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  • It Chapter Two

    It Chapter Two

    ★★★

    Peter Bogdanovich's cameo > Stephen King's cameo

    Mostly enjoyed this, but good lord is it wildly ill-disciplined. Can't wait for the Phantom Menace-esque fan-cut that combines both films into a single three-hour runtime.

    Also, Bill Hader's good and all, but the real MVP in my book is James Ransone who I think far and away gives the best performance of the film.

  • Once Upon a Time in Hollywood

    Once Upon a Time in Hollywood

    ★★★★★

    Easily my favorite of Tarantino's since INGLOURIOUS BASTERDS. One of the friends I saw it with made the comment that it was (with the obvious exception of the last twenty minutes) surprisingly light and pleasant, and I completely agree -- in a strange way, it's perhaps his softest film, and a complete joy at that. It's terrifically funny, playful, and energetic - loved every second of it.

    Shoutout to the Angelika in Dallas for projecting this on 35mm. Looked gorgeous (plus, no horrible twenty-minute roll of trailers)

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  • Dunkirk

    Dunkirk

    ★★★★★

    Nolan goes full-on David Lean in DUNKIRK, with echoes of Clouzot, Tarkovsky, Malick, Murnau, and Bresson all somewhere in the background, but make no mistake, this is one-hundred percent Christopher Nolan through and through. It's an absolutely heart-pounding, almost-sensory experience that's perhaps less sequentially jaw-dropping than INCEPTION or THE DARK KNIGHT, but is very likely Nolan's most fluid and visually-propelled work to date.

    Much, much more on this later.

  • The Man Who Killed Don Quixote

    The Man Who Killed Don Quixote

    ★★★★

    Gilliam's best since FEAR AND LOATHING IN LAS VEGAS, a wild and playful romp that, like the best of his work, fuses fantasy and reality together until they're practically indistinguishable, that's largely successful due to Adam Driver's completely committed and winning performance. Even in the disjointed moments, or perhaps more so when the film's small-ish budget is felt, Gilliam's imagination and sheer energy has a way (like nearly all of his films do) of swooping in and lifting everything up…