Dylan has written 310 reviews for films during 2020.

  • The Owners

    The Owners


    Don’t Bruv

  • Honest Thief

    Honest Thief


    One of my favorite tropes in these Redbox thrillers is when the protagonist goes to a hardware store to gear up for the final showdown. It’s gives me some small glimmer of hope that there’ll be some creative uses for power tools as lethal weapons, the possibilities are near endless! I guess what I’m really trying to say is that I just want Liam Neeson to wield a shop vac against a crooked authority figure or vague Eastern European mobster in one of these dumb movies. Is that too much to ask for?

  • Tenet



    You wouldn’t typically associate the term cult classic with a Christopher Nolan film, yet here we are in our twilight world. Travis Scott made a Bond song and not one single person batted an eye. Absolutely crazy.

  • The Midnight Sky

    The Midnight Sky


    Sci-Fi without any soul or bite, so devoid of anything that makes the genre interesting. I guess you need all that extra room for a full sing along to Sweet Caroline.

  • Roald Dahl's The Witches

    Roald Dahl's The Witches


    I don’t know if I should fear or embrace Zemeckis’ descent into becoming late career Tim Burton. All of these wonderful toys wasted on tepid mid adaptations of Roald Dahl and Disney animated classics. Pinocchi-oh no indeed.

  • Wonder Woman 1984

    Wonder Woman 1984


    I for one admire the bold and kitschy route this took as a sequel. From that action sequence in the mall to the Raiders inspired chase in the deserts of Cairo, everything feels very simple yet sloppy in a Silver Age of comics kind of way. There’s really no propulsion or desire to do anything revolutionary with super-heroics besides telling a vibrant story about selflessness triumphing over greed, which in a roundabout way feels pretty revolutionary now. It’s that earnestness…

  • Batman Returns

    Batman Returns


    Like any of the great Batman stories, this plays out like one long extravagant therapy session. The cape and cowl have always been a coping mechanism; always has been and always will. What Burton wisely does here is that he takes that kernel of unresolved trauma as dress up and ruptures those wounds into an expressionist wonderland. Allowing those scars of altruistic guilt, feminine expectations, and rejection to cinematically metastasize through masks and shadows. Creating a playground for all of…

  • Jingle All the Way

    Jingle All the Way


    A consumerist nightmare from start to finish, but what a ride! You know how Soderbergh did that rescore of Raiders set to The Social Network soundtrack? Someone should totally do that with this and the Uncut Gems score. Much more fitting music for a large Austrian man lumbering around and losing his mind over an action figure than any of the holiday jingles. Howard Langston walked so Howard Ratner could run!

  • Flight



    Don Cheadle word of the day: Alcoholism.

    Peaks very early with the plane crash and uses that disaster as a springboard for very blunt discussions on substance abuse. I can’t say I enjoyed the whole journey, but I loved where they finally landed: showing that coming clean to all your problems and wrongdoings can be just as tense and nerve racking as facing a literal federal agency threatening prison time. 

    John Goodman plays a weedman with a ponytail, kind of hard to hate a movie that commits that HARD to a decision like that.

  • The Pledge

    The Pledge


    Screen this with Insomnia for the ultimate “good” cop obsessively haunted by a past case double feature. A capital G Good movie.

  • A Christmas Carol

    A Christmas Carol


    Zemeckis should’ve made a straight up horror movie with this technology. Like Beowulf, the stuff that is supposed to be frightening works like gangbusters while everything else is just kind of a slave to the spectacle. I don’t understand why Gary Oldman had to play Tiny Tim though...

  • The Shop Around the Corner

    The Shop Around the Corner


    Pitch perfect romantic comedy. You can’t beat the snappy dialogue and romantic tension of James Stewart and Margaret Sullivan.