David Lynch creates some of the most entrancing, eerie, and frightening images in this—this . . . bastardpiece. The images ooze slowly from scene to scene; it feels like one long, long nightmare, and then, flashbang, heavenly perdition. What an oxymoron!

Anyway here’s about me and Lynch. Before he ed I’d only watched Mulholland Drive, and in my review I told Lynch that a film isn’t supposed to be a jigsaw puzzle. I was wrong to say it, and frankly…

A separated parents movie where the separation is felt only through the intimacy of the father-daughter time-spending. I spent the film fixated only on the moments on screen rather than thinking of it as a retrospect, rather than thinking of the moments as memories, the bygones of nostalgia, because these are the memories you want to get submerged in. They are not idyllic, not unhappy either, they are haunting. And looking back at them will certainly give a feeling of…

Wong Kar-wai is the best director of all time, bar none. His scintillating style is a dizziness spell that can cure headaches. The subway chase, for instance, is so blurry and shaky, and yet I’m all enchanted by it. He also always manages to capture shots of planes whizzing by in the best of best places, at the best of best angles.

The second story is a far cry from the exhilarating gunslinging of the first story, but the film…

There’s so much to unpack here. Say Nothing is non-fiction with a bit of those minor change-ups (creative liberties) sprinkled in—except it’s much more complicated. An adaptation of Patrick Radden Keefe’s novel of the same name (Say Nothing: A True Story of Murder and Memory in Northern Ireland), it provides a perspective, one wherein the truth will always be murky. Why? Because Gerry Adams keeps denying every damn everything. The disclaimer at the end of every episode, “Gerry Adams has…