torontomovieguy.bsky.social
@torontomovieguy.bsky.social
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Phantasm (1979) – Coscarelli’s headily imaginative low-budget mix, glued together by workable layers of free-floating trauma and anxiety
Orlando, my Political Biography (2023) – Preciado’s vibrantly fluid and intelligent work of enactment, criticism, testimony, celebration
Murder, my Sweet (Edward Dmytryk, 1944)
Tarzan the Ape Man (1932) – much of Van Dyke’s emblematic, carnally-charged movie remains logistically (if not attitudinally) impressive
Weathering With You (2019) – Shinkai’s beguilingly conceived & realized expression of teen hope & fragility, for a climate-fatalistic world
The Amusement Park (1975) – Romero’s effectively immediate catalogue of aggressions, rather amusingly wrapped in public service garb
The Man who Sold His Skin (2020) – Ben Hania’s uneasy and stilted quasi-satire leaves one more exasperated than challenged or informed
Battle Circus (1953) – Brooks’ pre-MASH Korean medic drama has sufficient weary authenticity to surmount some strained human dynamics
Intimacy (2001) – for all its artificiality and over-calculation, Chereau’s film pulsates with empathetic curiosity and investigative acuity
Too Wise Wives (1921) – despite its societally rarified setting, Weber’s film pulsates with marital frustration and economic insecurity
In Water (2023) – Hong’s brief film is evasive even by his standards, and yet ultimately possessed of almost supernatural certainty
Dog Day Afternoon (1975) – a considerably over-extended but serendipity-touched drama, overseen by an energetically in-the-zone Lumet
Village of Doom (1983) – Tanaka’s drama feels insufficiently incisive at times, but the bloody final stretch is chillingly well-realized
Adam’s Rib (1949) – Cukor’s classic is expertly calibrated when in full flow, the underlying ideological debate still productively tangled
A Radiant Girl (2021) – Kiberlain’s heartbreaking, ethically lovely film crafts an intimately personal perspective on France’s wartime shame
Two Sisters from Boston (Henry Koster, 1946)
Countdown (1967) – Altman’s Altman-effacing early drama gets the job done, while feeling persistently familiar even if you’ve never seen it
La danse (2009) – a largely celebratory Wiseman work, prioritizing rehearsal and (often stunning) performance over institutional dissection
To the Devil a Daughter (Peter Sykes, 1976)