terrencemalice--disqus
TerrenceMalice
terrencemalice--disqus

2016 US theatrical release.

Hey team, should we let Richard Brody join our club? He's a fancy man from The New Yorker and seems pretty smart, but to be honest I can take or leave all that shit because much more importantly he likes Mistress America and that makes him a swell fella in my book.

I would assert that Oscar Isaac is wonderful throughout, and while it lays out its ideas quite bluntly, quasi-intellectual is a bit harsh, but otherwise yeah.

You can't just assert patently ridiculous shit like Hou Hsiao-Hsien's latest is the worst film of the year because you found it overly elliptical or whatever then pivot and deem three films better just 'cause without looking very silly, in case you were wondering. Congrats on the first brazen 'this is clickbait

Phoenix is on Netflix……..uh…….also Tangerine, which is a delight……..

This cannot be a serious comment. Really, come on.

Oh my, would you like to join my Mistress America fan club? It's not super glamorous, there are like…..6 of us, but there's the distinct upside of being right about how lovely Mistress America is, so that's cool and not to be underestimated because, as previously mentioned, it is quite lovely.

Can I take a different but equally obnoxious tact and say, "Yo, where the fuck The Mend, Heaven Knows What, Gabriel, Breathe, and Mistress America at? You fuckin' kiddin' me?"

Haynes has a reputation for exquisite intellectual exercises most admire and not all that many absolutely love, so you've got nothing to worry about there, aside from the fact that Carol is of course transcendent and lovely and handily a very good year's best film. Hell yes to the Jauja and The Wonders shout outs,

I am very lazy and as such will defer to Jesse on this one, while also noting that Zodiac is extra effective because there is no better director to helm a nearly three hour deep dive into obsession and minutiae than Fincher. I too quite like Spotlight, but that being said, the lengthy discussion regarding warrant

WHY NOT JESSE IT'S NOT AS IF THERE ARE A VAST ARRAY OF EASILY ACCESSIBLE CRITICAL VOICES WHOM WE MIGHT SEEK OUT WHEN GAUGING RECEPTION TO A FILM OR AN AGGREGATOR OF THESE VOICES OR IF WE WERE TO GET EVEN MORE SPECIFIED A PLACE OR PLACES WHERE YOU COULD IN FACT VIEW THE OPINIONS OF VARIOUS AV CLUB STAFF EVEN IF THEY

If you're in the U.S. Look of Silence is available for rental, and Carol will go wide by mid-January.

Also gotta take umbrage w/ the suggestion that Spotlight comes anywhere close to All The President's Men. It's perhaps not entirely fair when the subject matter more readily affords Men the kind of visual sophistication Spotlight avoids, but even when it comes to performance, Redford and Hoffman provide a naturalism

Nah tho.

Spotlight just didn't do much of anything for me. I've been struggling w/ my reaction to it, because it's more or less faultlessly executed, and the absence of formal flourish, virtuoso performance, or a standout sequence is in keeping w/ the dogged determination of it's characters. It's very well done, in it's

This is supposed to be via GardenStateApologist, but I somehow seem to have two competing accounts w/ identical email addresses and passwords? Anyway………….

I very nearly loathe it. It's still a Baumbach picture, so there are a fair few lines to be savored, grace notes to be had but by and large it's strangely muddled, with a fatal focus on third act plottiness and a view on Driver's character that's too schematic to lend him any real depth but too specific to be a

Brooklyn as a whole and Ronan in particular is so agreeable and lovely up until the profoundly silly hometown machinations of the third act that I can understand the love if I squint, but Room….yeah. D'Angelo said just about everything better than I could in the individual ballots, but I'll even add that I found

Spotlight gets the impeccably performed, well-written, rock-solid nuts and bolts filmmaking award w/ a special shout out to everyone convincingly describing exactly what they're doing as they're doing it, Schreiber's disaffected delivery, and McAdams' pitch perfect size-too-big rumpled workwear. It will win the Oscar,