• A Quiet Place Part II

    A Quiet Place Part II


    Doesn’t really break new ground in the story department, but expanding the world a bit was good fun, as I’m a sucker for apocalyptic settings. Had no idea the guy on the dock was Scoot McNairy while watching. Love that dude!

  • A Quiet Place

    A Quiet Place


    Still not a fan of the “Creature” and “Survive” dry erase boards, but damn if this thing don’t work. Still holding my breath most of the runtime.

  • American Rickshaw

    American Rickshaw


    One of the weirdest mashups I’ve ever had the pleasure of seeing, it never quite settles into a single genre. Part action thriller, part mystical horror, it contains blackmail, strippers, assassination, a corrupt televangelist, a Chinese witch, and some insane body horror, because why not. No one is really likable and allegiances seemingly shift on a dime, but it’s certainly never boring. Feels like it was made by aliens. Close enough, it was Italians.

  • The Outsider

    The Outsider


    A darkly unnerving slow burn that imagines a detailed procedural investigating the literal boogeyman. It’s the kind of thing that can only be done justice with long form storytelling, the character beats all feel genuine while performed by a knockout cast. I know Mare Winningham has been working nonstop, but it’s been a minute since I’ve seen her in anything and she was a real warm and welcome presence here. 

    As enjoyable and intense as this was, I’m happy HBO passed on a second season. I love spending time with these characters, but they’ve been through enough and I just want them to enjoy their lives.

  • Old



    Night plays a little fast and loose with his own rules, but it’s 100% his brand of off-kilter, creepy weirdness. Played great with a crowd, especially when people realized two “six-year-olds” did the thing they did.

  • The Little Things

    The Little Things


    Another entry in my new favorite genre, ‘these used to be a dime a dozen but Hollywood doesn’t make these anymore so now it feels kind of special.’

    It’s a pretty boilerplate procedural but Denzel elevates the material, his endless watchability almost cancels out another Jared Leto method performance.

  • Wrath of Man

    Wrath of Man


    Unlike anything he’s done before, Guy Ritchie eschews his trademark manic energy for a slow burn more akin to a Walter Hill or John Milius joint. Violent and methodical while the repeating six note cello motif in the score sets a nonstop mood of dread.

  • Fear Street: 1994

    Fear Street: 1994


    From the Marco Beltrami score to killing off its most well known actress in the opening scene, it’s aping Scream at every turn. Unsurprisingly, it ends up coming off more like the pale imitators that followed Craven & Co. in the latter half of the 90s. It has its moments, especially the film’s gnarliest kill, in what I assume is a nod to Intruder. I’m not its target demo, but major props to Leigh Janiak and Netflix for going hard R on the gore.

  • Escape Room

    Escape Room


    Script is still silly, the execution is still a solid exercise in suspense.

  • The Hunt

    The Hunt


    Yeah, we’re all awful.

  • Loki


    Every time I start feeling Marvel fatigue they do something that catches my interest again. Throwing Richard E. Grant in here certainly didn't hurt.

  • Moon



    When people on Twitter ask “What’s a performance by an actor that should have won an award but wasn’t nominated,” this is usually at the top of my list. Clint Mansell’s score is a stunner as well.