Film Reviews
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the freshness of being
I couldn’t stop watching it. Again. Like, the film is two hours and forty fucking minutes long. It’s also been a solid two years or so since the first time I saw it. And it’s not the same. I thought it would feel slower. That I would be made to feel each agonising camera movement… Continue reading
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The world is so unutterably boring
Sometimes it’s the movement. Just the movement. As the light hits a blade of grass, or a leaf — something that’s completely out of a cinematographer’s control. Sometimes it’s the perfect placement of a vaguely recognisable object — like a syringe, or a coin, or a calendar page — just below the surface of a… Continue reading
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Dunkirk (2017)
David Cox’s no doubt controversial take on Christopher Nolan’s Dunkirk has spurred me to writing, and not, as you might think, to leap to the film’s defence. I saw Dunkirk on Saturday morning; not in IMAX, as Nolan would make everyone if he could legally do so, but at my local cinema, on a normal screen. I’d… Continue reading
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Stoker (2013)
I’ve frequently maintained that the best films stay with you. I don’t mean ‘best’ in terms of quality, necessarily — though that helps — but the best films in terms of those that actually meaningfully contribute to what we call cinema. The best films keep projecting into our temporal lobes long after the credits have… Continue reading
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Bridge of Spies (2015)
Bridge of Spies is up there with Spielberg’s best. Continue reading
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Whiplash (2014)
Critics, of all people, are certainly entitled to their opinion. And Richard Brody is by no means an unqualified critic. What Brody’s done here, though, is fundamentally misunderstand the thrust of the film he’s critiquing. It’s a trap that a great many critics fall into: thinking the film is about one thing, when it’s actually… Continue reading
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The 10th Victim (1965)
I found The 10th Victim on Letterboxd. I’m not sure exactly how it emerged in my field of view, but probably some crazy collision of Blade Runner, The Hunger Games, and 8 1/2. Regardless, I ordered the Bluray, then settled in for an evening of messed-up Italian future-noir. It took me a few runs at it, but… Continue reading
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A day of catching up
Not exactly emptying the Netflix queue, or making a dent in the Letterboxd watchlist, but still productive, I think. I also half-watched Mad Max: The Road Warrior and A Year In Champagne, which I’ll try to knock over by the end of the week. Primer (2004) I’m still not entirely sure what to make of… Continue reading
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GI No: The Rise of Nope-ra
A bout with an entirely new illness (to add to my five-week-long tussle with sinusitis) has left me with little desire to do anything productive with my time (to be fair, this illness is partly defined by severe lethargy). Thus I’ve taken time to catch up with a few movies and TV this weekend (including a sizeable chunk of… Continue reading
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The Awakening (2011)
I’ve never been a fan of horror cinema. I’m not sure whether that’s down to my experience of people hiring Saw LXII ad nauseum at Video Ezy, or my perhaps misguided decision to subject myself to The Exorcist, 28 Days Later, and Psycho in my formative years. Quite why I decided, then, to watch The… Continue reading
About Me
Daniel Binns is a media-maker and theorist of media and screen cultures. He is the author of The Hollywood War Film: Critical Observations from World War I to Iraq (2017), and Material Media-Making in the Digital Age (2021), and has published work on Netflix documentaries, drone cinematography, and film genres. Long walks on the beach are fine, but I much prefer cabins in the woods, board games, RPGs, and movies.
Daniel Binns 