HeyJaredIDK DU CINÉMA
In which I watch every movie on my Letterboxd watchlist in the arbitrary order I added it
- Indexed issues, last 90 days
- 6
- Latest publication
- Sep 29, 2026
- Audience
- Checking…
- Earliest in this view
- Jul 22, 2026
Latest issues
IDK abt NOW, VOYAGER (1942) (opens the original)
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Last year, I spent nearly an entire post singing the perennial praises of Bette Davis, though after all my sweeping generalizations about her fire and thunder, it was a rude awakening to discover, this week, that she doesn’t always play the grande dame. Indeed, in Now, Voyager she is neither brassy nor bold, but mousy, meek, with glued-on eyebrows that are—alas!—too bushy to cock. Now, Voyager is the story of Charlotte Vale, a 30-something spinster on the brink of a nervous collapse, thanks, mos
IDK abt PERFORMANCE (1970) (opens the original)
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Now, here’s a movie I know from googling Mick Jagger for most of my adult life—usually in search of hair reference photos to hand to my nonplussed barber (as no amount of cut or color is gonna give me that shine). Performance is a British New Wave film that falls somewhere between Persona and A Clockwork Orange—remembered, mostly, for featuring a young Mick Jagger (in his brief bloom of beauty) in what’s widely considered his only tolerable role, probably because he’s pretty much just playing hi
IDK abt WITCHBOARD (1986) (opens the original)
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Witchboard (1986), not to be confused with Ouija (2014), Witchboard (2024), or either of its sequels (Witchboard 2: The Devil’s Doorway or Witchboard III: Possession (1993 and 1995, respectively), does not bring much to the table(top) by way of story—as anyone might guess, it’s a cautionary tale, in which a hodgepodge gang of punks and yuppies break out a Ouija board at a party and invite a seemingly benign spirit into their lives (though another reading, I suppose, is that this is the story of
IDK abt LIFE IS SWEET (1990) (opens the original)
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It’s true I have a sentimental relationship with director Mike Leigh (or a sentimental relationship with the soundtrack for his Topsy-Turvy, which I grew up with, but that might be more of a sentimental relationship with Gilbert and Sullivan, idk), but boy if he doesn’t get me every time. Take, for example, Life is Sweet, which features some of the vilest English vérité you can imagine: junkyards, and scouses, and so many ruddy, sweaty men with their dribbling mouths, including (but not exclusiv
IDK abt SHIN GODZILLA (2016) (opens the original)
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Now, I’m no expert on Godzilla—and while I’ve seen the original, yes, and a few of his American adventures (👀), I couldn’t begin to break down the breadth and breath (scales and scale?) between Mecha and Mega, Alpha, Baby, or any of his monstrous brothers, lovers, cousins (Mothra, perfect angel that she is, excepted). However, I do like to think that I’m a bit of an expert on the director of Shin Godzilla, Hideaki Anno, or an expert, at least, on his magnum opus, Neon Genesis Evangelion, which I
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