Dylan has written 113 reviews for films rated ★★★ .

  • Gunpowder Milkshake

    Gunpowder Milkshake


    Takes the tired trend of pop song scored ultra-choreographed hyper-violent fight scenes almost to the breaking point, fraying the traditional revenge movie into a series of cleverly staged action that only hits on a very base level of excitement. It’s all fun and games in these tooth ache inducing sets when Karen Gillan is mowing down baddies, until the moment the film tries for deeper character beats and it falls with a thick and hearty splat all over the pristine floors of its 50s diner. Visually and kinetically dynamic, but so hollow.

  • Cold Pursuit

    Cold Pursuit


    Laura Dern straight up disappears from the movie after 20 minutes and still receives second billing. Her power.

  • Fear Street: 1978

    Fear Street: 1978


    A very meat and potatoes summer camp slasher that doesn’t aim for reinvention or reflection, but for good old fashioned atmosphere and titillation. I can’t help but feel underwhelmed in the face of all the murderous glut that Part one offered, but what Part two sets out to accomplish it does so with flying colors. A few gnarly kills with little nuggets of Fier lore peppered throughout in the absolute weakest Friday the 13th pastiche imaginable. Nothing more, nothing less.

  • Fast & Furious Presents: Hobbs & Shaw

    Fast & Furious Presents: Hobbs & Shaw


    Shreds the concept of a buddy film down to its last atom only to split it, triggering a cataclysmic explosion of unchecked egos and complete buffoonery. In trying too hard to be the coolest toughest movie in the room it winds up being a laughing stock that we just don’t see from very competently made middle of the road movies. You usually have to wade into the dark waters of cheaply made passion projects to get that kind of action. …

  • The Fate of the Furious

    The Fate of the Furious


    Feels too much like a bonus mission to leave any real impact (you even unlock a previous villain you vanquished as a full on playable character in this one!), but the set pieces here are too inspired to write the whole thing off as a complete failure. Zombie car swarm and baby shootout are really some of the best in the entire series if I’m being honest with myself, it’s the kind of deranged stimulation that’s a welcome reprieve from the standard chase and gunfire finale the series is starting to slip into.

  • Fast & Furious 6

    Fast & Furious 6


    Love the idea of introducing a whole Legion of Doom to rival The Family, I just wish they got a better showcase to antagonize in. The series has fully completed its metamorphosis into being a larger sweatier 007 spy caper, but chooses to go the Quantum of Solace route instead of the far more fitting Spy Who Loved Me Moore era fare. This does have Luke Evans maniacally pancaking cars with a tank, so it’s not all bad.

  • The Tomorrow War

    The Tomorrow War


    Already fighting an uphill battle casting the crisp rat himself as the supposedly magnetic leading man, but crucial assistance from Sam Richardson makes it a bearable one. Balanced by an exceptional display of world building that doesn’t feel indebted to setting up a couple spin offs or inbetweenquels and some really tense action scenes, the film is allowed to coast along as a pretty enjoyable junky throwback to the sci-fi movies where every existential threat could be solved by a punch…

  • Lucky



    So abundantly clear in what it wants to say within fifteen minutes that you’d be remiss to write off the whole thing as too heavy handed or too embroiled in its own politics to tell a complete story. It’s less hammering the same point over and over and more driving the metaphorical nail in deeper until it’s flush with the rest of the dream world the film slowly builds over time. Every character interaction and slasher set piece adds a new wrinkle to support a message that should have already been crystal clear by now, but that’s just the way it is.

  • The Conjuring: The Devil Made Me Do It

    The Conjuring: The Devil Made Me Do It


    Pretty standard exercise in modern horror, where every other scene is a well telegraphed moment to startle the audience, until about the very end where the personal stakes and visceral scares that the precious two main installments excelled at start to entwine to riff on key moments from The Exorcist and The Shining to great effect. Vera Farmiga and Patrick Wilson continue to be most reliable part of these movies and this is certainly no exception even if their characters…

  • So I Married an Axe Murderer

    So I Married an Axe Murderer


    Features an incredible heat check from the late great Charles Grodin as “Commandeered driver” who couldn’t care less about being caught up in the axe murdering hijinks of this film. I only aspire to be the level of professional grump he was to throw a side eye as venomous as the one he throws here.

  • Sabotage



    Borderline unwatchable for most of the runtime, but in fits and starts becomes the kind of arthouse garbage crime filmé that makes the exploration into the bottom of the Redbox so worth it. It's flattened digital look and disorienting editing almost makes it a long lost pubescent cousin to Miami Vice, placing a kind of Spike TV abrasiveness at the forefront of every scene to really drive home the corruptibility of enforcers of law and order. This is not an…

  • Those Who Wish Me Dead

    Those Who Wish Me Dead


    A security blanket sent straight from the late 90s, where the movie star and high concepts reigned supreme. You'll struggle to recall any character's names or personalities besides "hotshot", "hitman", or "precocious kid", but you'll leave remembering some pretty gnarly action scenes and an unwavering commitment by everyone involved to pull off this simple premise to the best of their abilities.