Film diary

Talk about an unreliable narrator. Powered primarily by a single interview, Author: The JT LeRoy Story gives Laura Albert carte blanche to frame as she pleases her decade of hoodwinking the literary world. And yet, the skepticism her story provokes is eclipsed by how engrossing it is, providing canny insight into how she was able to pull off such a stunt in the first place.

Albert is a masterful and enigmatic storyteller, and one whose… See more →

Apatow productions have a habit of reveling in the pathetic frailty of maleness, and in a way that usually doesn’t do much for me. Superbad, the apotheosis of the form, an effortless synthesis of vulgarity and tenderness, is the one that finally reached me. Every time I see it, I laugh until I cry, and then I laugh some more.

I’m amazed this role wasn’t written specifically for Isabelle Huppert, because no one else on the planet could have pulled it off.

This is exactly as corny as it looks.

Dear Fictional Military,

You’ve got a tough job, I know. Your presence in any story is inescapably political. You are either a condemnation of our instinct for violence or a celebration of our defense of Freedom, with little opportunity to exist somewhere in between. You have to balance your duty to propel an artificial narrative with your duty to realistically portray the actual military, two things that are often at odds with each other. So… See more →

The first six words uttered in Rashomon summarize my feelings about the film’s universally fervid acclaim: “I don’t understand it at all.”

“A man was murdered,” says the priest, overcome with despair.

“Just one?” replies the commoner. I share his confusion.

In a world the priest describes as full of daily, devastating horrors, the crime at the center of Rashomon seems almost mundane. And yet, more so than even the rape and murder themselves, the… See more →

Mostly on the stupid side of silly, but it still beats Temple of Doom.

In a blink-and-you’ll-miss-it ambulance scene, an EMT says awkwardly to her charge, “I’m just gonna… check you.” She looks enough like Abbi Jacobson – a Philadelphia area native, like Split’s writer/director, M. Night Shyamalan – that it instantly becomes my favorite scene in the movie, a random cameo with Jacobson’s hapless Broad City character stumbling into an EMT job for which she is comically unqualified. But it’s not her. In her absence, the scene… See more →

A looser and more uneven amalgam of gags than I expected, which makes the coherence and emotional impact of its humanitarian rebuke of fascism – a system which, at the time, many Americans still regarded with curious optimism – all the more incredible.

When Ryan Gosling sings “City of Stars,” my ears editorialize it as “City of Cars,” but then he wins by making me wish I had nice hair too.

I’ll gladly acknowledge this was a bold debut for Errol Morris, training a genuinely curious eye on a variety of unglamorous characters in the orbit of the pet cemetery industry. Its willingness to keep the camera rolling through their lengthy and often unfocused tangents makes the film more interesting than if it had stuck rigidly to the topic at hand, and Morris’s straight-ahead style exposes a certain layer of everyday human vulnerability not often explored.… See more →

An Oedipal love triangle of professional liars is undoubtedly a concept worth mining, but The Grifters’s update of classic noir ultimately amounts to little more than stagey anachronism.

A love letter to a city I do not love, La La Land nevertheless did an impressive job of disarming me with its vivid palette and dazzling setpieces. It managed to seize on my love of music while circumventing my distaste for musicals.

Stray thoughts:

• Going all in on CGI Peter Cushing was a bold move, but more than giving Rogue One a through line to A New Hope, it serves as another reminder that the uncanny valley isn’t paved over just yet.

• The introduction of moral ambiguity to the otherwise black and white Star Wars universe is not unwelcome per se, but Cassian isn’t interesting enough to give it any real weight. (Really, none of the characters… See more →