Dylan has written 187 reviews for films during 2021.

  • Gun Crazy

    Gun Crazy


    Every bit the sensationalized tale of moral panic sold by that poster and title, though not in the typical pearl clutching way. The incredibly stylized hand of Joseph H. Lewis slyly dissolves deviancy into eroticism like all the great alchemists of noir did, rendering all the moral outcry pretty much useless in the face of greater emotions. The deep seated eroticism that invades and terrorizes small-town America seems less like a creature from hell in his hands and more like a newly unearthed valve that is finally letting out steam after years of suppression. It’s the epitome of noir in all of its forbidden beauty.

  • Greenland



    The only movie bold enough to claim that King Bach was right about anything.

  • Klute



    I really want to screen this back to back with Manhunter someday; both have an inverted yet complementary stance on cinematic voyeurism that feels ripe for dissection. Mann’s film is more interested in the perverse act of watching and how the screen can reflect what we try to keep hidden, while Klute is operating on the opposite end of the gaze. Ultimately exploring the effects of being watched by outside forces, that violating feeling of being seen at your most…

  • Dead Pigs

    Dead Pigs


    Hell yeah Cathy Yan. The most incendiary statement of intent for a career we should all be watching with great interest. A human tale as sweet and acidic as sour candy.

  • The Lady Vanishes

    The Lady Vanishes


    All the deviousness you’d expect from Hitchcock in the most unexpected way. The danger and menace is sanded down, allowing that very British sense of humor to shine through some of the paranoia. There’s a full five minutes dedicated to prop comedy and it’s very charming! It’s an honest to god game of “got your nose” with the master of suspense, just with some of the psychosexual torture left at home. Just a little.

  • House of Games

    House of Games


    Few movies are ever this effortlessly cool. Maybe I’m just a sucker for moody overhead lighting and swindler jargon, but there’s something about that combination in this specific story about the dangerous allure of deception that feels special. The manufactured labyrinth of grifts on grifts within grifts might aggravate a few blowhards when it comes to plotting, but you really shouldn’t watch a magic trick with the sole intention of deducing where and when the smoke and mirrors are placed for the trick to work. You’d ruin all the fun.

  • Malcolm & Marie

    Malcolm & Marie

    So desperate and unflattering. Possibly the biggest self-own in cinematic history? Somehow worse than a “bad” movie, it’s like conversion therapy for anyone with a deep passion for film. I’m all for having discussions about the merits and detriments of modern film criticism, just not when they take the form of immaculately choreographed meltdowns. There’s no grit or realism prescribed to any of these arguments despite both actors giving it their all and displaying some illusion of emotion and conflict.…

  • The 2nd

    The 2nd

    This really has the flavor of one of those straight to VHS action movies you’d find Redlettermedia watch on Best of the Worst. There’s no black tank top clad director doing martial arts, but it does appear to exist in that magical reality where a community college campus and house den can pass for a posh boarding school and a room at the Ritz-Carlton respectively.

  • He Got Game

    He Got Game


    I’m glad Spike Lee got to put his obsession with the Knicks to good use. Using basketball as common ground to examine a fraught relationship between father and son is all fine and dandy, but telling it with the weight of an epic brings it to an entirely different level. Sports are like ten times more interesting when you make them sing like Greek tragedies.

  • Eve's Bayou

    Eve's Bayou


    An exquisite update of Douglas Sirk’s complex family portraits. Not just concerned with how complicated emotions can bubble to the surface, but also how perspective and memory can cloud these feelings. Not even Vondie Curtis-Hall strolling up with Fabio hair could derail this into a full soap opera.

  • Losing Ground

    Losing Ground


    The humanities nerd in me is screeching right now. Such a wonderfully bitter exploration of the volatile relationship between art and intellectuals. The uphill battle of trying to find happiness in an enigma you think you can solve. It’s the selfish gamble of writers/critics/scholars everywhere, trying to create a viable career off of connecting the dots of existing works. And then the meltdown when we can’t get those pieces to fit. We should’ve gotten a Scorsese sized body of work out of Kathleen Collins and it’s an absolute tragedy that that’s not the case.

  • My Brother's Wedding

    My Brother's Wedding


    The kind of film where the details soar even in spite of the scarcity of bigger things intro to film students associate with “great” filmmaking. It’s not the flashy cinematography of Deakins or the snappy dialogue of Sorkin that makes this small story sing, it’s the images with texture and unassuming colloquialisms that are the unsung hero here. I’m enamored by the way Burnett depicts environments impacting the individual. The streets of South Central Los Angeles and familial tension act…