Creep (Patrick Brice, 2015) --4/5
Answering a Craigslist ad, a man travels to a house in the wilderness to document a dying man's final days. Said man (played by Mark Duplass) is quite odd to say the least, and the unease never lets up. Short in length, high in scares and dread, I'm still thinking about it 4 or 5 days later.
Water Lilies (Celine Sciamma, 2014)-- 4.5/5
Celine Sciamma's debut feature is a queer, coming-of-age French drama about three 15-year-old girls exploring their own sexual identity, and linked together by their membership of a synchronised swimming team. I didn't expect to like it as much as I did, but the performances, the depth of its characters, along with pace and feel, made the film something special and meaningful. Also interesting to see Adele Haenel in an early role.
Dunkirk (Christopher Nolan, 2016)-- 3/5
Three timeline is the new three act. Nolan gets to put into practice a set of theories about time using a specific historical event. I guess it's better than lodging the theoretical into exposition.
The Lure (Agnieszka Smoczynska, 2017) -- 2/5
Horror, comedy, romance, musical, fantasy, fairytale art-house flick set in 1980s Warsaw about two mermaids who are adopted by a family of musicians. One mermaid sings, dances, falls in love; the other mermaid sings, dances, and kills people without remorse. Intriguing but never engaging or emotionally involving. Images are aesthetically composed but never alluring.
Colors (Dennis Hopper, 1988) -- 1/5
Yeah no nevermind mass incarceration, police brutality, socio-economic exclusion, drug abuse, objectification of black bodies, and institutionalized racism; the real victims here are the two well-meaning but jaded white cops.
XX (Roxane Benjamin, Annie Clark, Karyn Kusama, Jovanka Kuvokic, 2017)-- 2/5
Horror anthology of four standalone shorts, each helmed by a female director, and each starring a female lead. Initially promising but eventually disappointing, the film fails to deliver as a whole and is merely stitched together by a random stop-motion animated segment.
The Bad Batch (Ana Lily Amanpour, 2016) -- 1.5/5
Mad Max meets Rob Zombie-lite meets Burning Man. Temporarily engaging with certain actions and visuals, but ultimately just not my textual bag. Also, UCLA film school grad/cool kid Amanpour just looooooooves telling people she's done peyote. WE GET IT.
Your Name. (Makota Shinkai, 2016) -- 1/5
Soppy, frustratingly long and repetitive, time travel/body swap yarn. Nice Japanese animation punctuated by offputting, cheesy pop tunes. Not my cup of sake. Oh and hey btw, JUST CALL EACH OTHER!!!!! ON!!!! YOUR CELLULAR!!! DEVICES!!! YOU HOLLOW DESKTOP SCREENSAVER TEENS!!! WHAT THE FUCK!!!!
Girlhood (Celine Sciamma, 2015) -- 4.5/5
No it didn't take twelve years to make, you hush now. Sciamma's definitely in my top favorite contemporary filmmakers list. Beautiful, devastating work of art. This scene where the girls lip-sync their way through Rihanna's "Diamonds" in stolen designer clothing inside a posh Parisian hotel is one for the ages. They are their own light in a cold world. A momentary crux. Hypnotic. Sublime.
https://www.youtube.com/watch?v=W3lDo0v96D8&index=1&list=FLG5qjPsbAS1RWa8GPJpWF_A
Wednesday, January 24, 2018
Friday, January 19, 2018
* Star Wars: The Last Jedi (Rian Johnson, 2017): 3/5
Not interesting narratively, but cool use of red. I appreciated its funky, CGI-resistant, “guys-in-costumes-sitting-around-a-real-table” quality.
Lady Macbeth (William Oldroyd, 2017): 3/5
What if Jane Eyre didn’t take no shit?
The Killing of a Sacred Deer (Yorgos Lantimos, 2017): 4/5
The “talking as if you’re a polite alien” bit is just as funny here as in The Lobster. Very Kubrickian cinematography, plus Barry Keoghan offering my favorite supporting performance of the year as the friendly neighborhood psychopath.
Blade Runner 2049: 4.5/5
It Comes at Night (Trey Edward Shults, 2017): 2.5/5
We have met the enemy, and…get this...it’s us!!!!!
Brigsby Bear (Dave McKary, 2017): 3/5
If this movie was better, I would not reveal that (ok…spoiler) it’s the cross between Room and Be Kind, Rewind that everyone has been clamoring for (and not as good as either one.)
The Watch (Akiva Schaffer, 2012): 3/5
On February 25, 2012, neighborhood watch coordinator George Zimmerman shot and killed Trayvon Martin. Tragically, this caused 20th Century Fox to have to rename (from ”Neighborhood Watch”) and under-market this pretty funny Ben Stiller vehicle, released on July 27.
* Phantom Thread (Paul Thomas Anderson, 2017): 4.5/5
Beautiful and shaggy. As (almost) always, it’s a real pleasure to watch DDL.
Bright (David Ayer, 2017): 1.5/5
Anti-racism themed Netflix actioner is actually incredibly racist. Twist!
A Dark Song (Liam Gavin, 2017): 4/5
In this stealth remake of Stalker, a woman hires a self-doubting guide to perform an occult ritual that will grant her wish. Wonderfully unwholesome.
Good Time (The Safdie Brothers, 2017): 2.5/5
Dumb, sweaty characters wandering through amazing pretty/ugly slabs of red, green and yellow light.
Wednesday, January 10, 2018
The Circle (James Ponsoldt, 2017) -- 2/5
A 2-hour TED talk about why privacy is bad, I mean good, I mean bad? And about why freedom is good, I mean bad, I mean good?
The Thing (John Carpenter, 1982) -- 5/5
"Nobody trusts anybody now, and we're all very tired." What a horror and wonder to behold.
Misery (Rob Reiner, 1990)-- 3.5/5
I never knew Rob Reiner directed this. Who would've thought huh. Anyway, my sphincter still hasn't unclenched.
The Unknown Girl (Jean-Pierre & Luc Dardenne, 2016) -- 3/5
I was disappointed with the third act. It relied far too much upon conveniences for the plot in order to find a proper conclusion.
Kidnap (Luis Pietro, 2017) -- 1.5/5
Fun drinking game: take a shot whenever Halle Berry screams 'Oh God' and runs after something. You'll be plastered before the end of the first act.
Dead Ringer (Paul Henreid, 1964) -- 3/5
"Let's get Bette all middle-age sexy with Malden, then bring on the pathos!" A good premise, I must say.
Lemon (Janicza Bravo, 2017) -- 1/5
Ugh, the oppressive quirkiness. The oddness...so THICK. The whole movie works against itself in every regard.
Force Majeure (Ruben Ostlund, 2014) -- 4/5
A stunning examination of masculinity and how one split second decision made under duress can change a family unit. Authentic performances, restrained direction, gorgeous cinematography. A movie that tells a lot by doing little.
Rough Night (Lucia Aniello, 2017) -- 3.5/5
White girl version of Girls Trip meets Very Bad Things (1998). A generic-looking comedy with a million dick jokes, but surprisingly a decent studio comedy with a million dick jokes.
A 2-hour TED talk about why privacy is bad, I mean good, I mean bad? And about why freedom is good, I mean bad, I mean good?
The Thing (John Carpenter, 1982) -- 5/5
"Nobody trusts anybody now, and we're all very tired." What a horror and wonder to behold.
Misery (Rob Reiner, 1990)-- 3.5/5
I never knew Rob Reiner directed this. Who would've thought huh. Anyway, my sphincter still hasn't unclenched.
The Unknown Girl (Jean-Pierre & Luc Dardenne, 2016) -- 3/5
I was disappointed with the third act. It relied far too much upon conveniences for the plot in order to find a proper conclusion.
Kidnap (Luis Pietro, 2017) -- 1.5/5
Fun drinking game: take a shot whenever Halle Berry screams 'Oh God' and runs after something. You'll be plastered before the end of the first act.
Dead Ringer (Paul Henreid, 1964) -- 3/5
"Let's get Bette all middle-age sexy with Malden, then bring on the pathos!" A good premise, I must say.
Lemon (Janicza Bravo, 2017) -- 1/5
Ugh, the oppressive quirkiness. The oddness...so THICK. The whole movie works against itself in every regard.
Force Majeure (Ruben Ostlund, 2014) -- 4/5
A stunning examination of masculinity and how one split second decision made under duress can change a family unit. Authentic performances, restrained direction, gorgeous cinematography. A movie that tells a lot by doing little.
Rough Night (Lucia Aniello, 2017) -- 3.5/5
White girl version of Girls Trip meets Very Bad Things (1998). A generic-looking comedy with a million dick jokes, but surprisingly a decent studio comedy with a million dick jokes.
Wednesday, December 20, 2017
Split (M. Night Shyamalan, 2016): 1.5/5
Between this hacky shit and Atomic Blonde, James McAvoy deserves some kind of Most Acting award.
Whisper of the Heart (Yoshifumi Kondó, 1995): 3.5/5
A non-Miyazaki, non-fantasy Studio Ghibli movie. Charming, calm and lovely.
* Thor: Ragnarok (Taika Waititi, 2017): 3/5
The current state of Hollywood comedy.
* Coco (Lee Unkrich, 2017): 3/5
Pandering with style. At one point, Jack jumped out of his seat and screamed "Yeeaaaaahhhh" at the top of his voice.
* Lady Bird (Greta Gerwig, 2017): 3.5/5
What's not to like? Easily better than the last over-praised girl-coming-of-age movie.
* Call Me By Your Name (Luca Guadagnino, 2017): 5/5
Swoony, beautiful and (for me) extremely moving. Pleasurably antagonist-free. Timothée Chalamet turns in the performance of the year (and he's also one of the best things about Lady Bird).
The Circle (James Ponsoldt, 2017): 1/5
It's good to periodically re-calibrate with a really terrible movie. Talented people (including director Ponsoldt, writer Eggers, and co-star Hanks) making undercooked, out-of-touch, boring pablum.
* The Disaster Artist (James Franco, 2017): 3/5
Skin deep, but entertaining.
Between this hacky shit and Atomic Blonde, James McAvoy deserves some kind of Most Acting award.
Whisper of the Heart (Yoshifumi Kondó, 1995): 3.5/5
A non-Miyazaki, non-fantasy Studio Ghibli movie. Charming, calm and lovely.
* Thor: Ragnarok (Taika Waititi, 2017): 3/5
The current state of Hollywood comedy.
* Coco (Lee Unkrich, 2017): 3/5
Pandering with style. At one point, Jack jumped out of his seat and screamed "Yeeaaaaahhhh" at the top of his voice.
* Lady Bird (Greta Gerwig, 2017): 3.5/5
What's not to like? Easily better than the last over-praised girl-coming-of-age movie.
* Call Me By Your Name (Luca Guadagnino, 2017): 5/5
Swoony, beautiful and (for me) extremely moving. Pleasurably antagonist-free. Timothée Chalamet turns in the performance of the year (and he's also one of the best things about Lady Bird).
The Circle (James Ponsoldt, 2017): 1/5
It's good to periodically re-calibrate with a really terrible movie. Talented people (including director Ponsoldt, writer Eggers, and co-star Hanks) making undercooked, out-of-touch, boring pablum.
* The Disaster Artist (James Franco, 2017): 3/5
Skin deep, but entertaining.
Monday, December 18, 2017
The Unknown Girl (Jean-Pierre & Luc Dardenne, 2017): 3/5
At times reminded me of Diary of a Country Priest: an isolated public servant, trying to lead by example but lacking social skills, enters into a humiliating search for redemption. But this story of a modern doctor (who has no staff? or friends?) playing detective strained credulity at times. Nevertheless, lead actress Adele Haenel was mesmerizing in her single-minded intensity.
Good Time (Josh & Bennie Safdie, 2017): 4/5
Crisp, gritty heist film. Huge improvement over the pointless junkies-in-trash bags Heaven Knows What. NY-based DP Sean Price Williams is a talent to watch.
A Ghost Story (David Lowery, 2017): 3.5/5
I went in with low expectations, and was surprised and occasionally moved. Loved the decades-spanning montage sequence; time turns us all into ghosts.
Ain't Them Bodies Saints (David Lowery, 2013): 3/5
An overfamiliar genre piece (criminal dad on the run attempts to reunite with family), improved by atmosphere and acting (same leads as A Ghost Story).
Wormwood (Errol Morris, 2017): 4/5
Repetitive and overlong by an hour, but never dull. Will confirm your worst fears about government overreach in the name of National Security.
The B-Side: Elsa Dorfman's Portrait Photography (Errol Morris, 2017): 2/5
Dorfman's medium (the now-defunct large format Polaroid) is much more interesting than she is, and her subjects (primarily her family and Allen Ginsberg) aren't much to look at, either. A flattering minor work made by her neighbor in Cambridge.
The Crown, season 2 (2017): 4/5
Suffered for the lack of Winston Churchill, but I admire its continuing focus on the demands of duty, tradition, and the public good--and how quickly an institution can go off the rails when those principles are abandoned.
Gomorrah, rw (Matteo Garrone, 2008): 5/5
If only Scorsese would attempt a film like this, acknowledging the wide-reaching social effects of gangsterism and corruption, instead of focusing only on the macho theatrics...
Theremin: An Electronic Odyssey, rw (Steven M. Martin, 1993): 5/5
Music, electronics, spies, Stalin, unrequited love... you really can't make this stuff up. Enchanting, engrossing.
Arrival, rw (Dennis Villenueve, 2016): 4/5
Enemy, rw (Dennis Villenueve, 2013): 3.5/5
The Right Stuff, rw (Philip Kaufman, 1983): 4/5
Reds, rw (Warren Beatty, 1981): 4/5
Made me long for the days when Hollywood made smart, entertaining movies for adults, all year round.
Monte Walsh (William Fraker, 1970): 2.5/5
Poignant end-of-the-West story with Lee Marvin, Jack Palance, and Jeanne Moreau (as--surprise--a hooker with a heart of gold), marred by some overly broad humor. Part of my ongoing project to go deep in Jeanne Moreau's filmography.
*Dracula, rw (Tod Browning, 1932; with live accompaniment by Philip Glass and the Kronos Quartet, Segerstrom Hall, 10-28-2017): 4/5
The film comes alive only when Legosi is on screen; the score helped liven the dull parts. It was a bit strange having live accompaniment with a talking picture, but any chance to hear Kronos is sublime.
At times reminded me of Diary of a Country Priest: an isolated public servant, trying to lead by example but lacking social skills, enters into a humiliating search for redemption. But this story of a modern doctor (who has no staff? or friends?) playing detective strained credulity at times. Nevertheless, lead actress Adele Haenel was mesmerizing in her single-minded intensity.
Good Time (Josh & Bennie Safdie, 2017): 4/5
Crisp, gritty heist film. Huge improvement over the pointless junkies-in-trash bags Heaven Knows What. NY-based DP Sean Price Williams is a talent to watch.
A Ghost Story (David Lowery, 2017): 3.5/5
I went in with low expectations, and was surprised and occasionally moved. Loved the decades-spanning montage sequence; time turns us all into ghosts.
Ain't Them Bodies Saints (David Lowery, 2013): 3/5
An overfamiliar genre piece (criminal dad on the run attempts to reunite with family), improved by atmosphere and acting (same leads as A Ghost Story).
Wormwood (Errol Morris, 2017): 4/5
Repetitive and overlong by an hour, but never dull. Will confirm your worst fears about government overreach in the name of National Security.
The B-Side: Elsa Dorfman's Portrait Photography (Errol Morris, 2017): 2/5
Dorfman's medium (the now-defunct large format Polaroid) is much more interesting than she is, and her subjects (primarily her family and Allen Ginsberg) aren't much to look at, either. A flattering minor work made by her neighbor in Cambridge.
The Crown, season 2 (2017): 4/5
Suffered for the lack of Winston Churchill, but I admire its continuing focus on the demands of duty, tradition, and the public good--and how quickly an institution can go off the rails when those principles are abandoned.
Gomorrah, rw (Matteo Garrone, 2008): 5/5
If only Scorsese would attempt a film like this, acknowledging the wide-reaching social effects of gangsterism and corruption, instead of focusing only on the macho theatrics...
Theremin: An Electronic Odyssey, rw (Steven M. Martin, 1993): 5/5
Music, electronics, spies, Stalin, unrequited love... you really can't make this stuff up. Enchanting, engrossing.
Arrival, rw (Dennis Villenueve, 2016): 4/5
Enemy, rw (Dennis Villenueve, 2013): 3.5/5
The Right Stuff, rw (Philip Kaufman, 1983): 4/5
Reds, rw (Warren Beatty, 1981): 4/5
Made me long for the days when Hollywood made smart, entertaining movies for adults, all year round.
Monte Walsh (William Fraker, 1970): 2.5/5
Poignant end-of-the-West story with Lee Marvin, Jack Palance, and Jeanne Moreau (as--surprise--a hooker with a heart of gold), marred by some overly broad humor. Part of my ongoing project to go deep in Jeanne Moreau's filmography.
*Dracula, rw (Tod Browning, 1932; with live accompaniment by Philip Glass and the Kronos Quartet, Segerstrom Hall, 10-28-2017): 4/5
The film comes alive only when Legosi is on screen; the score helped liven the dull parts. It was a bit strange having live accompaniment with a talking picture, but any chance to hear Kronos is sublime.
Tuesday, December 12, 2017
Person to Person (Dustin Guy Defa, 2017) -- 4.5/5
Delightful and charming with brilliant dialogue. So real and organic, and coheres much more than you'd expect.
Landline (Gillian Robespierre, 2017) -- 1.5/5
Listen... this took me...three goddamn days to finish...because it was nothing but Straight People's Nonsense: The Movie. (And yet it made me gayer?) Generic, predictable... adds nothing to the genre.
Kate Plays Christine (Robert Greene, 2016) -- 3/5
Really had me up until the eye-rolling didactic final scene in what otherwise would have been an absorbing portrait of an actor's research project.
Christine (Antonio Campos, 2016) -- 3/5
Straight biopic. For what it lacks in offering any insight or relevance for resurrecting Christine Chubbuck, it makes up for a great lead performance. Also liked the ending.
Woodshock (Kate and Laura Mulleavy, 2017) -- 1/5
If I wanted to see a bunch of sad people smoke weed and be fundamentally unable to balance a coherent narrative with a frustratingly self-absorbed visual style, I'd go to film school.
Baby Driver (Edgar Wright, 2017) -- 2/5
Irksome. The lead actor (aka Vanilla White Bread) made me want to immediately bail and never look back, but the supporting cast upheld their end (Jamie Foxx especially, he totally saved it) and really, carried the whole movie.
Beach Rats (Eliza Hittman, 2017) -- 1/5
Derivative character study of a closeted bro. Formally and narratively unimaginative.
Good Time (Ben and Joshua Safdie, 2017) -- 4/5
Imagine a panic attack times 100-- that's this film. Robert Pattinson is truly next-level here.
Girls Trip (Malcolm D. Lee, 2017) -- 3.5/5
This will make you want to have friends and trip on absinthe. Tiffany Haddish STEALS the movie. Heaven must have sent her from above...
Delightful and charming with brilliant dialogue. So real and organic, and coheres much more than you'd expect.
Landline (Gillian Robespierre, 2017) -- 1.5/5
Listen... this took me...three goddamn days to finish...because it was nothing but Straight People's Nonsense: The Movie. (And yet it made me gayer?) Generic, predictable... adds nothing to the genre.
Kate Plays Christine (Robert Greene, 2016) -- 3/5
Really had me up until the eye-rolling didactic final scene in what otherwise would have been an absorbing portrait of an actor's research project.
Christine (Antonio Campos, 2016) -- 3/5
Straight biopic. For what it lacks in offering any insight or relevance for resurrecting Christine Chubbuck, it makes up for a great lead performance. Also liked the ending.
Woodshock (Kate and Laura Mulleavy, 2017) -- 1/5
If I wanted to see a bunch of sad people smoke weed and be fundamentally unable to balance a coherent narrative with a frustratingly self-absorbed visual style, I'd go to film school.
Baby Driver (Edgar Wright, 2017) -- 2/5
Irksome. The lead actor (aka Vanilla White Bread) made me want to immediately bail and never look back, but the supporting cast upheld their end (Jamie Foxx especially, he totally saved it) and really, carried the whole movie.
Beach Rats (Eliza Hittman, 2017) -- 1/5
Derivative character study of a closeted bro. Formally and narratively unimaginative.
Good Time (Ben and Joshua Safdie, 2017) -- 4/5
Imagine a panic attack times 100-- that's this film. Robert Pattinson is truly next-level here.
Girls Trip (Malcolm D. Lee, 2017) -- 3.5/5
This will make you want to have friends and trip on absinthe. Tiffany Haddish STEALS the movie. Heaven must have sent her from above...
Friday, November 24, 2017
The Death of Louis XIV (Albert Serra, 2016) -- 2/5
This is the kind of film that would be little harmed if most of its scenes were reshuffled in random order. I felt like I was staring at studies of the same (albeit gorgeous) Renaissance painting for 2 hours. Eschewing narrative is fine, but SOME dynamism should take its place. This is the wrong medium for stasis. Only watch if you're a Jean-Pierre Leaud completist!
The Blackcoat's Daughter (Oz Perkins, 2017) -- 3/5
Or: The Consequences of Having Don Draper as Your Father
It Comes At Night (Trey Edwards Schults, 2017) -- 2.5/5
Underwhelming "artsy" "horror" film. Very little here that actually deviates from the survivalist template.
A Ghost Story (David Lowery, 2017) -- 3/5
Liked the idea of a silent ghost as the protagonist; liked the representation of said ghost as a sheet with two eyeholes. What I didn't get was the central relationship. We just see so little of the husband and wife together prior to the car accident that their mourning across separate planes of existence functions purely on an abstract level.
mother! (Darren Aronofsky, 2017) -- 3/5
Just like the sink, I was NOT braced.
The Gift (Sam Raimi, 2000) -- 3/5
Southern Gothic supernatural thriller with a STACKED cast. (Cate Blanchett, Greg Kinnear, Hilary Swank, Keanu Reeves, Katie Holmes, J.K. Simmons, Giovanni Ribisi.) Atmospheric with eerie frames a'plenty.
William Gibson: No Maps for These Territories (Mark Neele, 2000) -- 1/5
Superficial interview in the backseat of a car about nothing
The Beguiled (Don Siegel, 1971) -- 3/5
Discomforting stuff. I, too, have no interest in seeing the re-make. I also just don't care for the basic premise. (Yes, it's a man being objectified for once, but only in the service of depicting women as sex-starved maniacs.)
Aimee and Jaguar (Max Faberbock, 1998) -- 2/5
Based on a true story about a love affair between two women (one a Good German, the other a Jew) amidst WWII. Sorry, but there's just no competing against Carol or Blue is the Warmest Color, or the Willow/Tara relationship on Buffy.
Better Than Chocolate (Anne Wheeler, 1999) --1/5
See above.
Southside With You (Richard Tanne, 2016) -- 1/5
Before Sunrise
Before Sunset
Before White House
This is the kind of film that would be little harmed if most of its scenes were reshuffled in random order. I felt like I was staring at studies of the same (albeit gorgeous) Renaissance painting for 2 hours. Eschewing narrative is fine, but SOME dynamism should take its place. This is the wrong medium for stasis. Only watch if you're a Jean-Pierre Leaud completist!
The Blackcoat's Daughter (Oz Perkins, 2017) -- 3/5
Or: The Consequences of Having Don Draper as Your Father
It Comes At Night (Trey Edwards Schults, 2017) -- 2.5/5
Underwhelming "artsy" "horror" film. Very little here that actually deviates from the survivalist template.
A Ghost Story (David Lowery, 2017) -- 3/5
Liked the idea of a silent ghost as the protagonist; liked the representation of said ghost as a sheet with two eyeholes. What I didn't get was the central relationship. We just see so little of the husband and wife together prior to the car accident that their mourning across separate planes of existence functions purely on an abstract level.
mother! (Darren Aronofsky, 2017) -- 3/5
Just like the sink, I was NOT braced.
The Gift (Sam Raimi, 2000) -- 3/5
Southern Gothic supernatural thriller with a STACKED cast. (Cate Blanchett, Greg Kinnear, Hilary Swank, Keanu Reeves, Katie Holmes, J.K. Simmons, Giovanni Ribisi.) Atmospheric with eerie frames a'plenty.
William Gibson: No Maps for These Territories (Mark Neele, 2000) -- 1/5
Superficial interview in the backseat of a car about nothing
The Beguiled (Don Siegel, 1971) -- 3/5
Discomforting stuff. I, too, have no interest in seeing the re-make. I also just don't care for the basic premise. (Yes, it's a man being objectified for once, but only in the service of depicting women as sex-starved maniacs.)
Aimee and Jaguar (Max Faberbock, 1998) -- 2/5
Based on a true story about a love affair between two women (one a Good German, the other a Jew) amidst WWII. Sorry, but there's just no competing against Carol or Blue is the Warmest Color, or the Willow/Tara relationship on Buffy.
Better Than Chocolate (Anne Wheeler, 1999) --1/5
See above.
Southside With You (Richard Tanne, 2016) -- 1/5
Before Sunrise
Before Sunset
Before White House
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