, 2018
The Sisters Brothers: Jacques Audiard
Jacques Audiard's The Sisters Brothers feels at times like a 00s Western cast exclusively with 70s character actors. It has just enough plot to keep the various characters doing...things...until it figures out what kind of movie it wants to be. Which unfortunately takes about an hour. I like the existential angle it adopts it the last act—perhaps the very purpose of life is to find a purpose?—and of be lying if the last five minutes didn’t genuinely choke me up. But man this movie is a scattered mess of poor pacing and structure. Joaquin Phoenix and John C. Reilly are of course wonderful, but Riz Ahmed is the one who took me most by surprise. Also, why on earth would you cast Carol Kane in anything and only give her two minutes of screen time?!
Rating: 6/10
Friday, September 21, 2018
Stripes: Ivan Reitman
Watching Ivan Reitman's STRIPES (1981) for the first time. It's taken me 29 years to do so because apparently I'm a cultural philistine.— Nathanael Hood (@NateHood257) September 22, 2018
I miss Harold Ramis. And John Candy. And Judge Reinhold.— Nathanael Hood (@NateHood257) September 22, 2018
Ah, the 80s. When gratuitous male gaze was all in good fun!— Nathanael Hood (@NateHood257) September 22, 2018
Legend pic.twitter.com/ePDYbzSNmx— Nathanael Hood (@NateHood257) September 22, 2018
Rating: 6/10Well that was something. I enjoyed it more when it was a slacker comedy set in an army base, not an action movie with comedy leads.— Nathanael Hood (@NateHood257) September 22, 2018
Wednesday, September 19, 2018
The Life and Adventures of Nicholas Nickleby: Alberto Cavalcanti
Alberto Cavalcanti's The Life and Adventures of Nicholas Nickleby is a decent Victorian costume drama with a wonderful eye for production design, costuming, and capturing the charming eccentricities of Charles Dickens' characters. The problem is that the story itself is perhaps the least interesting one I've come across. Cavalcanti tries to bolster the tension of the story by cross-cutting between the stories of the eponymous Nicholas and his indebted family, but it doesn't quite manage to raise the energy of the film. It's a charming film to look at and there are some scattered performances that are quite good. But the film itself is sadly deflated.
Rating: 6/10
Monday, September 17, 2018
Went the Day Well?: Alberto Cavalcanti
Watching Alberto Cavalcanti's WENT THE DAY WELL? (1942). I love how the opening scenes where the Germans plan machine gun placements and barricades are shot like a relaxed domestic drama. It's totally devoid of traditional tension.— Nathanael Hood (@NateHood257) September 18, 2018
Amazing. The first thing the villagers pick up on to suggest the soldiers might be Nazis are their "Continental handwriting."— Nathanael Hood (@NateHood257) September 18, 2018
— Nathanael Hood (@NateHood257) September 18, 2018
So many of these suspense beats are pure Hitchcock in their design--the message on the egg, the scribbled note placed in the pocket, the disconnected telegram line. The difference, I think, is the absence of the voyeuristic element.— Nathanael Hood (@NateHood257) September 18, 2018
I don't think I like this movie. It's an exploitation film--the Nazis are subhuman child-killing, priest-murdering monsters who're defeated by a good dosage of British stiff upper lip. The problem is it takes itself too seriously and doesn't have fun with the suspense elements.— Nathanael Hood (@NateHood257) September 18, 2018
Rating: 5/10In summation, this film feels like the kind of thing Powell & Pressburger's THE LIFE AND DEATH OF COLONEL BLIMP was specifically designed to counter.— Nathanael Hood (@NateHood257) September 18, 2018
Sunday, September 16, 2018
The Ancient Woods: Mindaugas Survila
To read this review, go to: http://www.unseenfilms.net/2018/09/nate-hood-goes-into-ancient-wood-2018.html.
Rating: 6/10
The Big Call: Oxide Pang
To read this review, go to: http://www.unseenfilms.net/2018/07/nate-hood-makes-big-call-2018-nyaff-2018.html.
Rating: 7/10
The Empty Hands: Chapman To
To read this review, go to: http://www.unseenfilms.net/2018/07/nate-hood-reads-empty-hands-2018-nyaff.html.
Rating: 6/10
Saturday, September 15, 2018
To All the Boys I've Loved Before: Susan Johnson
Susan Johnson's To All the Boys I've Loved Before is, as the Philistines might say, a "chick flick." But I still quite enjoyed it.
Finally watching TO ALL THE BOYS I'VE LOVED BEFORE. I'm high-key digging the Anderson-esque color palette and the frequent planar frame compositions.
— Nathanael Hood (@NateHood257) September 12, 2018
Between Josh Hamilton in EIGHTH GRADE and John Corbett in TO ALL THE BOYS I'VE LOVED BEFORE, 2018 is shaping up to be quite the year for single fathers who are perpetually confused but endlessly supportive of their precocious teenage daughters.
— Nathanael Hood (@NateHood257) September 12, 2018
Rating: 7/10
Hale County This Morning, This Evening: RaMell Ross
To read, go to: http://www.unseenfilms.net/2018/09/nate-hood-on-hale-county-this-morning.html
Rating: 9/10
Young Men and Fire: Alex Jablonski, Kahlil Hudson
To read this review, go to: http://www.unseenfilms.net/2018/09/nate-hood-on-young-men-and-fire-2018.html.
Rating: 7/10
Communion Los Angeles: Adam R. Levine, Peter Bo Rappmund
To read this review, go to: http://www.unseenfilms.net/2018/09/nate-hood-and-communion-los-angeles.html.
Rating: 8/10
Science Fair: Cristina Costantini, Darren Foster
To read this review, go to: http://www.unseenfilms.net/2018/09/nate-hood-goes-to-science-fair-2018.html.
Rating: 7/10
Friday, September 14, 2018
Tuesday, September 11, 2018
The Gospel of Eureka: Donal Mosher, Michael Palmieri
To read this review, go to: http://www.unseenfilms.net/2018/09/nate-hood-on-gospel-of-eureka-2018.html.
Rating: 8/10
The Nun: Corin Hardy
To read this review, go to: https://www.theyoungfolks.com/review/125034/conjuring-spin-off-the-nun/.
Rating: 5/10
Tuesday, September 4, 2018
You Can’t Take It With You: Frank Capra
To read this review, go to: https://www.theyoungfolks.com/review/124902/80-years-later-frank-capras-naively-idealistic-you-cant-take-it-with-you-seems-more-timely-than-ever/.
Rating: 8/10
Monday, September 3, 2018
My Winnipeg: Guy Maddin
I don't care a whit if there isn't a single objective fact in Guy Maddin's My Winnipeg, a "documentary" about his Canadian hometown--it's the truest, most accurate documentary I think I've ever seen. For the film's about emotional truths, psychological ones that nestle deep in your mind and mutate in the feeble hours between sleep and waking. No, there may never have been half-submerged horse corpses choking a river for months or an underground gambling ring/beauty contest for strapping young men judged by the mayor, but the film's about how we see the neighborhoods and environments that change and mold us. These are half-remembered truths half-remembered once more.
Rating: 9/10
Support the Girls: Andrew Bujalski
To read this review, go to: https://www.theyoungfolks.com/review/124733/support-the-girls-movie-review/.
Rating: 7/10
Sunday, September 2, 2018
The Sweet Hereafter: Atom Egoyan
Watching THE SWEET HEREAFTER (1997). The sequence where Ian Holm recounts the time he spent a ride to the hospital holding a knife above his spider-bit daughter in case he had to cut her throat open so she could breath is honestly one of the most devastating things I’ve ever seen
— Nathanael Hood (@NateHood257) September 3, 2018
I mean, this whole movie is quite good—even though I find its allusions to fairy tales pretentious and awkward—but that sequence was an all-timer. Wow. Just wow...
— Nathanael Hood (@NateHood257) September 3, 2018
I think I might need to turn this movie off for a few minutes to mentally recover.
— Nathanael Hood (@NateHood257) September 3, 2018
Honestly? I think the fairy tale aspect soured me on the bus tragedy story. You don't NEED to make it more meaningful with Pied Piper shout-outs. It was the Ian Holm subplot that sold the whole thing for me.
— Nathanael Hood (@NateHood257) September 3, 2018
Rating: 7/10
Sunday, August 26, 2018
Berlin: Symphony of a Metropolis: Walter Ruttmann
Finally saw BERLIN: SYMPHONY OF A CITY (1927). Fascinating glance not just into Germany's history, but into the late 20s Cambrian Explosion of silent film grammar before the Cambrian–Ordovician extinction event of sound technology.— Nathanael Hood (@NateHood257) August 27, 2018
Rating: 9/10I know that when it comes to city symphony films MAN WITH A MOVIE CAMERA (1929) tends to get all the love, but the format of examining a city on a micro and macro level as a living organism within the context of a single day is truly fascinating.— Nathanael Hood (@NateHood257) August 27, 2018
Vengeance: Johnnie To
Watching Johnnie To's VENGEANCE (2009). To is one of my most embarrassing Asian cinema blind spots. I'm pretty sure I've only ever seen his MAD DETECTIVE (2007).
— Nathanael Hood (@NateHood257) August 26, 2018
I like how To seems to understand how dreadfully generic his story is, so he invests instead in truly interesting set-pieces: the grandfather and the 3 killers assembling guns over plates of spaghetti; testing weapons by literally propelling a bike across of yard with bullets.
— Nathanael Hood (@NateHood257) August 26, 2018
Well that was superb. VENGEANCE feels like a natural extension of the early Catholic gunplay movies of John Woo in how it both aestheticizes and valorizes violence while interrogating it as a method of achieving justice.
— Nathanael Hood (@NateHood257) August 27, 2018
This actually felt like a humanist revenge thriller, if such a thing can exist. The attention to detail--the cooking of French pasta, the sterilizing of surgical knives with flaming whiskey, the marking of a victim with stickers-was likewise delightful.
— Nathanael Hood (@NateHood257) August 27, 2018
Rating: 9/10
Monday, August 20, 2018
Sita Sings the Blues: Nina Paley
Nina Paley's Sita Sings the Blues sounds like the kind of film that was dreamed up in a particularly madcap mad-libs session: a combination of ancient Indian mythology, 1920s American blues, and a modern day break-up story in San Francisco/India/New York City. And yet, impossibly, it works. It doesn't just work, it works brilliantly, magically, majestically. Finding rhymes throughout all space-time in all aspects of the human experience, it's a mournful yet defiant shriek against how women have been thrust aside and abused by millennia of men.
Rating: 9/10
Sunday, August 19, 2018
What Keeps You Alive: Colin Minihan
To read this review, go to: https://www.theyoungfolks.com/review/124288/what-keeps-you-alive-movie-review-a-thriller-that-borrows-too-liberally-from-other-better-films/.
Rating: 5/10
Highway Dragnet: Nathan Juran
To read this review, go to: http://theretroset.com/cormans-career-defining-highway-dragnet/.
Rating: 5/10
Tuesday, August 14, 2018
The Little Gangster: Jacques Doillon
To read this review, go to: https://mubi.com/notebook/posts/close-up-on-jacques-doillon-s-the-little-gangster.
Rating: 7/10
Madeline's Madeline: Josephine Decker
To read this review, go to: https://www.theyoungfolks.com/review/124064/madelines-madeline/.
Rating: 6/10
















































