laurence anyways -- part of me thinks it's so exceptional that it could be praised based "on principle." but that's like silly. xavier dolan throws a cinematic bash for his sweet laurence. i think the movie is a cinematic party and everyone's invited. i feel this movie confirms what i suspected, that dolan cares, his feelings are substantive, and i think accusations of self-indulgence are at this point unreasonable. dolan's emotional reach extends beyond the screen and into, at least, my heart. laurence anyways increased my sense of self. it made me feel less lonely. and in the evening of my viewing i felt sharply self-empowered, and during and after the movie i had fireworks in my soul. hope it sticks when it's released in the theaters. it could be cinema's ambassador.
post tenebras lux -- this girl runs through water puddles chasing cows and the sky darkens from deep purple to black and lightning cracks and mountains huddle in the background.
tchoupitoulas -- just thought "this movie is balzacian" and i think it is
bad fever -- movies like this will always be important, imo. ones that kind of strip things away. its ugly honesty, its secret tenderness. kentucker audley as eddie is like totally human and by the end of the movie you want things for him, like he's your dude, and i think it's amazing when movies do that.
dark horse -- my friends and i cheered for the cougar. i think we clapped for her and sometimes sighed and just got really into her. laughing thinking about her car and house. feel like solondz kind of mellowed his pessimism, 'cause this one's tough and sometimes mean and terrible, but i felt like he was saying "try harder," and i feel like if one sees that life is worth fighting for that's like, a good step forward.
the master -- i think a lot of us wanted pt to do something else. this movie was like flamboyantly formal. it's a formal exercise, sure. and we were like, what, we cried like toddlers. somehow this movie has struggled to align itself with values outside cinephilia. the scientology thing didn't stick. the best friends angle didn't ignite. post-war spiritual desolation, brand making, animalism, alcoholism, self-inquiry, magnetic personality -- none of it has really stuck out. but it's all there. in time it'll become more obvious that pt didn't let cinema down, we let pt down. only the movie matters. good movie. good job.
only the young -- i like felt like the movie was about me, you know. good job
blood of my blood -- don't want to forget how much i liked its handling of overlapping conversations/moments
open five 2 -- seems like kentucker audley really thought about what it'd feel like to watch this movie, which consideration seems like an advancement from like previous or other lowbudge movies. it's fluid. it's the new marker, that's all i mean
rust and bone -- it's so fun to remember and describe this movie
turn me on, dammit! -- kind of expected, right. a pretty, feeling, sexual-coming-of-age story. this one dialed me up.
perks of being a wallflower -- squeezing this one in 'cause it talked about depression and had rocky horror picture show reenactments. those things need movies. i don't understand like what happened with the aunt and i don't think that was necessary maybe. but, good movie.
the end
