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  • Dunkirk

    Dunkirk

    ★★½

    I've run mostly cold on Nolan's filmography up to this point, and while DUNKIRK doesn't exactly change that, it definitely plays to his strengths, and, more importantly, directly avoids his weaknesses. In the past it was the severe lack of humanity in his films that I had problems with, and though it's not exactly corrected here it is minimized by the large scale of the conflict and constant cuts between characters that highlight the severity of the situation just as…

  • Baby Driver

    Baby Driver

    ★★★

    Edgar Wright takes his hardest turn from comedy yet, not a bad thing just a tad surprising given the marketing for the film, but continues to prove himself a master of genre. Clearly BABY DRIVER channels heist films, movies about running from the law, but the way the characters move and the way the soundtrack functions makes it feel more like a musical. Drenched in style, dripping with entertainment, Wright continues to bolster a very strong filmography (really only one…

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  • Son of Saul

    Son of Saul

    ★★

    Still wrestling with parts of this, but my biggest hurdle is distinguishing how much I admire it and how much I actually like what the film is doing or the ideas at which it probes. The first portion I can answer pretty confidently, the visual style serving to accentuate the experience and give the viewer a closeness to Saul and his thought process, while also kind of carrying us through the film, the second portion I'm less sure about. The…

  • Deadpool

    Deadpool

    ★½

    The cinematic equivalent of spending an afternoon with a loud fourteen year old bronie inside of a Hot Topic.