Lead film editor for @fullcirclecine and the 69th person to log HOMEWARD (ripoff of ONWARD) on Letterboxd. I'll let you decide which is the more important one.
Los Angeles, CA
Joined April 2016
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Popping up here briefly to plug my full 2024 movie rankings, as that seems to be how most of Film Twitter is celebrating New Year’s Eve. Many hot takes inbound, up to and including my persistent love for TRAP.
boxd.it/sfr56
In making it a century-spanning narrative, HERE spreads itself incredibly dry - the Black characters get beyond shortchanged - but the locked camera is a gambit that works and I can't deny that the final scene is quite moving. Zemeckis, you win this time.
I didn't watch anything on Halloween, but I did at least watch something festive in the days leading up to it (what can I say, death looms large in CONCLAVE).
Leave it to Sean Baker to lean into the comedy and tragedy of an often dominant person seeing what it’s like to have that power taken away. ANORA may not go into unexpected territory, but the fact it tells its story with such confidence is worth celebrating.
Any time it showcases a euphoric moment, Baker makes sure to cut it off abruptly, and this does an excellent job at preparing the audience for the inevitable comedown.
SATURDAY NIGHT is a triumph based on how much it makes you want to cheer at someone saying the words "go live".
I guess it also helps that it has a top-tier ensemble and frenetic editing to make the chaos intoxicating.
You know that scene in FORREST GUMP where Forrest talks about Vietnam but the audio gets cut out so you don’t hear anything he says except the end?
The video equivalent pretty much happened with the WE LIVE IN TIME Q&A livestream in my theater.
The upside to IT'S WHAT'S INSIDE being a Netflix Original: more people can easily access the most energetic genre movie of 2024 that's not THE SUBSTANCE.
The downside: no chance of seeing it in theaters and very small chance it will be available on physical media.
me coming out of JOKER: FOLIE À DEUX: “so that’s what it feels like to not like JOKER (2019)”
on top of this being such a half-hearted way to honor older cinema - musicals this time instead of Scorsese circa the late 70s - how could you fumble being a musical with Lady Gaga?
MEGALOPOLIS isn’t as impenetrable as the early reviews made it seem - it’s generally solid as a tale of political turmoil - but the half-measures this makes as a sci-fi movie that pays respect to ancient times all the more frustrating.
Cackling at how the regular screenings of MEGALOPOLIS are handling the not fourth-wall break: the voice is off-screen but the screen is still teeny tiny.