• Cinephilia

    2020 [in films]

    For reasons that are probably obvious, I watched more films in 2020 than in any year since I’ve been keeping track (which is nearly a decade now!). I typically barely break 200 films in twelve months (if that), what with things like work and a social life keeping me from spending days on end with movie after movie. With no such obstacles this year, I’ve logged a whopping 267* films, and what a year it’s been. This year I was much more active on Letterboxd (follow me!), even signing up for the pro account to get some more insights into my own movie-watching data. Looking back on this very strange…

  • Cinephilia

    Review: Promising Young Woman

    This time last year, I was writing about the film that ultimately landed at the top of my Best Films of 2019 list: Greta Gerwig’s Little Women. In Gerwig’s capable hands, Louisa May Alcott’s all-American story of the March sisters growing up in the shadow of the Civil War became a sort of feminist treatise on choice, agency and self-reliance, as each young woman claims her right to live her life exactly as she wishes. It’s an adaptation of the classic story that is unlikely to have emerged from a male filmmaker’s imagination, and perhaps not even from a woman’s at any other moment except for now (even Gillian Armstrong’s…

  • Cinephilia

    Review: Soul

    It’s fair to say that the cinema experience is richer, more impressive, more memorable when it takes place in an actual movie theater (as opposed to from one’s couch), something I’ve missed sorely this last year. That pang of longing hit me quite sharply as the credits rolled on Soul, Pixar’s latest animated triumph about a jazz musician with big dreams whose plans are unexpectedly upended on what might’ve just been the best day of his life. Watching the credits on a film isn’t just for cinephiles; if it’s not something you do already, I recommend starting the practice (streaming service “autoplay” buttons be damned). There’s all the people involved…