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Palm Springs (Max Barbakow, 2020)

Diverting enough, Palm Springs is little more than a concept, and a borrowed one at that. To be fair, it's a bit different from Groundhog Day, in the sense that here there's a b.s. Hawk...

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Home Improvements

His House (Remi Weekes, 2020)

Thematically, haunted houses are all about history. As such, they can serve as a handy metaphor for personal as well as political scenarios, and it ta...

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Promising Young Woman (Emerald Fennell, 2020)

A curiosity. If you consider Promising Young Woman in the context of the broadly commercial revenge-thriller, comparing it to something like Hard Candy, it may seem audacious. It certai...

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You Cannot Stop The Count

Mwah-ha-ha! ⚡️

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Kajillionaire (Miranda July)

I was frankly so put off by the melancholy whimsy of Miranda July's first two features that I was kind of dreading Kajillionaire. Her first film, Me and You and Everyone We Know, worked...

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Mank (David Fincher)

THIS REVIEW IS EMBARGOED. SO KEEP IT IN THE FAMILY, PLEASE.

Much like this year's major sports championships, the 2020 Oscars will go down in the logbooks with an asterisk by the r...

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Reasons to Be Cheerful

I'm nervous. We're all nervous.

But here are some things to consider.

Today's tweet thread from Pol...

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Kung-fu Master! (Agnès Varda, 1988)

An undeniably bizarre film, Kung-fu Master! seems almost designed to, well, punch and kick at the boundaries of French cinematic lyricism. From its prosaic upper-middle class Parisian trappings ...

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Red, White and Blue (Steve McQueen, 2020)

Neither as baldly declarative as Mangrove, nor as poetically open-form as Lovers Rock, Red, White and Blue splits the difference, resulting in the strongest mainstream film rel...

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Nasir (Arun Karthick, 2020)

SOME SPOILERS AHEAD.

It has to be addressed right off the bat. Nasir is a didactic film. It is made with a very particular purpose in mind, and by the time it is over, the...

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This Ain't No Galaxy Brain

Sorry for the limited watching and writing in recent days. I have in the midst of a really hellacious headache cluster which has been slowing me down over the past week and a half. I have an appointment ...

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Borat Subsequent Moviefilm (Jason Woliner, 2020)

Or: Paranoid Racist QAnon Wackos Say Darnedest Things: an Exposé For Make Benefit of Understone Dwellers During Trumptastic Years of 2016-2020.

Cheap shots at easy targets. Pretty much a ...

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On The Rocks (Sofia Coppola, 2020)

This is an utterly trivial film, but it's also kind of weird. It's really a fairly standard midlife crisis film from a woman's point of view. We've seen a lot of these in recent years, where a wife feels...

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Servants (Ivan Ostrochovsky, 2020)

Although I hadn't remembered it until I checked my logs, I did see Ostrochovsky's debut feature, a film from 2015 called Koza. It was the story of a washed-up boxer trying to make a comeback bec...

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I'm Thinking of Ending Things (Charlie Kaufman, 2020)

This review will contain spoilers.

At first I found myself in a rather bothersome predicament. I was left cold by Charlie Kaufman's latest effort, and I suppose I could replace the...

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Malmkrog (Cristi Puiu, 2020)

It's true, Malmkrog isn't for everyone. But I must admit to a certain surprise at the criticisms directed at it by the reviewers for Variety and the Hollywood Reporter. It's not that I expect Pu...

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New Order (Michel Franco, 2020)

Okay, first things first. Are we sure we're not being punked?

Anyway, for the sake of argument, let's assume that the cinematic career of Michel Franco is a real thing, something we're sup...

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A White, White Day (Hlynur Pálmason, 2019)

The word on the street is true. Hlynur Pálmason's second film is a major leap forward from his already-impressive debut Winter Brothers. That film, which was largely characterized by its tonal ...

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Bloody Nose, Empty Pockets (Bill Ross IV and Turner Ross, 2020)

Okay, guys, it's Cinephile Confession Time. This is the first film I've seen by the acclaimed duo of Bill Ross IV and Turner Ross. In fact, awhile back I tried watching two of their films (45365...

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The Notes of Anna Azzori / A Mirror That Travels Through Time (Constanze Ruhm, 2020)

Say, have you heard about essay films? They are all the rage right now. In fact, the Currents section of the New York Film Festival featured five of them, with their combinations of fact and fiction, the...

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The Woman Who Ran (Hong Sangsoo, 2020)

Hong operates in a minor key here, with the compositional interest primarily hinging on all the things he doesn't do. The Woman Who Ran doesn't scramble chronology, nor does it involve awkward, ...

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I'm SPOOKED!


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Man, "Cuties" sucks.

I was asked to write a statement for the National Society of Film Critics relating to the Netflix indictment, which I've pasted below. So I tried watching the film, and made it 30 minutes through. And al...

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Dick Johnson Is Dead (Kirsten Johnson, 2020)

At one point, during the final third of Dick Johnson Is Dead, the film's subject says something jarringly poignant to his daughter, the filmmaker. "I used to be your dad," he laments. "Now I'm y...

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Marriage Story (Jessica Dunn Rovinelli, 2020)

Dunn Rovinelli's So Pretty was a dense, complicated feature film that encompassed literary concerns, gender identity, the difficulties of collective resistance, and the entire question of whethe...

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French Exit (Azazel Jacobs, 2020)

Did you know that Woody Allen had a new film this year? Apparently some nonsense called Rifkin's Festival, about a guy hanging out at the San Sebastian International Film Festival. It quietly wo...

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Time (Garrett Bradley, 2020)

As it happens, I already related most of my thoughts about this incredibly moving film in my third NYFF report for MUBI, which was mostly supposed to focus on the films in the Currents section. But I fou...

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From the "Please Make It Stop" File...


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Notturno (Gianfranco Rosi, 2020)

One of the most critically lauded documentary filmmakers of the moment, Gianfranco Rosi seems to define his films by geographical location rather than population or community. Granted, if you choose to l...

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Tragic Jungle (Yulene Olaizola, 2020)

I must admit, I'm a bit confused by the fact that this rather pedestrian film is being hailed as a breakout for Olaizola. And to be honest, the more I think about it, the more I suspect that the acclaim ...

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