‘Actress’ is a Diary That We Shouldn’t Be Seeing


Actress is a 2014 documentary that just became available to stream on Netflix. Watch it here.

Films like Actress baffle me whenever I see them. Whilst I will never want to be that person who tells someone who took their time and energy to make a movie that it was poorly spent I wonder.

Actress is a film about Brandy Burre, who had a recurring role on The Wire. Currently a mother of two and after taking a long hiatus from the world of acting wants to return. While that’s the general gist of the film it feels almost tangential to the film’s content itself to call that a synopsis. This movie quickly becomes an almost snapshot of Burre’s life in the moment, and that’s the problem. Continue reading

Blindspot: Chungking Express (1994)

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Am I really just to give up entirely and Wong Kar Wai? Last year I was one of the many who championed his foray into action cinema where he made drama the centerpiece with The Grandmaster and I discovered (almost like Columbus himself) the beauty that is In the Mood For Love, so where have I gone wrong?

Wong Kar Wai continues with his disjointed stories that focus on the places that people intersect in and allowing us to be enamoured by how easily the pass by one another and how wonderful it is when they decide to sit and pause and actually interact. We follow two different ‘love’ stories over the course of this film between two different police officers who have recently been left single and alone (which I believe are two not so exclusive states)  as they have fleeting evenings of love with estranged women; one being a figure in the underground and the other one who helps in her cousin’s food shop. Continue reading

Blindspot: The Great Dictator (1940)

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Two years ago I watched City Lights, my very first Charlie Chaplin film. There’s something about firsts that stay with us. No matter what we’re always seeking to replicate that feeling while at the same time always remembering the joy it brought us. It’s an impossible feat for anything to accomplish on it’s second or third attempts at hitting that very same experience again. So why is it I feel so bitter sweet about this one? Continue reading

Movie of the Week: ‘Gray’s Anatomy’ Talks Life Neurosis Medically through a Raconteur

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How do you discuss a film that is nothing more than a microphone and a man telling a story? I’m not quite certain. I’m used to — even though I’ve tried desperately to ignore this type of formatting — having a few different elements to talk about but this movie is so simple that it seems difficult to not view it in binary as opposed to in some sort of multi-faceted thing where I can break it apart and tick of some checkboxes or not.

This film however, really isn’t just a man telling a story. It exists in a weird subspace of genre specific filmmaking. It isn’t necessarily a fully formed fictional film as we sit there listening to Spalding Gray tell us about the journey he went on after discovering a medical issue he began to have with one of his eyes. Being a neurotic New Yorker, very much in the vain of Woody Allen, with a fear of hospitals his journey involves him not just worrying about the fact that there is a problem but his requirement to discover a solution that isn’t tied to medical science. This can’t be anything other than great can it? Continue reading

Movie of the Week: ‘The Fisher King’ or When Terry G. Finally Answered The ‘Love Conquers All’ Subtitle


Movie of the week is a feature where each week I will discuss a film outside of the general new releases and limited VOD films of the year that is now. It will give me a chance to keep diving into older and more niche aspects of cinema and also allow me more freedom in which films I discuss on the site. Expect a lot more content here on the site as of today. This is a new Andrew writing and I hope you guys will enjoy it.

If there’s one story all Terry Gilliam fans are very familiar with it’s the tale of his continued struggle with the studio production of his films. More specifically the tale of the studio production of his most infamous work, Brazil. The film apparently — as I admit to having never actually seen this shorter cut — upon initial theatrical release was reportedly cut by the studio executives to have “happier ending” which mean’t that the final 40 or so mins were missing. This ended up being in the papers as Gilliam took out an ad to publish a letter to the studio executive asking a very important question… Continue reading