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msicism posts

M3GAN (Gerard Johnstone, 2023)

Hi folks, just wanted to drop in and say hello. I haven't been seeing too many films lately, since I've...

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Women Talking (Sarah Polley, 2022)

I should mention right away that I have not read the Miriam Toews novel on which Women Talking...

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Perpetrator (Jennifer Reeder, 2023)

Jennifer Reeder's new film Perpetrator is getting very strong reviews since premiering at the ...

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Playland (Georden West, 2023)

It's incredibly rare for first-time filmmakers to make great work their first time out. So as a general...

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A New Old Play (Qiu Jiongjiong, 2021)

Before trying to say anything halfway cogent about A New Old Play, I wanted to read 2023-02-17 03:17:34 +0000 UTC View Post

Escalated Horror

or, Notes on Two Prominent Art-Horror Flicks from 2022

Resurrection (Andrew Semans, 2022)...

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It's That Time Again

As the deadline for the 2023 Skandies rapidly approaches, I have time to watch a couple more eligi...

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Full Time (Éric Gravel, 2021)

A quick glance at Letterboxd confirms it: "a Dardennes version of Run Lola Run" is the popular...

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Walk Up (Hong Sangsoo, 2022)

Walk Up is a slight change-up for Hong, whose structural conceits have generally been somewhat...

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Marx Can Wait (Marco Bellocchio, 2021)

Marx Can Wait is perhaps a bit of a detour in Bellocchio's career, since he hasn't made very m...

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And the King Said, What a Fantastic Machine (Axel Danielson and Maximilien Van Aertryck, 2023)

The state-of-the-media doc Fantastic Machine left me in deep despair, but probably not for the...

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A Common Sequence (Mary Helena Clark and Mike Gibisser, 2023)

More so than in the past (I think -- I'd have to crunch the numbers), notable experimental filmmakers a...

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The Love of a Woman (Jean Grémillon, 1953)

I watched Grémillon's The Love of a Woman without realizing it was his final film. So quite b...

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Maldone (Jean Grémillon, 1928)

So I decided to start (admittedly a bit late) on my Grémillon odyssey with an early silent, one with a...

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My Mind Playing Tricks On Me

So a few weeks ago, I wrote about Through the Olive Trees, and as far as I was concerned it wa...

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Gush (Fox Maxy, 2023)

Expanding on the layered, accelerated style she has developed in her shorter films, Fox Maxy arrives at...

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This House (Miryam Charles, 2022)

There's a strange thing about "realism" that I've never quite understood. In many respects, the world w...

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Alcarràs (Carla Simón, 2022)

An underwhelming Golden Bear winner from a less-than-stellar competition, Alcarràs feels very...

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A Sudden Influx of Awesomeness (updated)

I receive email notifications when someone new joins this Patreon. And I was confused today by a sudden...

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Head Scratchers

Everything Everywhere All at Once (Daniel Kwan & Daniel Scheinert, 2022)

I w...

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Final Bit of Year-End Cramming

Apollo 10 1/2: A Space Age Childhood (Richard Linklater, 2022)

I turned this fil...

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Please Stand By...

Well, well, well. In addition to getting a touch of flu, my dad has gone into the hospital. He has pneu...

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Song of Retrospection (Ryu Ho-son, 1986)



Okay, so I needed a little break from all the 2022 films I've been mainlining, an...

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Safe Place (Juraj Lerotić, 2022)

A brief note on a Croatian film that has flown a bit under the radar during the 2022 festival season. <...

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A Brighter Summer Day (Edward Yang, 1991)

Considered by many to be Yang's masterpiece, A Brighter Summer Day certainly earns its four-ho...

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Still More Year-End Cramming

There There (Andrew Bujalski, 2022)

As I said on my now-deleted Letterboxd remar...

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White Noise (Noah Baumbach, 2022)

Baumbach's adaptation of the "unadaptable" Don DeLillo novel has at least two direct quotations from Go...

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Top Gun: Maverick (Joseph Kosinski, 2022)

"Lana."

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More Year-End Cramming

The Banshees of Inisherin (Martin McDonagh, 2022)

An essentially literary premis...

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I'm Not Asking, I'm Telling

Just so's you know, I got the Eclipse 34 set for Christmas, so January's director of the month will be ...

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