• Bound



    I’m a sucker for these succinct tight-paced crime thrillers. Superbly written, and not a minute wasted. Wonderful framing, with such great use of grays, whites, and reds. Perfect.

  • Vikram



    Best twist was watching the movie literally inside the movie theater that’s in the movie, shout-out to everyone at CasinoCinemas. Mass a mass, loads of fun. Deftly balanced between Kamal, Fassil, and VJS. Loads of fan service moments, boldly setup for a sequel. People couldn’t stop cheering and hollering, trying to guess when Surya’s cameo was gonna happen.

    Major props to Agent Tina. 🫡

  • Top Gun: Maverick

    Top Gun: Maverick


    Tom Cruise’s body still be cashing those checks, holy moly. Very big fan of Mile’s stache, as well. I never knew that dogfight climaxes could be this captivating. Maverick is truly the embodiment of Cruise’s ethos put to film; brilliantly self-aware but unapologetically sincere. A much need refreshing reminder in 2022 of what blockbusters can be.

  • Shallow Grave

    Shallow Grave


    Debatably Danny Boyle’s best movie, but undeniably a landmark movie for British filmmaking. Delirious degeneracy gone awry. So iconically 1994 with the Leftfield-composed theme song. The background music throughout is unrelenting. Greatly influenced  by the first Björk album and the acid house movement. Shallow Grave goes on to form Boyle’s thematic strengths, analyzing the corrosion of relationships, in this case of three Edinburgh flatmates. This couldn’t have had a better cast—Ewan, Christopher, and Kerry each have their own unforgettable moments…

  • Crash



    Cronenberg strikes gold again having Howard Shore composing the soundtrack for Crash. The repeating guitar chords reverberate into this woozy, intoxicating kind of hypnotism. Unlike any other movie I know, the acting in Crash is so cold and clinical, so as to transform the viewer into a voyeur, observing what is basically a nonsensical fetish. It’s a few years before Y2K, and the only thing some people can do to feel alive is to nearly kill themselves. In adapting this…

  • Silent Hill

    Silent Hill


    Longer review coming shortly, but this was incredible. As a fan of the games, there’s really so much to commend here.

  • Cool Hand Luke

    Cool Hand Luke


    Oh Luke, you wild, beautiful thing. You crazy handful of nothin'.

    Quintessential American cinema. Resonant storytelling even 55 years later. 

    Loved this fun fact from the behind-the-scenes featurette that basically explains why Paul Newman worked with Warner Bros. on the film instead of Columbia (spoilers).

  • Ace in the Hole

    Ace in the Hole


    Kirk Douglas is an absolute menace. Ace In The Hole is ruthless and cynical, from the first frame to the last. The dialogue is top-notch, frighteningly blunt but at the same time larger-than-life. Wilder was surely one of the best to ever do it. Essential viewing—especially in 2022.

  • Air Bud

    Air Bud

    Actually I haven’t seen this movie, but I did just watch the John Oliver web exclusive about Air Bud, and honestly I think that’s all I needed.

  • Dune



    It’s sort of a holy trifecta with Denis Villeneuve, Greig Fraser, and Hans Zimmer at the helm. The all-star cast of this new Dune is a bit stick-in-the-mud when compared to the 1989 David Lynch adaptation, which is much more colorful and campy, but still, Villeneuve’s vision has to be commended. I think the closest comparison for what this movie is trying to achieve would be what Peter Jackson’s Fellowship of the Ring did twenty years before—it’s tough to adapt…

  • Everything Everywhere All at Once

    Everything Everywhere All at Once


    I’m happy that the Daniels’ brand of maximalist sensory-overload filmmaking seems to resonate with a lot of people. With their latest movie, the Swiss Army Man whizz-kids double down on their signature eccentric style (specifically what made their 2014 Turn Down For What music video so iconic), topically covering the difficulties of motherhood and nihilism all in one go.

    Apparently for other filmgoers, Everything Everywhere All At Once is a rollercoaster of emotions—inducing laughter and tears, feelings of triumph and sorrow, and…

  • The Adam Project

    The Adam Project

    My patience for Ryan Reynolds one-dimensional roles can only go so far. The kid does a great job, but then my patience gets doubly worn down. The film has a feel-good albeit lackluster plot, peppered with super mild action scenes that have basically zero stakes. There’s a jarring CGI de-aging of Catherine Keener, hard not be fixated by that. And the whole romp is sci-fi rigamarole that barely explains itself—but when it does, the explanation specifically defies any logic.