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  • The Night Comes for Us

    The Night Comes for Us

    ★★★

    The issue I took most with is that this films plot and dialogue was about as convincing as when I played with Gi joes- stilted dialogue and explosive action. The thing is Timo learned from his buddy Gareth Evans and knows how to execute violence and gore but not enough to drive the story.

  • Halloween

    Halloween

    ★★★★★

    Exiting the theater was a moment of wishy washy opinions about perceived plot holes leaps In logic but it’s really the reaction of taking my mother, who as a young teen saw the original in 1978 at the drive in. She told me about how it scared her more than anything that Michael was by the garage and just to keep your head down and run to get inside. As the credits rolled she had a big ole goofy grin and said that was fucking awesome. Yeah mum, my sentiments exactly.

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  • Dunkirk

    Dunkirk

    ★★★★★

    Enough has been stated about the technical marvel, but I'd look to focus on this fitting in the films of David Lean, John Houston or lots of the cinematic caveats we consider classics. Ratchet up the suspense you have a three short stories that intersect in a thrilling way, and expertly acted by all cast members. Sparse dialogue adds to the suspense as we know these British and french soldiers wait to evacuate. Nolan is a technical genius in the…

  • Sorry to Bother You

    Sorry to Bother You

    ★★★★★

    This is right up my alley - sci fi, comedy, satire and encouragingly weird. I am one of those viewers that can’t help think of what films remind me of while I’m soaking them in my retinas. Throughout STBY I was reminded of the following: O Lucky Man, Brother from another planet, (last years) KUSO, and some others. 
    Boots Riley may have made the single strongest debut since Jeremy Sauliners Blue Ruin or Jordan peeles Get Out. The film is…