Moo Moo Movie Reviews

One of Akira Kurosawa's later films, Dreams is a very hard movie to discuss, let alone review. It's a strange yet beautiful look at the surreal nature of our subconscious thought while also covering a broad range of themes. Beneath this movie's beauty is a tempered warning of humanity's destruction of the natural world we reside in. The movie has no central plot, rather, it relies on eight dreams that Kurosawa had, tied together by its central theme of a natural force at work. The dreams stretch from an apocalyptic hellscape to a beautiful village of watermills.  I struggle to write a review on this film like my past reviews. It's not possible to fully theorize each of the dreams as it's incredibly ambiguous and allows for endless interpretation. Perhaps they weren't meant to be interpreted literally, rather meant to be observed and their themes pondered on much like when Kurosawa first dreamt them. The dreams are deeply personal to Akira, with the main

Ari Aster's 2019 Swedish cult movie started with a bang, drawing me in immediately. The first scene is gripping and haunting, as the camera slowly pans up and enters the carbon monoxide filled house. In an effort to dart around spoilers, I'll stop here and encourage readers to first watch the movie but needless to say Midsommar begins perfectly, setting the tone and theme that will dictate what the rest of the movie will be like. But then, the movie slowly falls from its interesting premise and into its surrealist abyss. The plot runs as follows: Dani (Pugh) and Christian (Reynor) are a young American couple with a relationship on the brink of falling apart. But after a family tragedy keeps them together, a grieving Dani invites herself to join Christian and his friends on a trip to a once-in-a-lifetime midsummer festival in a remote Swedish village. What begins as a carefree summer holiday in a land of eternal sunlight takes a sinister turn when the insular villagers invite t

Robert Eggers is a name that may not need an introduction anymore, especially among hardcore film fans. His debut, The Witch, was an excellent period piece psychological horror flick. It established him as a filmmaker unafraid to explore unconventional narratives in unique ways. The Witch is still one of my favorite horror films, so there was a lot riding on Robert Eggers to deliver on his sophomore film. The plot runs as follows: Two lighthouse keepers (Pattinson and Dafoe) try to maintain their sanity while living on a remote and mysterious New England island in the 1890s. The Lighthouse is not a film for the undedicated or the faint of heart. It can be a bit of a tough watch at points, and shots can drag on for quite a while. It doesn't have any significant jumpscares, although it is full of shocking moments and disturbing imagery. Along with the content, it is captured in black and white and in an unconventional square frame. Both add to the feeling of detachment and oppr

Lindsay Anderson's 1968 counter-culture movie, If.... ,  is best described as messy and angry. Anderson's critique of British culture is incredibly clear. The movie's plot runs as follows: Teenage rebel Mick Travis (Malcolm McDowell) returns to his upper-crust English public school, caught between the sadistic older boys known as the Whips and the first-year students, known as Scum, who are forced to do their bidding. The petty thefts and anti-social behavior of Travis and his two henchmen, Johnny (David Wood) and Wallace (Richard Warwick), soon attract the attention of both the Whips and the school's out-of-touch administration and lead to an unexpected showdown. There's a lot to like and dislike about If...., so I'll start with what I thought was executed perfectly. McDowell's debut performance as Mick Travis is perfect, from the minute we meet Mick we see the mischieve behind his eyes. Dressed in all black, a whip calls him Guy Fawkes. McDowell helpe

I love this movie, not only is this neon-drenched movie a masterclass in the crime thriller genre, but it's certainly a testament to Robert Pattinson's versatile acting. Brilliantly directed by the Safdie Brother, the movie not only immerses the audience but also poses some thought-provoking questions regarding the United States' judicial system and the white privilege that comes with it. The plot runs as follows: A bank robber, Connie, (Pattinson) stops at nothing to free his mentally ill brother, Nick, (Ben Safdie) from prison after a bank job goes wrong. Connie launches himself into a nightlong odyssey through New York's dark and dangerous criminal underworld. For starters, Robert Pattinson is amazing. First time I watched this movie I barely recognized him. He captures the role fully, his eyes constantly darting and his body rigid and tense at all times. He brings the character of Connie to full front, embodying this antihero to the fullest. Not at one moment d