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Come Coyote (Dani and Sheilah ReStack, 2019)

In 1975, Los Angeles painter Edward Ruscha made one of his definitive works. A "drawing" made with onio...

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Cannes It, Buddy

This is Alex Billington. He is one of the worst film critics on the planet. And he always gets to go to...

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Yomeddine (Abu Bakr Shawky, 2018)

Woe be to the Un Certain Regard level film that somehow gets bumped up to Competition. After all, consi...

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Noise (Olivier Assayas, 2006)

A document of various performances from the 2005 Art Rock Festival in St. Brieuc, France, Noise View Post

Busy in the Land of Due Diligence

Just a quick note to say, I've been busy at my day job, watching a passel of student films made for my ...

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The New King of Comedy (Stephen Chow, 2019)

Note to self: when the world of cinema is letting you down, just see a Stephen Chow movie.

For on...

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High Life (Claire Denis, 2018)

Sorry, I'm afraid it doesn't quite work. Certainly from the very first shot, Denis and cinematographer ...

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I Don't Rate TV Shows...

...but thus far Taskmaster gets a [7].

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Unexpected Brakhage Discovery

Big news! It seems that Stan Brakhage produced a heretofore unknown-to-me sequel to 23rd Psalm Bran...

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Sunset (László Nemes, 2018)

Sunset is a film I quite like in theory. It has a relentless formal style from which it never ...

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Fuck Camp


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These Are the Jokes, Folks

You know, at this point I've been pretty much all over America. And everywhere I go, people want to kno...

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Hidden Man (Jiang Wen, 2018)

Jeez, what a slog. I've quite admired Jiang Wen as a director in the past, and although there's a very ...

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Uncle Waz's Corner for Unsolicited Advice


So yeah, sorry, I haven't posted in a minute. In addition to things being intensely awful ar...

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Phil Solomon (1954-2019)

I have only just minutes ago learned that filmmaker Phil Solomon has passed away. Phil had been in poor...

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I Wasn't Missing Twitter, But...

It's been two-and-a-half weeks since logging off social media. Generally I feel fine about it. When I g...

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Her Smell (Alex Ross Perry, 2018)

This is without question Perry's most emotionally direct film since The Color Wheel, although ...

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My Ain Folk (Bill Douglas, 1973)

I suppose a question exists as to how fully I can evaluate My Ain Folk, given that it is the m...

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Peterloo (Mike Leigh, 2018)

This is a somewhat unconventional effort from Mike Leigh, who has tended in his period pieces to avoid ...

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It's In The Game (Sondra Perry, 2017)

Thanks to my friend James Hansen, I got to see the video portion of Sondra Perry's multimedia installat...

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Dragged Across Concrete (S. Craig Zahler, 2018)

Who is the director behind the mask?

Recently I heard a set by British comedian Nish Kum...

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A Bit of Feedback


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The Kids Don't Stand a Chance

This semester I have been teaching a "Literature and Film" course, and overall it has been reasonably s...

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Shiny Happy People (Holding Hands)

As Mike D'Angelo will happily tell anyone in earshot, I love to read spoilers. If it's going to be awhi...

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Glass (M. Night Shyamalan, 2019)

You gotta give M. Night some credit. When it came time to jumpstart his floundering career, he didn't g...

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Public Service Announcement

Hey, I'm not saying that any of my patrons would do anything as shady as bittorrent. But FYI, the uploa...

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Shadow (Zhang Yimou, 2018)

From what I recall, the reaction to Shadow was pretty muted coming out of Venice and Toronto l...

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What's Better Than Silence?

In "A Lecture," Hollis Frampton turns on the projector and begins with the basics. He allows the projec...

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So Pretty (Jessie Jeffrey Dunn Rovinelli, 2019)

A film so hybridized as to at times feel amorphous, So Pretty is nonetheless a singular, often...

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Fourteen (Dan Sallitt, 2019)

Like a strange hybrid of Pialat and Bergman, Dan Sallitt's new film explores the vicissitudes of a clos...

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