Jam’s nice.

No horror film builds dread in quite the same way as idly noticing from a date in a brief shot that this film starts in 2019.

An exploration not just of the Sackler family and their role in the opioid crisis and the art world but of how alternative communities live, thrive, and survive.

“And there’s this feeling, once you leave where you grew up, that you don’t totally belong there again.” When I was a kid in the ‘90s, we’d go on family holidays to resorts in places like Majorca and Malta.

PRIMAL FEAR contains some of the understated hallmarks of ‘90s thrillers: an obsession with property development; corruption that goes up to the highest levels of local government; questionable treatment of mental health issues; women that exist only in the orbit of men.

A West German B-movie horror, the best part of which is the interesting production design from the paintings influenced by Hieronymous Bosch to the locations evocative of Dark Souls.

Hen won’t share obvious excess with grotesque pig.

Quiet devastation erupts in discrete moments of an otherwise drawn-out trial. Alice Diop shows the processes of institutional justice in all their long, slow, and wordy reality with long shots on one person talking, defending herself, and repeating her life story for the court.

These days, a huge amount of money would be spent on special effects to make the boat chase actually look like it’s taking place in Venice.

Cate Blanchett plays Lydia Tár as a charming, authoritative, magnetic, and terrible person. We’re fully immersed in the life and perspective of a deeply unpleasant person and there’s a complex catharsis as the film charts her downfall.