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@jonathanmoya1955
The Soft Collapse of a Serve: The Dink and the Weight of Small Joys The Dink is a gently bruised studio comedy that never fully finds its footing but carries enough charm to stay afloat. Jake Johnson and Mary Steenburgen give the film its emotional resonance, even as the script wavers between tones....
Nirvanna the Band the Show the Movie — A Broken-Hearted Riot A chaotic and wistful return to Matt Johnson’s early creative terrain, Nirvanna the Band the Show the Movie blends unruly comedy with a quietly aching portrait of friendship under strain. Its imperfections reveal its heart, making the film a messy but memorable entry in Johnson’s evolving body of work....
Blue Heron Finds Its Wound and Keeps It Open Blue Heron is a tender, fractured exploration of memory and the limits of understanding, guided by Sophy Romvari’s restrained direction and Amy Zimmer’s quietly affecting performance. The film’s sadness is persistent yet purposeful, offering catharsis without pretending to offer answers....
Evening Shades I wrote Evening Shades after reading H.D.’s Evening and wanting to translate its floral disappearance into a diagnostic one. The poem examines how light and shadow behave inside the body—how visibility itself becomes a kind of haunting.
A Useful Ghost: Dust, Desire, and the Weight of Remembering A Useful Ghost blends bawdy humor, political critique, and aching tenderness into a shape-shifting narrative anchored by Davika Hoorne’s mournful, magnetic performance. Ratchapoom Boonbunchachoke’s debut feature is messy, daring, and quietly devastating, a film that refuses to let memory be erased....
MIROIRS NO. 3 — A FILM OF SHADOWS, RETURNS, AND UNSETTLING CARE Miroirs No. 3 continues Christian Petzold’s exploration of doubled identities and quiet emotional fractures, carried by a restrained, haunting performance from Paula Beer. The film’s sadness moves in steady currents, creating a lyrical, unsettling experience that lingers long after its final gesture....
England 5, France 3. The 7/18/26. Miami I wrote England 5, France 7/18/26 after watching the match and noticing how gestures—handshakes, hugs, stiff smiles—carry the residue of conflict and detente more precisely than words. The poem studies how surfaces record both trauma and victory without naming emotion....
REDUX REDUX AND THE GRIEF THAT WON’T SETTLE Redux Redux is a spare, melancholy multiverse thriller that turns repetition and grief into its central emotional engine. The McManus brothers deliver a mixed‑to‑positive indie film whose quiet mood and bruised lyricism linger longer than its uneven action....
Appalachian Funeral I wrote Appalachian Funeral after driving past an abandoned church near the highway outside Soddy-Daisy, Tennessee, where the wind carried dust from passing semis into the open doorway. The poem’s theme is the residue of faith and labor — how objects, not memory, hold the pressure of what’s gone.
Movie Review 3 Christopher Nolan’s Odyssey reimagines Homer’s epic with a star‑driven cast and monumental IMAX spectacle, blending mythic storytelling with Nolan’s signature temporal play. While visually stunning and ambitious, the film’s character work is uneven, with several roles underwritten and overshadowed by the director’s overpowering craft....
Large Language Questions I wrote Large Language Questions while testing how grammar itself can fracture under pressure. Each question turns syntax into a physical object—hinge, blade, lock—so that language becomes a machine grinding against desire....
Mike End Kicks: The Heartbeat in the Haze Mile End Kicks blends comic chaos with romantic drift, anchored by Barbie Ferreira’s grounded performance. Chandler Levack’s direction keeps the film warm even when its structure wavers, resulting in a slightly mixed but charming portrait of creative youth....
FACES OF DEATH (2026): A BLOOD‑SPLATTERED COMIC EPIC ABOUT WATCHING, NOT JUST DYING Daniel Goldhaber’s Faces of Death is a messy, ambitious, and darkly comic meta‑remake anchored by Barbara Ferreira’s steady, forceful performance. Its uneven tone becomes part of its charm, turning the film into a pseudo‑epic exploration of virality, spectatorship, and the strange hunger that drives digital attention....
The Dress This poem began with the image of a man holding a dress in a dim room, an object behaving as both memory and disguise. Its theme is how clothing can momentarily alter the body’s outline and expose what grief refuses to say....
Moana: Same Ocean, Smaller Waves The live‑action Moana recreates the animated film so literally that nearly all of its mythic charm and visual invention evaporate. Despite strong casting for Moana herself, the remake’s tonal misfires—especially around Maui—and its loss of animated expressiveness make it feel unnecessary, flattening a once vibrant story into a cautious, overly literal retread....
FORBIDDEN FRUITS: A MALL COVEN WITH MORE ATTITUDE THAN PURPOSE Forbidden Fruits delivers attitude, mall‑witch theatrics, and a few vicious shocks, but its aesthetic confidence outweighs its narrative ambition. Strong performances keep the film afloat even as its satire thins and its horror arrives without the groundwork it needs....
Ferry I wrote Ferry after watching a river crossing where sound and weight seemed to trade places. The poem explores how movement and release—mechanical, not emotional—can become a form of grace....