• Death to 2021

    Death to 2021


    The intelligent and hilarious antidote for the dreadful Don't Look Up

  • The Road

    The Road


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

    "The Road" is a brutal post-apocalyptic slog which normalizes the question "So... you don't eat people?" It is so bleak and dark and beautiful and sad.
    In the final shot we know Cody's ok, and THAT's the real Power of the Dog.

  • Blade Runner

    Blade Runner


    I guess the "Final Cut" is the definitive Barenstain Bears version of Blade Runner, and should now supplant all other versions in our collective memory. It fixes so many problems and issues with the theatrical version(s). In this form it really is an exceptional film.

  • Hell or High Water

    Hell or High Water


    Hell or High Sierra

  • The Sweet Hereafter

    The Sweet Hereafter


    Sarah Polley's version of Courage at the end of this beautiful film always brings me to tears.

  • The Mist

    The Mist


    The Mist threatens to devolve into schlock at a number of points, but still manages to stay compelling. It's scary and fun. Marcia Gay Harden really swings for the fences; her Mrs. Carmody is incredibly annoying and loathsome.

    The dialog is hokey at times, but don't be lulled into thinking you're watching Maximum Overdrive. This is much better, and has a lot more to say. It's unabashedly dark, with a wonderfully poignant final act.

  • Sorcerer



    I love The Exorcist and The French Connection, and while I don't love Sorcerer, I think I see why some people rate it so highly.

    It reminds me of Michael Mann's films Heat and Thief, both of which I like a lot. In true Friedkin style, it takes a long time developing its characters, so much that the gang doesn't come together for the job until the second half of the film.

    In the end, I don't know if care…

  • Star Trek Beyond

    Star Trek Beyond


    I'd put most of the Star Trek feature films in the 'good' to 'pretty good' range. But Star Trek Beyond distinguishes itself by being the best of the new Trek films.
    It feels like a joyful return to the original Roddenberry ethos of valuing exploration, negotiation, science, and harmony among races and cultures. Oh, and of course, the importance of friends (with benefits!) in outer space.

  • Billy's Balloon

    Billy's Balloon


    Balloons are arseholes.

  • The Big Risk

    The Big Risk


    Some of the most beautiful cinematography I've ever seen. Every set, every shot is so rich in depth. The camera doesn't move much, but the focus is constantly pulling in and out to subtly bring your attention to different elements in each perfectly-composed frame. It's beautiful and mesmerising. Like Double Indemnity meets Floating Weeds.

    I'm going to have to go back and watch this for the story, because I really wasn't paying attention the first time through. Instead, I was…

  • Child 44

    Child 44


    Child 44 has a good story. It's well-acted, and it features an amazing cast. It just doesn't add up to much.

    It's not terrible, just kind of a nothingburger.

  • The Nomi Song

    The Nomi Song


    There are some incredible performances in the 1982 film "URGH! A Music War". Gang of Four, XtC, and Joan Jett are all great. The Cramps' Lux Interior (rest his soul) deepthroats a microphone, The Police speed through 'Driven to Tears' in about 45 seconds, and it's all pretty amazing.

    But somewhere in the middle of all these post-punk bands seemingly operating at peak angst, out walks an angular and sombre Klaus Nomi, looking like a well dressed alien who just…