Title: As Long as Shotguns Remain

Directors: Jonathan Vinel and Caroline Poggi

Released: February 7, 2014 (Berlin International Film Festival)

Runtime: 30 minutes

Available to stream: Exclusively on Mubi

As Long as Shotguns Remain (2014) follows the story of Joshua (Lucas Doméjean), a young man who is repeatedly forced to confront difficult decisions involving a shotgun. The film opens with a haunting revelation…Joshua’s best friend committed suicide using a shotgun. This sets the tone for a narrative driven by grief, loss, and moral conflict.

However, the pacing, while clearly intentional, works against the film’s overall impact. Rather than building tension, it feels sluggish, leaving some inconsequential scenes to drag on unnecessarily. This makes it incredibly difficult to fully invest in Joshua’s journey.

Speaking of, Lucas Doméjean delivers a solid performance as Joshua, capturing the character’s quiet turmoil. We get a sense of Joshua’s pain, but we’re never given enough to allow us to fully understand him. This lack of character development prevented me from forming a real connection, and as a result, the emotional stakes held no real value. Doméjean does what he can with the material, but the performance, like much of the film, is ultimately forgettable.

While As Long as Shotguns Remain (2014) has a premise that is full of potential, it disappointingly under-delivers.

Well, now it’s your turn.

If you’ve seen As Long as Shotguns Remain (2014), leave a comment below or reach out to me on Bluesky and let me know what you thought of it.

As always, follow me over on Letterboxd to see everything else that I’ve been watching.

I’ll see you next Monday for the final Mubi Monday of the year!

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Title: Yuki’s Sun

Director: Hayao Miyazaki

Released: December 29, 1972 (Japan)

Runtime: 5 minutes

Available to stream: Exclusively on Mubi

Yuki is an orphan who decides to always try to see the bright side of things. She’s taken in by a family that loves and cares for her. The only “issue” with Yuki is that she has this nasty habit of hitting people when she’s happy.

Things are going well for Yuki, that is, until the father of her new family is taken into custody. At this point, Yuki decides she’s going to seek out her birth parents. She rides a wild horse, hitches a ride on a train, and shows us that she’ll do whatever it takes.

Going into Yuki’s Sun (1972), I saw the runtime and wasn’t sure if I’d be able to review something that is just 5 minutes long. And even now, I’m still not sure what all there is to say. The story itself is very simple. I am honestly not familiar enough with animation from the 1970s to weigh-in on how this compares. But I can say that you can very clearly see the groundwork for what would become Miyazaki’s signature style.

Seeing as this was originally to be a pilot episode for an unmade series, it’s a little difficult to try and view this as a standalone animated short.

If anything, it’s worth checking out just to be able to see the solo directorial debut of Hayao Miyazaki.

So, if you’ve seen Yuki’s Sun (1972), what did you think of it?

Leave a comment below or reach out on Bluesky and let me know!

You can also check out my Letterboxd account to see my quick thoughts on everything else that I’ve been watching.

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Title: Owning Mahowny

Director: Richard Kwietniowski

Runtime: 1 hour 44 minutes

Released: January 23, 2003 (Sundance Film Festival)

Available to stream on: Prime Video

Owning Mahowny (2003) is based on the true story of a Canadian banker who embezzled millions. Philip Seymour Hoffman plays Dan Mahowny, a man who looks like the walking definition of ordinary. He’s unassuming, awkward, and somehow always disheveled. But underneath it all is a man with a crippling gambling addiction that he can’t control.

After being promoted to Assistant Branch Manager at his bank, Mahowny gains access to larger accounts. His boss remains completely unaware of Mahowny’s gambling problem, allowing him to skim money off these accounts unnoticed. Mahowny’s actions are motivated not by greed or the desire for wealth, but solely to feed the monster within.

His girlfriend, Belinda (Minnie Driver), works at the bank with him. While she knows about his gambling addiction, she remains in the dark about the embezzling. But make no mistake, Belinda is no fool. Driver gives her character a depth that could have easily been overlooked, showing both her loyalty to Mahowny and her growing frustration as she watches him spiral deeper and deeper into his addiction.

Mahowny doesn’t gamble for the thrill or for the money. It’s all about the compulsion. Hoffman plays him with incredible restraint, subtly conveying Mahowny’s quiet desperation. His performance is criminally underrated, with all the emotion packed into the smallest details from how he holds himself, how he avoids eye contact, and how every decision pulls him deeper into trouble.

As Mahowny’s gambling habits escalate, the tension intensifies. Casino manager Victor Foss (John Hurt) immediately senses Mahowny’s vulnerabilities. He’s not an overt villain, but his calm, professional demeanor makes it clear he’s more than happy to exploit Mahowny’s addiction. The casino scenes are intentionally stripped of glamour. The focus isn’t on the glitzy allure of gambling, but rather on how it feeds the beast of Mahowny’s addiction.

Owning Mahowny focuses on the banality of addiction and how it takes over a person’s life in a repetitive, mundane way. Mahowny’s days are filled with lies, fraudulent transactions, and high stakes gambling that somehow never feels exhilarating. The film’s tension comes from the quiet moments. The brief glance at a computer screen as Mahowny manipulates bank funds, the way he awkwardly brushes off questions from his co-workers, and the slight crack in his voice as he assures everyone he’s still in control.

This is not the kind of film you’d expect from a story about a bank manager embezzling millions. It’s not a fast-paced thriller or a flashy heist movie. Instead, it’s a character study that leans into the raw, real aspects of addiction.

Owning Mahowny was an unexpected gem that I’m glad I found. There’s no happy ending, and you won’t walk away feeling upbeat. But one thing is for sure, this film will linger with you long after the credits roll.

Well, you know the drill. Now it’s your turn.

Drop a comment below or reach out to me on Bluesky and let me know what you thought of Owning Mahowny (2003).

As always, give me a follow over on Letterboxd to see my quick thoughts on everything else that I’ve been watching.

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Title: Listen Up Philip

Director: Alex Ross Perry

Runtime: 1 hour 49 minutes

Released: January 20, 2014 (United States – Sundance Film Festival)

As of this writing, available to stream on: Mubi, Tubi, Kanopy, Peacock and Pluto

Listen Up Philip (2014) launches you headfirst into the messy, self-sabotaging life of its title character while challenging you to keep up. Philip (Jason Schwartzman) is a young novelist on the verge of literary fame. Sounds great, right? Sure, except for the fact that Philip seems almost incapable of handling all of this in a healthy way. He stomps through his relationships like Godzilla, leaving nothing but destruction in his wake.

Philip’s girlfriend, Ashley (Elisabeth Moss), unfortunately bears the brunt of this. Their relationship is very clearly limping along and struggling to survive. Immediately you’re drawn to Ashley and actively root for her to find an escape from Philip. And when the movie briefly shifts focus to her, things begin to breathe a little bit. Ashley’s scenes wind up being the emotional core of a story that feels deliberately cold throughout.

Director Alex Ross Perry uses narration (voiced by Eric Bogosian) to stitch the story together. The narrator attempts to fill in gaps with a sort of detachment that fits Philip’s world perfectly. It’s clever while also keeping you at arm’s length, making it intentionally harder to try and care about what’s happening. While this works for a while, by the end, I found myself wanting something a little more personal.

Visually, this oozes mood and style, perfectly complimenting the rather pretentious literary scene Philip inhabits. However, the pacing doesn’t always match the energy of its visuals. Some storylines (like Philip’s mentorship with washed-up author Ike Zimmerman (Jonathan Pryce)) feel somewhat underdeveloped, while others tend to linger too long without much of a payoff.

That being said, what keeps the film compelling is how unapologetically it digs into its characters’ flaws. Philip is an absolute disaster, but he’s a fascinating one, and Schwartzman captures every bitter, self-destructive moment with precision.

Listen Up Philip (2014) is sharp, witty, and full of biting observations about ambition, ego, and the damage we do to the people we think we care about. But it’s also a film that demands your attention while not rewarding your investment. You’ll laugh, cringe, and maybe even see aspects of yourself in Philip’s chaos. Although, by the time the credits roll, you’ll be glad to leave him behind.

Well, now it’s your turn. If you’ve seen Listen Up Philip (2014), tell me what you thought of it in the comments below or by reaching out to me on Bluesky.

As always, if you want to see what else I’m watching, give me a follow over on Letterboxd!

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Title: The Tube with a Hat

Director: Radu Jude

Runtime: 25 minutes

Released: November 1, 2006 (France – Montpellier Mediterranean Film Festival)

Available to stream: Exclusively on Mubi

On its surface, The Tube with a Hat (2006) is a rather simple film. A kid (Marian Bratu) and his father (Gabriel Spahiu) take their broken television across town to get it repaired, hopefully before 6pm so the kid can watch a Bruce Lee movie that’s airing. However, there’s quite a bit of heart packed into a brief twenty-five-minute runtime.

While there isn’t an effort to gloss over the poverty that this family lives in, there’s also not an unnecessary amount of time spent focusing on it either. Instead, director Radu Jude sprinkles in warmth and humor throughout their journey across town. Be it carrying the television across a haphazard bridge, onto a bus, or even the journey the father goes on to find the right replacement tube needed.

Muddy roads and grey skies are all the father and son see on their journey across town. This would make for a rather bleak watch, however, the interactions between the two and the genuine warmth and love between them, allows their bond to shine through.

There are no big dramatic moments or reveals, just a bunch of little details that draw you in and compel you to invest in the relationship between father and son. The film becomes more than just a journey to fix a busted television, it’s about the simple victories in life. And sometimes, the simple victories in life can mean the world.

So, have you seen The Tube with a Hat (2006)?

If so, let me know what you thought of it! You can drop a comment below or reach out to me over on Bluesky.

As always, give me a follow over on Letterboxd to stay caught up with everything else that I’ve been watching.

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Title: Modern Times

Director: Charlie Chaplin

Runtime: 1 hour 27 minutes

Released: February 5, 1936 (Premiere in NYC and theatrically released in Turkey)

Available to stream on: Criterion Channel, Kanopy, MAX, Prime, and Tubi

Charlie Chaplin’s Modern Times is a sharp look at how exhausting and overwhelming life can be when everything revolves around work and survival.

The story starts with the Tramp (Charlie Chaplin) working in a factory, struggling to keep up with an assembly line that’s moving way too fast. It quickly becomes clear how little workers are valued in this world, simply reduced to tools in a system that chews up workers and spits them out. For instance, the scene of the malfunctioning feeding machine meant to save time, yes, it’s funny, but it also perfectly captures the absurdity of trying to optimize every second of a worker’s shift and overall life.

Chaplin’s performance is magnetic. Without saying a word, he communicates so much through his expressions and movements, making the Tramp feel deeply human. When he does use his voice for the first time in film, during a gibberish song, it’s a standout moment that’s both surprising and impactful.

The visual design of the film is quite impressive. The factory scenes are massive and oppressive, with looming machines that appear to be lurking and waiting for their moment to swallow the Tramp whole. In contrast, there are softer, more hopeful moments, like when the Tramp imagines a modest, peaceful home. This balance keeps the film from feeling completely bleak and manages to highlight the hope that the Tramp never lets go of, no matter what life continuously throws at him.

If there’s a flaw, it’s that a few scenes run a little long. While the movie is just under 90 minutes, some parts feel like they could’ve been tightened up. Still, that isn’t enough to not recommend you watch this if you haven’t already seen it.

Modern Times is more than just a classic; it’s a thoughtful, surprisingly relevant look at the struggles of ordinary people trying to live in a system that often feels stacked against them. It’s as relevant in 2024 as it was in 1936.

Well, those are my thoughts on it, but what are yours?

If you’ve seen Modern Times (1936), let me hear your thoughts on it.

Drop a comment below or reach out to me over on Bluesky!

If you’re curious as to what else I’ve been watching, you can follow me over on Letterboxd.

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Title: Ok, Good

Director: Daniel Martinico

Runtime: 1 hour 29 minutes

Released: January 19, 2012 (Slamdance Film Festival)

Available to stream: Exclusively on Mubi

Ok, Good (2012) is a strange, unsettling look at the life of a struggling actor. It follows Paul Kaplan (Hugo Armstrong) as he tries to keep his career dreams alive through awkward auditions, grueling self-help routines, and what feels like a never-ending cycle of rejection. The film leans hard into its minimalist, almost experimental style, and while it has moments of power, more often than not it feels more frustrating than engaging.

Paul’s world is one of repetition. For instance, we see him rehearse, practice fake smiles, and endure bizarre self-help exercises over and over and over again. It’s clearly meant to reflect how stuck he is, and to its credit, the film nails that feeling of monotony and frustration. Some scenes are so uncomfortable they’re hard to watch, like a group therapy exercise where Paul struggles to fit in. These moments are painfully honest, but they also drag on too long, testing your patience.

Hugo Armstrong delivers a committed performance, and his ability to say so much with so little is impressive. Paul’s forced smiles and nervous energy make it clear just how much he’s struggling under the surface. Armstrong gives Paul a sense of vulnerability that’s relatable, even if the film keeps him at arm’s length emotionally.

Where the movie truly shines is in capturing the harsh reality of pursuing a dream. The endless grind of auditions, the weird industry rituals, the loneliness, it’s all here, and it feels uncomfortably real. But the film doesn’t go beyond showing us this reality. It doesn’t dig deeper into who Paul is or why he’s putting himself through all of this, which makes it hard to really connect with him and care about the outcome of his auditions.

The movie’s slow pace and repetitive nature might work for some, but for most, it’ll feel like an exercise in patience. There’s also the sound design, which uses silence and droning background noise to create tension. At times, it works, making you feel the weight of Paul’s isolation. Other times, it just feels empty and dull.

Ok, Good (2012) has a lot of ambition, and it’s clear Martinico wanted to create something that makes the audience think and feel. And in some ways, it succeeds, it’s a raw, unflinching look at failure and rejection. But it also feels like it’s holding something back. Without a stronger emotional connection or a more dynamic story, the film ends up being more interesting in concept than execution.

Well, now it’s your turn. If you’ve seen Ok, Good (2012), I want to hear your thoughts on it!

Drop a comment below or tell me what you thought over on Bluesky!

As always, you can keep up with everything else that I’ve been watching over on Letterboxd.

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Title: Wasp

Director: Andrea Arnold

Runtime: 26 minutes

Released: August 1, 2003 (Edinburgh International Film Festival)

Available to stream: Exclusively on Mubi

Andrea Arnold’s Wasp is a raw, emotional short film about a struggling single mom. Zoe (Natalie Press) has four kids, no money, and a chaotic life. When she runs into an old crush, Dave (Danny Dyer), things change.

Dave invites her out for a drink, and she jumps at the chance to escape her reality. There’s just one problem though, she has no one to watch her kids. Instead, she takes them along and leaves them outside the pub.

Zoe heads inside to flirt and feel carefree while her kids wait in the parking lot. They’re restless, hungry, and fending for themselves. The tension builds as Zoe’s attempt to relive her past collides with her responsibilities.

A buzzing wasp becomes a symbol for Zoe’s life, trapped, frustrated, and desperate for freedom. Things reach a breaking point when a crisis forces her to confront her choices. In that moment, Zoe realizes what really matters…her kids.

The film doesn’t sugarcoat anything. It shows the harsh realities of poverty and the pressures of single parenthood. Zoe is flawed but relatable, trying her best in impossible circumstances.

The simple plot is carried by powerful performances. Natalie Press captures Zoe’s vulnerability and desperation perfectly. The child actors add emotional weight, showing innocence amidst neglect.

Wasp isn’t polished or uplifting, but it’s deeply human. At only 26 minutes, it delivers quite a gut-punch. This Oscar-winning short will stay with you long after it ends.

If you’ve seen Wasp (2003), I want to hear what you thought of it.

Leave a comment below or reach out to me over on Bluesky!

Of course, as always, you can keep up with everything else that I’ve been watching over on Letterboxd.

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Title: The Blue Lamp

Director: Basil Dearden

Runtime: 1 hour 24 minutes

Released: January 19, 1950 (United Kingdom)

Available to stream on: Kanopy

George Dixon (Jack Warner) is a kind and well-respected policeman nearing retirement. His partner, Andy (Jimmy Hanley), is an eager young rookie determined to prove himself. Fortunately, George has taken Andy under his wing, guiding him through the ins and outs of their beat in a post-WWII working-class London neighborhood.

Their routine patrols take a dramatic turn when a reckless small-time criminal, Tom Riley (Dirk Bogarde), sets off a chain of events that shocks both the police force and the community. Riley’s chaotic actions lead to a devastating incident that unites the neighborhood and law enforcement in a determined effort to bring him to justice.

Will they succeed in tracking Riley down? And how will the community cope with the aftermath of his crimes?

One thing is certain about The Blue Lamp (1950): it’s not your typical “cop chases bad guy” film. While it’s a drama, it also carries a documentary-style realism that draws you in and makes the story feel authentic and engaging.

Some might dismiss it as copaganda, and that’s an understandable perspective, one I even initially shared during the opening scenes. However, as the story unfolds, it becomes less about glorifying law enforcement and more about capturing a time when police and communities worked together for the greater good. The film also reflects the post-WWII shift in crime, moving from organized to more random and senseless acts of violence.

The story’s impact relies heavily on its performances, and Jack Warner and Dirk Bogarde deliver brilliantly. Warner’s portrayal of George Dixon is warm and heartfelt, especially in his mentor-like relationship with the younger Andy. Meanwhile, Bogarde is chilling and unforgettable as the unpredictable Tom Riley, bringing a sharp edge to the film’s tension.

If you’re a fan of crime dramas with depth and heart, The Blue Lamp is worth your time.

Now it’s your turn.

If you’ve seen The Blue Lamp (1950), let me hear your thoughts on it in the comments below!

Find me over on Bluesky and keep up with everything else I’ve been watching over on Letterboxd.

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Title: The Substance

Director: Martín Rejtman

Runtime: 1 hour 29 minutes

Released: September 22, 2023 (Festival de San Sebastián – Spain)

Available to stream on: Mubi

Gustavo (Esteban Bigliardi) is an Argentinian yoga instructor living in Chile, where he runs his own yoga studio. For him, the studio is a source of stability.

His wife, Vanesa (Manuela Oyarzún), who is also a yoga instructor, has left him. Instead of sharing the studio as they used to, she now plans to teach her classes from their apartment, the one she kept after the separation. Though they’re already separated, Vanesa and Gustavo still attend couples’ therapy. Vanesa seems to be going through the motions, while Gustavo appears to believe these sessions might save their relationship.

But Gustavo’s troubles go beyond therapy and his ex-wife. Even his safe haven, the yoga studio, is about to become a source of frustration. During a class, what Gustavo assumes is an earthquake causes a folding screen to fall and knock out one of his students. When she regains consciousness, she has lost her memory. Meanwhile, in an attempt to attract new students, Gustavo offers trial classes. But after one of these sessions, with only one new person present in the class, everyone’s cell phones mysteriously go missing.

A comedy of errors unfolds as Gustavo tries to find peace through yoga, but obstacles seem to follow him everywhere.

Will his luck ever turn around?

Esteban Bigliardi’s performance is the saving grace of The Practice (2023). His portrayal of Gustavo brings a sincere innocence to the character that keeps you engaged throughout.

The film’s concept succeeds as observational comedy, but it quickly begins to repeat familiar tropes. While there are many supporting characters, their storylines aren’t developed enough to keep the narrative feeling fresh. Despite a runtime of just under 90 minutes, the film could benefit from being about 25 minutes shorter, making it more suited to a 45-55 minute short.

That said, there are worse ways to spend 89 minutes. I’m not suggesting you rush to watch The Practice, but if you have some time to fill, give it a watch and let me know what you think.

Have you seen The Practice (2023)?

If so, drop a comment or reach out to me on Bluesky, Letterboxd, and/or Instagram, and let me hear it!

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