Calvin Kemph

@calvinkemph.bsky.social

Editor-in-Chief of The Twin Geeks, Seattle Film Critics Society member. thetwingeeks.com

One takeaway from You Can See Everything’s release model is we know about movies way too early. We got the trailer for the movie a few months ago. And now it’s out and the best movie of the year. That’s incredibly rare in movies. This should always be happening, with better movies.

Four hours with Elon Musk is more time than anyone should want to spend, but Alex Gibney’s latest is exhaustive and you probably already agree with it. MUSK uses the tools of the oppressor, perhaps because it already believes the end is here, and it’s too late. @seattlecritics.bsky.social

MUSK: World’s Always Burning

MUSK is too much time with Elon Musk. Four hours of your life is a hard bargain. You already agree, probably, as Musk is not some mysterious figure. There’s a whole social network where you can hea…

thetwingeeks.com

YOU CAN SEE EVERYTHING. Could not imagine wanting to hear another second about Elizabeth Holmes, but as incredulous audience surrogate Nathan Fielder proved me dead wrong for 174 consecutive minutes. His electrifying new documentary with Lance Oppenheim knocked the wind out of me like nothing else.

I wrote about Lisa Cholodenko's High Art, out now on @criterion.bsky.social. In her directorial debut, she evokes an era while tackling timeless concerns. I only wish Radha Mitchell and Ally Sheedy had more similarly substantial roles afterward--though it's not too late. @seattlecritics.bsky.social

All I've Got Is a Photograph: Looking Back at Lisa Cholodenko's 1998 Debut <i>High Art</i>

HIGH ART  (Lisa Cholodenko, USA, 1998, 101 minutes)  Every time I see your face  It reminds me of the places we used to go  But all I've got...

siffblog2.blogspot.com

Disclosure Day serves as a preamble to a better Spielberg movie we already have, more aligned with the science fiction of the past than it is invested in the present or the future. The result is an antiquated hopefulness and faith in collective thought. @seattlecritics.bsky.social

Disclosure Day: Today is Disclosure Day

Naïveté stirs itself into hyper-optimism in Steven Spielberg’s Disclosure Day. Spielberg — a talented filmmaker who could be the next M. Night Shyamalan — returns to blockbuster filmmaking with a h…

thetwingeeks.com

The Oscars had a whole speech about how documentary directors are often at odds with their government and at risk of being murdered for their films. But Best International Films are still submitted by their governments, and the award goes to the country.

Seemed as good a time as any time to revive a 2002 @siffnews.bsky.social piece I wrote about Douglas Sirk, melodrama (as something other than a pejorative), and the critics, filmmakers, and critic/filmmakers who saw the value in his work and took inspiration from it. @seattlecritics.bsky.social

Douglas Sirk: In Praise of Melodrama

Another piece I wrote for Reel News, SIFF's now-defunct publication for members, in 2002 (it was never online, because that was a different ...

siffblog2.blogspot.com

@seattlecritics.bsky.social noms are out! Come for Train Dreams, Sinners, One Battle After Another in BP, stay for Pacific Northwest awards, the best of PNW shorts, Eephus in ensemble, The Ugly Stepsister in International, and Bring Her Back in Best Villain. Proud of our group and picks as always.

Seattle Film Critics Society: 2025 Awards Nominations

Seattle, WA – The Seattle Film Critics Society (SFCS) has announced nominations for the 2025 SFCS Awards, honoring the year’s best in film. Ryan Coogler’s Sinners ties the all-time record…

thetwingeeks.com