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A Note About Beyoncé's "Black Is King"

I'm of two minds about this. Overall I think it's great how Ms. Knowles-Carter has essentially taken mi...

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Two Shorts by Matthew Rankin

Although I quite enjoyed Matthew Rankin's feature debut The Twentieth Century, there was a nag...

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Fireworks Wednesday (Asghar Farhadi, 2006)

Objectively "good," just not for me. The thing that has impressed me so much about both A Separatio...

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Klute (Alan J. Pakula, 1971)

This is one of those classics that I feel a bit sheepish about writing up. Is there really any more to ...

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Una película en color (Bruno Delgado Ramo, 2019)

First off, thanks to Jordan Cronk for alerting me to the existence of this experimental gem, a new work...

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Shirley (Josephine Decker, 2020)

By far my favorite film by @josephinejambox, although that admission makes me feel a bit guilty, I supp...

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Rest in Peace, Regis.

A TV legend, a man of great talent and integrity who never took himself too seriously. For non-American readers unfamiliar with Regis Philbin, his closest international peer would be Bruce Forsyth ...

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Martha (Rainer Werner Fassbinder, 1974)

One of the handful of Fassbinders I had not seen, Martha is striking for a number of reasons. ...

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Post-Twitter Waste of Time

I should really know better.

Lately I've been wasting time at a site called 2020-07-20 21:02:08 +0000 UTC View Post

I Am Somebody (Madeline Anderson, 1970) + two others

A truly stunning document, Madeline Anderson's I Am Somebody is a complicated film to watch ri...

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Glen or Glenda (Edward D. Wood, Jr., 1953)

I've always been a fan of Wood's Plan 9 From Outer Space, despite the protestations of tastema...

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Family Romance, LLC (Werner Herzog, 2019)

Herzog's latest -- a fiction film that often resembles a documentary -- is a frustrating film that I of...

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The Long Haul

Watching an eight-hour film on F******l S***e, with its shoddy-ass streaming, is going to take some tim...

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Oh Mercy [Roubaux, un lumière] (Arnaud Desplechin, 2019)

[CONTAINS SPOILERS]

To say that Desplechin's latest film is "odd" would be accurate, but misleadi...

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Idiotboxing

Okay, so when you're under quarantine with your partner, you do things you might not otherwise do, to i...

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Maggie's Farm (James Benning, 2020)

Well, I wake up in the morning
Fold my hands and pray for rain
I got a head full of ideas
...

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It's That Time Again, Friends!

Having exhausted many of my options, yet wanting to remain semi-relevant to the critical conversations ...

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Never Rarely Sometimes Always (Eliza Hittman, 2020)

Eliza Hittman's third feature film is difficult to evaluate. In some ways it's tempting to simply give ...

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One Day in the Life of Noah Piugattuk (Zacharias Kunuk, 2019)

Zacharias Kunuk is the world's leading director in the Inuktitut language. Why doesn't that translate t...

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One Way Boogie Woogie (James Benning, 1977) and 27 Years Later (James Benning, 2005)

Some of my readers may be surprised that I had not already seen One Way Boogie Woogie, which m...

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A Couple of Quick Thoughts

NOTE: Now that I am summarily banned from Twitter, I will occasionally be dropping quickie posts like t...

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Crime Wave (John Paizs, 1985)

One of those films I always meant to catch up with just based on its reputation, Crime Wave, t...

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Color Out of Space (Richard Stanley, 2019)

The Fuschia is Now....

One of the most interesting things about Color Out of Space View Post

Days of Cannibalism (Teboho Edkins, 2020)

While watching films for the Visions du Réel festival, I caught Teboho Edkins' medium-length documenta...

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Martin Eden (Pietro Marcello, 2019)

Pietro Marcello is a director who, for me, has been hovering in the "interesting" zone for quite some t...

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Miss Juneteenth (Channing Godfrey Peoples, 2020)

A reasonably promising debut film, Miss Juneteenth speaks to the difficulty of funding and pro...

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HyperNormalisation (Adam Curtis, 2016)

By popular demand, here is the brief review I wrote about Curtis's 2016 iteration of his usual libertarian, Chapo-approved cant. I am not going to pretend that he does not make a few good points he...

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Say Their Names.

Tete Gulley (Portland, OR -- May 27)

Malcolm Harsch (Victorville, CA -- May 31)

Dominique Alexander (New York, NY -- June 9)

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The King of Staten Island (Judd Apatow, 2020)

I'll get over you, I know I will / though you messed me up by dyin'

I'll get over yo...

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Inventing the Future (Isiah Medina, 2020)

Isiah Medina's follow-up to the exhilarating 88:88 goes in a considerably different direction,...

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