On paper, the most disturbing of these Anderson adaptaions of Dahl but this one didn’t quite click.

A wonderful microcosm of Anderson unearthing sincerity from layers of artifice while drawing attention to the artifice.

A compelling experiment in marrying Anderson and Yeoman’s aesthetic to a straight adaptation although Dahl’s original text contains several Anderson hallmarks: nested structure; quick-wittedness.

A best-of of the Alien franchise that brings together the best elements of the series but never manages to resolve the franchise’s long-running identity crisis.

A grand, sweeping science-fiction spectacle that is utterly hampered by the script’s atrocious dialogue, clunky exposition, weird pacing, and scientist characters that never act like scientists.

An undeniably bourgeois but sensitive drama about the dull yet emotionally fraught admin and logistics of the end of a life.

EL CONDE’s opening narration carries the underlying implication that the major figures of late 20th Century neoliberalism were literal vampires. By the end, any subtlety to this satire is gone and the heavy-handedness of the allegory becomes rather draining.

I’ve been to that carousel in Brooklyn: walked around the riverfront and had my photo taken in front of the Manhattan backdrop by the person I love.

A very charming little film about loneliness, ennui, and displacement. The film is driven by Anaita Wali Zada’s subtly expressive central performance but there’s something to love in both of the other two central players, Gregg Turkington and Jeremy Allen White, each expressing a different facet of American loneliness.

The faces of white people are always obscured in BROTHER, either positioned just out of frame or out of focus in the background of a shot.