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Marty Supreme

Josh Safdie·2025·★★★★

This review may contain spoilers.

Marty Mauser is a confidence man, and the film is built almost entirely out of his energy: when he talks the world seemingly rearranges itself around him. I spent the whole thing wanting him to fail to the point where it coloured my enjoyment of the film.

Some of that is the Safdie method pointed somewhere new. In Uncut Gems, Howard Ratner was unbearable in a similar way, but he was prey: always the smallest man (figuratively) in the room, owing money to bigger ones, hunted through every scene. The sympathy was more structural; you root for anything being chased. Marty has the wind behind him. He gets the components of the underdog (small man, big rivals, sport as the ladder out) while functioning as a predator on everyone within reach. I didn’t enjoy the mismatch.

The consequences do arrive but they’re a little more bureaucratic rather than escalating: too late to enter the Championship because of his own scheming, flying home with GIs because he’s burned his passage, missing the birth of his son. Every closed door in the last act is one he built himself.

And he never seems to notice. He talks his way past each of them exactly as he’s talked his way past everything else, right up to demanding a real rematch with Endo. The confidence man suddenly insisting on the genuine article, perhaps the neatest trick he pulls and, like me, if you aren’t charmed, the one worked on the audience rather than by the character.

Which leaves the recognition nowhere to happen except that final shot: hands clamped over the mouth that ran the whole con, glasses still on, weeping at a baby behind glass in a room full of other people’s children. It’s beautifully played, almost entirely through containment. It’s also the only available location for a humbling the film never dramatises anywhere the camera can see, and the readings I’ve come across all say the same things: trading fame for family, coming to terms, the repercussions sinking in, etc. I don’t agree. He didn’t trade anything. He ran out of options and then cried where nobody could watch him do it. And anyway, who’s to say fatherhood isn’t the next scheme he’s going to try to exploit?

Bullets Over Broadway

Woody Allen·1994·★★★½· Rewatched

Cusack, in the Allen role, plays David Shayne, a playwright certain of his own genius, and spends the film discovering he isn’t the best writer in the room. That honour goes to Palminteri’s mobster bodyguard, who keeps improving the script from the wings. Cusack plays the straight man to all the noise and never begs for sympathy.

Playing moral compromise is something Cusack has always been good at. Shayne trades his principles one small concession at a time, and Cusack maps that slide without softening it or asking you to forgive him. It foreshadows the negotiated conscience he’d later bring to Grosse Pointe Blank.

Mixed feelings about Woody Allen, clearly, but this is one of my favourites of his.

film·comedycrimenew-york-cityfemale-lovertalentmafia-boss·amazonprimesummer-of-cusack

Is This Thing On?

Bradley Cooper·2025·★★★★

Cooper’s least showy film and for me his best. The stand-up scenes could have been a vanity exercise for everyone involved; instead they’re the most honest stretch of the film. I’ve enjoyed Arnett’s bluster for years but he’s doing something else here and it suits him. Dern matches him scene for scene and then some, especially in the back half once Tess stops absorbing and starts pushing back. They feel like two people who have actually been married. I really enjoyed this.

Half Nelson

Ryan Fleck·2006·★★★★· Rewatched

Back to this after 15+ years. Gosling and Epps are outstanding, and it quietly avoids white-saviour clichés. Intimate, honest and unsentimental, and I love how the Broken Social Scene songs are woven through it.

Eternal Sunshine of the Spotless Mind

Michel Gondry·2004·★★★★★· Rewatched

I have vivid memories of watching this at the cinema, especially the delayed opening credits and Beck’s “Everybody’s Gotta Learn Sometime” arriving about 20 minutes in. A song I had no idea was coming. Its appearance and reprise at the end are moments that have stuck with me.

The nonlinearity isn’t as complicated as it first felt, but it still keeps repeat viewings interesting.

Above all, it’s just such a fucking good *film. *A story that could only work in cinema, and a beautiful collaboration from Gondry, Kaufman and Bismuth all at or near the height of their powers.