Dylan has written 224 reviews for films rated ★★★★ .

  • Fear Street: 1666

    Fear Street: 1666


    What a way to close this series! Easily the best of the crop, simply for the way it manages to actually be about something larger and the ways in which it enriches and plays off of the installments that came before it. Repositioning the central queerness at the heart of the first film in colonial times allows Janiak to hurl fire and brimstone at a horror much more sinister and elemental than the toy box of slasher villains previously used.…

  • In the Heights

    In the Heights


    Beyond impressed by Jon Chu's ability to translate the corny theater kid rap of Lin Manuel Miranda into an effervescent work of summer fantasia that acts as an impassioned cry for community. Could've cut about 40 minutes, but then you wouldn't get any of those sweet personal moments sponsored by Tide to Go.

  • Furious 7

    Furious 7


    This series is probably the closest thing we have now to those loud one liner riddled actioners that were pumped out in the 80s by the likes of Stallone, Schwarzenegger, Van Damme, and really anyone else covered in baby oil at the time. Furious 7 returns that glorious loopy energy that I felt was missing from the previous installment, always moving at a steady clip and constantly finding new ways to top themselves in the same action scene. It doesn’t…

  • No Sudden Move

    No Sudden Move


    Character actor Brendan Fraser has a nice ring to it.

  • Training Day

    Training Day


    A.C.A.B., but make it one of the most rewatchable acting showcases of the 2000s. One of those movies that so many people probably took the wrong lessons from because of how magnetically heinous Denzel Washington is. When he clicks the two guns together? That’s star-power burning at maximum potential.

  • Luca



    This review may contain spoilers. I can handle the truth.

    “Some people, they’ll never accept him. But some will. And he seems to know how to find the good ones”

    Sea monster nonna literally said gay rights and you are all still arguing about this.

  • Grey Gardens

    Grey Gardens


    Maybe the real Grey Gardens were the domesticated raccoons and debilitating regret we made along the way.

  • The Crazies

    The Crazies


    Redundantly relevant even as we hopefully find ourselves at the tail end of our own Codename: Trixie disaster. Completely removed from the more fantastical elements of zombie films, The Crazies is Romero stripped of all pretense and flesh eaters going straight for the fallibility (and let’s be honest incompetence) of organizations that would let an event like this reach beyond the borders of a small town. Societal collapse coming from behind the scenes as much as it does from ground zero. The man has the subtlety of a rusty sledgehammer, but he never misses his target.

  • Josie and the Pussycats

    Josie and the Pussycats


    Tired: David Fincher hiding a Starbucks cup into every scene of Fight Club to comment on how consumerism has become commonplace.

    Wired: Josie and the Pussycats brazenly implanting brand names into the very fabric of its production design to show just how inescapable and frightening our capitalist society really is.

  • Dangerous Liaisons

    Dangerous Liaisons


    Dangerous Liaisons popped a few buttons so The Favourite could completely disrobe to gatekeep and #girlboss with reckless abandon. Glenn Close is on a whole different level here channeling all of the malicious intent of a Real Housewife into a husk of aristocracy, poised to manipulate to her heart’s satisfaction. This is the performance that justifies any makeup Oscar she’ll receive for playing a wife or Mamaw.

  • The Dumb Girl of Portici

    The Dumb Girl of Portici


    One of those films where I find the context much more engaging than the actual film itself. That’s not to say that this is a drag by any means, it moves surprisingly well for a two hour film made over a hundred years ago and Lois Weber has a great eye for composing wide shots that just keep building on themselves through opulent production design or even Anna Pavlova’s ballet. It’s a studio epic before the term could even be…

  • Derek DelGaudio's In & of Itself

    Derek DelGaudio's In & of Itself


    Men will literally do card tricks while talking about the brittle nature of identity instead of going to therapy.