• Ride the Eagle

    Ride the Eagle

    ★★★★

    :'-)

  • The Power of the Dog

    The Power of the Dog

    ★★★★½

    Yo that Greenwood guy is fairly good at music.

  • Breaking News in Yuba County

    Breaking News in Yuba County

    ★★★½

    Tate Taylor's post The Help directorial output is proof that no one is beyond redemption. This isn't great or anything but it is fun and a bit nasty and just a pretty good time.

  • Experimenter

    Experimenter

    ★★★½

    Brilliant in how it gets less and less interesting the further it gets from the only experiment of Milgram's anyone cares about. Has fun with artificial movie-ness but also sticks to reliable biopic cliches more than something so pleased with itself should. Sarsgaard rules, we aren't worthy.

  • tick, tick...BOOM!

    tick, tick...BOOM!

    ★★★★

    What an adorably earnest and exuberant movie. Miranda does some creative and energetic work directing this adaptation, most of the songs are A+ material, and Garfield is just great.

  • The Humans

    The Humans

    ★★★★½

    Deliberately riffs with horror conventions and expectations to craft a psychologically-tense family drama/character study, Not fulfilling those genre expectations is the smartest choice, because nothing is scarier than the consequences of our mistakes and the inevitable isolation that comes from unresolved guilt. The apartment that contains the film is terrifying in itself, a funhouse attraction of indescribable dimension, cramped and seemingly shrinking while still cavernous and impossible to describe, much less navigate. I could watch these characters interact and their…

  • Resident Evil: Welcome to Raccoon City

    Resident Evil: Welcome to Raccoon City

    ★★

    If you want proof that Ghostbusters: Afterlife at least knows how to use nostalgia effectively, watch this one right after it and compare, because the contrast in skill with which nostalgia is applied is nothing short of fucking stark. Here, nostalgia for the property and nostalgia for times gone by are similarly combined, but it's basically just characters shouting "Blockbuster" and "Planet Hollywood" enough times to remind the audience that the story is, pointlessly, set in the '90s.

    Anyway, credit…

  • Ghostbusters: Afterlife

    Ghostbusters: Afterlife

    ★★★

    If I have to pick a side, I'm Team Feig all the way, but honestly I'm done taking a hard stance on anything related to this property. This is a fine legacy sequel thing. It's kinda fun, sorta annoying, never to any degree in either direction that I'll remember next week. The reunion of the original group is sweet, but I'll never feel good about the resurrection of dead celebrities with CGI. Paul Rudd gets the best lines and is…

  • Spencer

    Spencer

    ★★★★½

    I am certain I am not the only one who will walk into this expecting something very different from the actual experience that awaits. With no real knowledge of or fascination with the subject and only really knowing the film was from the director of Jackie, I wasn't expecting a conventional biopic from Spencer, but I was very much not anticipating it to be an isolated paranoid horror film, depicting Diana as a woman on the breaking point, plagued with…

  • Nightmare

    Nightmare

    ★★★½

    Yo fans of maniacal unhinged cackles, there's a real dinger at the end of this one.

  • The French Dispatch

    The French Dispatch

    ★★★★

    I can summarize the plot but I can't quite tell you what this movie is really about. Is it so stuffed with meaning that a greater explanation is elusive, or is it a lot of kookiness that doesn't really mean anything? I don't know, but I can't wait to watch it more and contemplate it further.

  • Last Night in Soho

    Last Night in Soho

    ★★★★

    Edgar Wright's craft and technical agility continue to grow and impress. Last Night in Soho is absolutely mesmerizing. If Dune is the kind immersive theatrical experience that absorbs a viewer into its world, Last Night in Soho is the kind that makes the real world feel less real in comparison. I walked away from the theater dizzy, intoxicated with pure cinema. The script is not as masterful, but despite its predictable tendencies as a thriller, this is still a meaningful exploration of misled nostalgia and the damaging effects of cultures of pervasive misogyny.