4v291o
“a moral obligation to the theatre!”
]]>Watched on Wednesday June 4, 2025.
]]>nice to see Saymo staying booked and busy
]]>Watched on Tuesday June 3, 2025.
]]>Watched on Monday June 2, 2025.
]]>Never realised this was actually a thing much less out there to rent, so slammed play the second I saw it while scanning the new BFI Player additions. Beats Presence to its central idea by 45 years while also taking it further in its free-floating swaps between subjective and objective framing, spiritual involvement and earthly interaction. A singular talent.
]]>Koteas has worked with Cronenberg and Egoyan and those collaborations led to more normal movies than this somehow.
]]>Watched on Sunday June 1, 2025.
]]>Watched on Sunday June 1, 2025.
]]>Like The Menu, this loses a lot in its Succession alum(s) going from film to digital. This luckily never gets as smug and satisfied with itself as Mylod’s turn at bat although equally never matches the harrowing bad vibes of the election arc and watching the world bend towards the direction you don’t want it to juxtaposed to how removed its characters are from that position nor devotes enough time on its slapstick escalations to come across as anything but a hastily put together retread with a lesser ensemble.*
*All rights reserved to do a complete 180 if an emergency Roycast makes the case for it.
]]>A touch too stifling for me now relative to the wry, cosmic humour of his other terrariums, even with how big Sellers, Scott and Pickens are going.
]]>[35mm - Prince Charles Cinema]
Broke the curse of being able to see the print and then it’s taken me 3x as long to get home as it should.
]]>Watched on Tuesday May 27, 2025.
]]>Watched on Monday May 26, 2025.
]]>Not being a nesting doll of formats and structures like the recent works, especially the five-hit punch of 2023 will lead people to dismiss this as if the world of economics isn't the highest artifice we've constructed in our time on this rock. More dizzying this time around than the craft is the way he finds all this space for a growing repertoire each time - you see Hanks and Johannsson as if they've always been here, you wonder how we didn't spend the 2010s assuming Cumberbatch's fussiness would find the right parameters and new this time you get the obviously great Cera though Ahmed finds his spot just as well.
]]>Has anyone pointed out that the production title for the original Avengers' filming was Group Hug? More successful than most would have assumed its spare parts grab bag could've been, the skillset overlap being just high enough to compound what it wants to say and meaning it lacks a character element to truly pop (though Pugh is the best actor in the stable currently). Enough of a visual identity too to the modest intentions which is unexpected after Palermo was previously squandered. David Brooks is now MCU canon.
]]>Can see how this would've been considered revolutionary at the time even without the interview spliced between the two acts which makes that clear, though the impact is duller now we have the '06 staging.
]]>In eerie planning, had already put this on the docket for last night's viewing. Makes more of a statement than the typical Kramer-type productions by not loudly trying to make one, it exists in the tension of their existence and underneath the surface of the very human drama that Roemer opts to focus on. Will be checking out the rest of his work later in the year to space it out and avoid burning through what seems like a rich albeit concise body of work.
]]>seeing Here We Are on Wednesday, shifting in Sondheim-mode
]]>"What’s the cause? What’s the meaning? Why do you always have to dare something?"
"I don’t know. Maybe it's because I’m afraid, otherwise, nobody'll -- notice -- my existence -- in the universe?"
//
"Do I just keep doing it?"
"Yes!"
"Without knowing anything?"
"Yes!"
You can't wake up if you don't fall asleep. You can't be unreal if you are. His movies are only dioramas if you don't want to open them up and poke around.
]]>Watched on Saturday May 24, 2025.
]]>A beautiful mind.
]]>Andor does not save this at all, in fact it might even sink this movie further by going from a show as deliberate as it is to something made up of Second Goldenrod pages that aren't even dry. But even putting that aside, this is still a third act that kills off two of its cast with a grenade in one scene after another, the idea that Gilroy saved it the first time around is only damning in suggesting what a dire state it was in the first place.
]]>This review may contain spoilers.
Throwing this under a spoiler tag feels strange when it takes ~90 minutes to get to where we know it was heading for almost two years now and when really the plots to these movies have have recurrent elements that should be counted as features not bugs, but I suppose it’d be rude not to.
The issues of this big, weird lumbering franchise finale seem less a result of the McQMethod -- though this does occur c.f. tazing Whigham for him to then be in London at the same party a scene later -- than the usual problem that can come with making a two part finale, in so far that the structural split rarely happens at the midpoint and instead happens on the break from the second act into third, leaving the latter movie with the need to grasp wildly for any material it can lay a hand on to feel as narratively substantial. Extending that journey to the Sevastapol then runs counterpoint to the series' sensibilities because this gets turned into a series of waypoints rather than adding any misdirection or improvisation - the set-up and stakes this time playing like if the Fallout opening kept going without the masks coming off.
I suppose just as the sleek Rogue Nation was counterbalanced by that muscularity, the looney of Dead Reckoning's digital paranoia is met by somber and stern, though this duology is disconnected from itself. I don't need an explanation of how Gabriel really figures into Ethan's past, but I do need Esai Morales to actually have a presence at some point between minute 30 and 150 for this to really work. Atwell's presence was a humourous frission and she's sanded down into nothing here so that the team can become a single unit instead of characters with individual function. The first hour isn't the tough sit as conventional wisdom is fast becoming, the second is because it can't conceive a middle for them or the additional elements thrown in like the war room
And yet, there's something intriguing about how the franchise gets this inflated, to make the Phelps parentage beat or put its cards on having Donloe and his wife tag along, while its spectacle isn't overegged and lost in a sea of visual sludge. Instead its two main points of spectacle are laser focused on the fact we're watching just one guy actually do them, cutting dialogue to a minimum so we can hear the creaking of the sub or the analog engines to augment where this physical performance is taking place. Who am I to watch a man remove his diving suit in a flooding submarine and say not able?
]]>"No one is safe from Phineas Phreak."
]]>Watched on Monday May 19, 2025.
]]>Watched on Sunday May 18, 2025.
]]>Has anyone ever done a domino meme that starts with Guinness here and ends with Norbit? The main joy of this Ealing dive is having seen him transmute trademark Britishness into a multitude of performances, most obviously here. The straight bitterness with which this tackles his various ends also pairs the strongest with the quietness of their black comedies and sly ironies about what's really going on underneath the surface of pleasantries, the memoir writing making this almost as process-interested in Bresson despite how swift a couple are carried out.
]]>Watched on Sunday May 18, 2025.
]]>Downtown Griffy Newmz might have been overselling this one a touch.
]]>Watched on Friday May 16, 2025.
]]>Watched on Thursday May 15, 2025.
]]>sometimes you turn on the TV at Langley, watch that and then have no choice but to run the whole thing back and watch it through start to finish
]]>Watched on Tuesday May 6, 2025.
]]>Watched on Sunday May 4, 2025.
]]>Watched on Saturday May 3, 2025.
]]>Watched on Friday May 2, 2025.
]]>Been a few days, still rolling whenever I think of Jackson's accent work.
]]>Torn between being a key text in Stephen Graham studies, chronicler of British masculinity & how much he manages to bring this shaky structure home emotionally in that final stretch and how much of that problem exists on a writer-level rather an directorial-one because he and Thorne don't know how to really tackle this beyond calling attention to the existent potential it could happen anywhere. Imagine this is more impressive in cases where people haven't seen Barantini's other collabs, even if that second ep is a step up in scale for the approach, though what always impressed me about Boiling Point is all the room it had to see that space from a different angle, if only for a beat or two, and how this never crosses over to the side of the victim - it's not that far to travel when you get a drone shot like the one here.
]]>Makes absolute sense how this could be seen as an ideal Sundance opening night selection & midnight movie for the occasion because on some level it does want to call back to the Tarantino era of the festival as well as his subsequent genre recollections. Though like a carpet stained with blood late in the movie, I would argue this has more texture than those pastiches typically do. It wears the more predominant influences of 70s/80s cult fare on its sleeve yet also throws Ishtar on the marquee, there's more than just surface attention. A great deal of that is a result of the patience and space they allow their company across the board - Pedro Pascal impressed me despite the past few years making me doubt how present he really is on set considering his popularity and I'd like to stake the claim he won't be better elsewhere this year. This wasn't quite Boden & Fleck's Oakland, they're a touch too young for it to have been, but it is the one they grew up hearing about and all that adoration has gone into trying to make it, fantasy and all.
]]>Wolf Man bf, Nightbitch gf, both pitches in search of the means to dramatise them.
]]>Can still recall the squirmy, visceral feeling that comes with seeing what Iko Uwais does with that splintered doorframe after 10+ years in The Raid, could not tell you anything about this just a few hours after, much less any feeling it provokes.
]]>Watched on Saturday April 26, 2025.
]]>Watched on Friday April 25, 2025.
]]>Like Pompeii a quarter of a century later - an expression of love in the face of annihilation. In both cases, the premise is known to us but not the characters who find themselves displaced in genre and are left with ~an hour to demonstrate who they are. Have Threads DVR'd and toyed with double featuring them for their thematic overlap even though they seemed to diverge aesthetically and tonally, glad not to have done so in the end because this is far more stressful than expected and it deserves that space to itself.
]]>homer_simpson_twin_peaks.mp4
]]>[...]best understood as a series of vignettes about the world around the Bourne character[...]Even if these vignettes never quite coalesce, they still act as an exhibit of what Gilroy liked about this world: the office politics, the minor social interactions between coworkers, the subtle power plays that happen before and after control shifts from one character to another.
-- Chris Ryan
No duh you'd make this and then Andor ten years later.
]]>Yes JJ's name is front and center, but it really is remarkable that Chris Terrio was at the scene of the crime smothering two franchises and no one even seems interested in his fingerprints being on the pillowcases. Just weirdly antagonistic beyond the obvious moments where characters walk on screen to disavow the prior entry without further purpose, the trio's interplay is all wrong considering it reads as spite and contempt for being in this situation with them over a comradery of weariness and there's just a lack of respect for the portion of the audience who hasn't been put at arm's distance over the above by dangling Chewie's death in front of them to say sike before the string holding the body has gone limp. Who the fuck is Klaud beyond the personification of fear that Star Wars needs an alien thrown into the running time about now to be recognisable?
This makes more for a patchwork Firefly than anything, which also unfortunately means I can kind of go with its arrhythmic impulses even when trying to engage with it as a piece of this franchise is maddening. Most annoying is that for all the visual complaints of the time, this doesn't look awful compared to the majority of what's come since. Dumb as it is, you aren't getting Exegol out of the Volume, heck take out the lighting and you aren't even getting the depth of field on Rey/Kylo walking to its lift. This is at least something to engage with, even to detract, rather than the Mandoverse sludge which slides right off the brain.
The extreme irony to the last log is that my partner and I completely diverge on this one beyond both not seeing the sense in killing Kylo off and especially not in killing him off like that. Aside from explaining that the dead spoke in Fortnite because the crawl needs a bit of supplemental explanation, I wasn't here to MST3K the viewing. After years of people getting mad if you liked the prequels, the years since of people getting mad if you don't and the general vibe that Empire has to be the best, this watchthrough wasn't driven by a need to ensure consensus was conformed to. This is the closest I imagine I'll ever come to seeing this with fresh eyes, which in the grand scheme is not nothing, heck it's the first plus I've found for this one in five years.
To that end, a ranking (none are disliked) and some closing remarks:
The Last Jedi - Karate Kid in space
The Rise of Skywalker - see above
Return of the Jedi - Why are Wookies and Ewoks not related, little guys are my favourite
A New Hope - Earns its place as the one that started it all
The Empire Strikes Back - ire Luke's determination to the exam without attending many of the lessons
The Force Awakens - Grateful for the more modern stylings, why get bogged down in the logistics of reality at this point if they can breathe in space
The Phantom Menace - F1 in space a big plus, could've been a quieter galaxy if we held off on the child abduction/adoption
Attack of the Clones - Pe's long game, why are they losing so many arms in these films
Revenge of the Sith - We wouldn't be in this mess if Anakin could take rejection
As with the similar situation last year surrounding release, I feel that Garland will hit his height when he finally commits to a bad taste, lizard brain, tactical action facemelter & that people are being very uncharitable to what this actually is and its very clear POV - a real-time process picture and demonstration around how much of an armory it takes to eke out the L against maybe 12 local guys, an absolute fuck-up of an imperialist operation where they swan in with all the 'oorah bluster and the impression of tactical prowess, then spend close to an hour trying to walk back out the gate. Casting the internet boyfriends and then stripping any sense of identification from them by dispensing with backstory and banter/interaction. They are interchangeable as bodies once the smoke and dust hangs in the air beyond Quinn shredding his vocal chords almost as bad as the hardware does to his body before one last reminder of the project's intent when the time calls for a traditional biopic ending - blurred faces on the majority of the photos because they're fucking up elsewhere. Based on memories as the marketing as sold it has, the sound design is nervewracking. I don't doubt it was for these soldiers, imagine how bad it was for the families shoved into the bedrooms and expected to hunker down until after the shock and awe and troops have left. The Goofus to 13 Hours' Gallant.
]]>Watched on Saturday April 19, 2025.
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]]>A rough ranking of the films covered on the main feed of one of the most entertaining podcasts around.
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]]>Just a running list of repertory cinema I see. Not going to be strict about what goes on this list, it's not like something must've been seen on film to qualify.
[D]
[35mm; three times]
[35mm]
[D]
[D]
[D]
[35mm; 4K]
[70mm]
[D]
[D]
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]]>a correct and objective list that I'm not being too picky about what qualifies for it
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]]>yes, dark world is meant to be that high and no, it is not a mistake.
Ride or die for Captain Marvel through to First Avenger.
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]]>My ideal awards ballot for the year: streamedconsciousnesssite.wordpress.com/2019/02/24/the-sibleys-2019/
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]]>Wrote up my favourite twenty-five films of the year here: streamedconsciousnesssite.wordpress.com/2023/02/22/the-best-films-of-2022/
and you can find my ideal awards ballot here: streamedconsciousnesssite.wordpress.com/2023/03/11/the-2023-sibleys/
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]]>Was again unable to write up my favourites of the year, but you can find my ideal awards ballot here: streamedconsciousnesssite.wordpress.com/2025/03/02/the-2025-sibleys/
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