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If Beale Street Could Talk (Barry Jenkins, 2018)

How can one adapt James Baldwin's prose for the screen? How can you hope to retain that hard, mournful poetry? 

Unsurprisingly, the director of Moonlight did not attempt a literal interpreta...

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Roma (Alfonso Cuarón, 2018)

Roma is fine. At first I was rather irritated by Cuarón's insistence on cramming the film with so much incident -- brass bands and wildfires and unplanned pregnancies and civil unrest -- until ...

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The House That Jack Built (Lars von Trier, 2018)

A good friend of mine, cinephile Ryan Wu, once compared Lars von Trier's Dogville to a beautifully baked piss pie. The craft is impeccable, and by all reasonable judgment it is the best possible piss p...

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Dead Souls (Wang Bing, 2018)

I have already logged a review of this film in my coverage of TIFF Wavelengths 2018, based on having watched four of its eight hours -- not something I'm particularly proud of, but an absolute necessity given t...

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Terror Nullius (Soda_Jerk, 2018)

Any halfway decent critic should admit when he or she is out of their depth, and the truth is I am painfully unqualified to even scratch the surface of Terror Nullius, the astonishingly dense, p...

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Shoutout to BlacKkKlansman...

...for a throwaway reference to these ads from the 1970s.

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Under the Silver Lake (David Robert Mitchell, 2018)

David Robert Mitchell is not an intuitive filmmaker, but that is no vice in itself. It Follows demonstrated that, if he had a single strong idea, he could track it to its logical conclusion. But that s...

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Oscar Season Lightning Round 3!

The Miseducation of Cameron Post (Desiree Akhavan, 2018)

I should begin by stating for the record, I have not seen Boy Erased. Nevertheless, it strikes me as curious, and more th...

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The Wild Boys (Bertrand Mandico, 2017)

The "wild boys" are women.

(That's a "spoiler," but it's clear.)

Mandico plays with gender but

it's retrograde, I fear.

Wild boys join a crusty captain,

and he takes them captive View Post

BlacKkKlansman (Spike Lee, 2018)

Aside from its other virtues, Spike Lee's newest film serves as a scathing antidote to everything that is wrong, morally and intellectually, with Green Book. That wretched artifact of blinkered white l...

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Vice (Adam McKay, 2018)

DO NOT READ UNTIL CHRISTMAS!

Maybe Adam McKay is the Brechtian filmmaker we deserve. I found myself gritting my teeth through Vice, even though by any objective standard it's a v...

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The Other Side of the Wind (Orson Welles, 1975/2018)

Could this possibly be more interesting than an officially "completed" version by Welles? It's hard to say exactly how close this is to the director's vision, although expects seem to believe it's awfully darn ...

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The Favourite (Yorgos Lanthimos, 2018)

Another film, like Happy as Lazzaro, that I found myself admiring more than liking, although I certainly enjoyed it more from moment to moment. In fact, that's part of the difficulty. Although I certai...

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Treasure Island (Guillaume Brac, 2018)

I discovered French director Guillaume Brac several years ago when two very different cinephiles, director Dan Sallitt and producer / actress Roxane Mesquida, recommended his debut featurette A World Withou...

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Happy as Lazzaro (Alice Rohrwacher, 2018)

Happy as Lazzaro shares some clear stylistic affinities with Rohrwacher's previous film The Wonders, which I found irksome and affected. I had some difficulty again with the aggressively rough...

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Now, At Last (Ben Rivers, 2018)

British experimentalist Ben Rivers has produced some highly unusual films in his career, but nothing in his filmography prepared me for Now, At Last. A duration-based work that reminded me somew...

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Black Mother (Khalik Allah, 2018)

One of the major surprises of 2015 was Field Niggas, Khalik Allah's gorgeous, haunting experimental feature. It was clearly the work of someone who'd come up through photography, as it was essentially ...

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White Heart (Daniel Barnett, 1975)

One of those canonical titles that has been out of circulation for years, Daniel Barnett's White Heart is a major achievement. Experimental film history is not complete without it. Operating at the jun...

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Donbass (Sergei Loznitsa, 2018)

When the lineup was announced for the 2018 Cannes Film Festival, there were some of us who were wondering why Sergei Loznitsa's newest fiction feature Donbass was relegated to the Un Certain Regard sid...

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Oscar Season Lightning Round 2!

Green Book (Peter Farrelly, 2018)

There they are, our two mismatched heroes, enjoying a drink and potty break at a roadside Stuckey's somewhere along the Southern highways. I wonder if th...

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Oscar Season Lightning Round!

As you know, I try to provide you with High-Quality Web Content (SM) on a regular basis. But it's that time of year, when the mad dash to the finish line of 2018 means I find myself watching 'em faster than I c...

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Jinpa (Pema Tseden, 2018)

A moderately upbeat, even Jarmuschian fable from Tibet's leading auteur, Jinpa takes its name from its lead actor, who also starred in Tseden's previous film Tharlo. Here, Jinpa plays a man wi...

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Can You Ever Forgive Me? (Marielle Heller, 2018)

"Well," as my lovely wife Jen put it, "they can't all be F For Fake." Quite right. There's nothing particularly wrong with Can You Ever Forgive Me? But it's a story that seems so rich with sub...

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A Star Is Born (Bradley Cooper, 2018) / The Great Willow Maclay

I don't have a great deal to say about this film. Overall I was impressed with Cooper's pacing and direction, which struck me as undergirded by a general respect for 1970s Hollywood. In fact, I'm a bit surprise...

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The Little Stranger (Lenny Abrahamson, 2018)

[NOTE: This post contains spoilers]

Certainly one of the year's most mismarketed films, The Little Stranger came across in its ads as Gothic art-horror along the lines of The...

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The Ballad of Buster Scruggs (Joel Coen and Ethan Coen, 2018)

When I first attempted to sum up the latest film by the Coen Brothers, my overall takeaway (with which I am no longer satisfied) was that the world is filled with horrible people (or "assholes," as I had it in ...

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Don't Worry, He Won't Get Far On Foot (Gus Van Sant, 2018)

A curious film. As I watched, I found myself wondering what my friends who are in Disability Studies would make of it, since in certain respects this strikes me as one of the most refreshing depictions of a par...

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They Shall Not Grow Old (Peter Jackson, 2018)

Despite all the hype, Jackson's colorization of the footage from the Great War is really the least impressive thing about this very moving documentary. Yes, it is jarring to see these men, whose like we have wi...

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Pedestrian At Best (Part Three: The Quickening)

Okay, this one's for real.

I realized that there were some anomalies in the previous lists. For one thing, I was primarily going by my iTunes playlists. However, there are some key tracks that I exclude f...

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Pedestrian At Best (Part Two)

Well, for some reason, making selections from N-Z was not nearly as difficult as A-M was. So I went ahead and did it. They are not any better, mind you. One note, in case it wasn't obvious: I limited myself to ...

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