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Merritt, pervert lawyer, medieval music, pied piper themes, what more could you ask for?

Wait.. so were the vampires pretending to be Quakers?

If you're looking for a much more bleak, much less redemptive Erin Brockovich: Rob Billott is your man

Might as well call this TTCTV (Thom Teed Central Television) b/c this movie was broadcast in my childhood home 24/7.

I hated this film until Mike Nichols tricked me into loving it. 

Redeeming qualities:
Deeply unserious
Natalie Portman enthusiastically exclaiming “they are all people who died saving the lives of others!!!” at a memorial site
Natalie Portman’s youth
Doctor obsessed with yelling, “whores,” and calling women “pneumatic robots”
Constant conversations about being on the net
Smiths playing at the strip club
Using sex and the city opening credits as final scene

If I were just 40 years older I know I would have been lolling

Watched on Sunday April 20, 2025.

Watched on Saturday April 12, 2025.

Watched on Saturday April 19, 2025.

Watched on Sunday April 13, 2025.

This happened to me twice (once teacher, once student)

Watched on Tuesday April 8, 2025.

This one will have you saying “say hello to my little friend 😔😔😔”

Ah! If it isn’t Azerbaijan’s very own Kendall Roy!

Inspired by my parents new love of Country Life Vlog’s YouTube channel.

My mom thought aki kaurismaki directed this one, classic mix up

Pretty unreliable if you ask me

Dads love this one

I get it, the good mornings are off the charts in Japan!!!

All 3 stars go to Dustin “ratso” Hoffman for the 2 seconds that he eats potato salad in the midst of an avant- gardę Warhol-esque club scene.

I’d go so far as to call it neo-Marxist.

The thing you need to know about Jimmy is he had a major case of the umpies.

Not to be politically incorrect, but Rupert was effing crazy for pulling that stunt

Perhaps one of the cutest New Hollywoods, still sad though, don’t you worry. B-Y B-Y!

Sweet, friend’s suicide makes friend group fuck

Still good despite the almost comical fictionalizations.

As it turns out, this movie is sad

Shelley Duval was good at being bad, Geraldine Chaplin was bad at being good, Suelynne Lee was bad at being bad, Barbara Jean was good at being good, you thought the Vietnam vet was bad, but he was good, you thought the male border was good but he was bad and that’s Nashville

Watched on Wednesday July 31, 2024.

Warning, will give you dreams of needing to hammer yonic alien plant dopplegangers

This review may contain spoilers.

Great film, made even better by my mum stopping by every 20 minutes to stand behind us and whisper “oh… I this scene” or “what’s happening now, is her husband back?”

Five stars for Donald Sutherland. 
-2 for the rest of the film.

I don’t understand it, but I cannot stop thinking about stand by me.

A classic Kaurismaki.

Have. You. Seen. The. God. Father. Part. Two. Best. Film. Ever. Made.

Watched on Sunday June 9, 2024.

Watched on Thursday June 6, 2024.

Watched on Wednesday May 29, 2024.

Watched on Saturday June 1, 2024.

Watched on Monday May 20, 2024.

Bit of an unintentional horror flic

If it just had a few more flashbacks and a few more special effects, then it would be perfect.

Watched on Sunday May 12, 2024.

Watched on Monday April 29, 2024.

These are the landscapes and accents I expected of America!!

“Fun”

Was missing Colorado, this sure scratched the itch.

Watching Memento allowed me to connect with every boy/man who has ever told me their favourite film is Memento, and it was bliss <3

Where DiCaprio fills the screen with “blackbird talk,” Killers of the Flower Moon does not supply words to fill Mollie’s absence. Rather, Gladstone expresses Mollie’s suffering through muted presence, watchful gazes and non-lingual utterances. This contrasting performance, constituting the film’s central plot relation, maps Mollie’s spectre in the archive. While records document her brief encounters with bureaucracy and her love letters to Ernest— Mollie’s experience of the Reign of Terror is absent and omitted from the written archive. By refusing to erase this absented presence, the film does not suppose her grief can be universalized or approximated. Rather it turns it’s gaze on the subjectivity of history and memory. 

In my second viewing I was surprised to see that Scorsese’s land acknowledgement (featured in cinemas) was absent from the streaming version. As with all politics of recognition, this acknowledgement was a bit flawed, a bit dated, a bit hokey.  Further, as with all of Scorsese’s cameos it softened the film— emphasizing the limitations of his authorship. All the same, it was a significant segment in that expanded Scorsese’s narrative beyond the 19th and 20th centuries, reflecting both his and Grann’s oral history and memory source-work. I will continue to ponder this omission alongside Scorsese’s other points of departure from Grann’s text. Perhaps these contradicting narrative methods reflect the different artistic and historiographical demands placed on historians and filmmakers alike.

The Holdover’s three titular characters are all Holdovers in their own right. Paul Hunnam fashions himself the last bastion of academic rigour, devoting his life to the past rather than keeping up with the times. As her son’s sole survivor, Mary Lamb seeks to maintain her son’s legacy by refusing life’s forward momentum. Angus Tully is the last loyal vestige of a family fathered by a man who can no longer be a father — he delays his academic progress and renounces connection while simultaneously being left in the past by a mother who fears his fate. Stalled, the three holdovers experience the mundanity of watching a life full of suffering and the insufferable them by.

By granting these characters growth and resolution, the film releases them from their halted pasts. At times this progression is explicitly sentimental. New-Hollywood-style-Christmas-honouring-Cat-Stevens-montages lead to a tender insistence that life is worth living. At other times— especially in the final “see ya”— this sentimentality is more reserved. The characters are hardly granted a “happy” ending nor a total reprieve from suffering. Rather, by embracing their contemporaries and the perpetual motion of time, the characters trade pointless suffering for something more substantive: meaningful suffering.

Vuh Guhdfuhver.