• Batman



    Each time I watch this I feel like making a strong case that the script belongs amongst the likes of Back to the Future and Die Hard: it has perfect, tightly constructed setups and payoffs, symmetry of character and theme, and endlessly quotable dialogue.

  • Resident Evil: Welcome to Raccoon City

    Resident Evil: Welcome to Raccoon City


    If you absolutely have to reboot the Resident Evil movie series to bring it more in line with the more-horror-less-action game series, hiring solid genre traditionalist Johannes Roberts isn’t at all a bad call. Roberts once again proves his worth at making a mid-budget genre movie and giving it enough idiosyncratic identity to make it stand out from the pack (as previously seen in his Strangers sequel, Roberts has a way with needle drops). It’s rather impressive how he’s able…

  • Planes, Trains and Automobiles

    Planes, Trains and Automobiles


    Neal Page stars in “The Odyssey” while Del Griffith stars in E.T., both helping the other to find their happy ending.

  • Blood Rage

    Blood Rage


    Every year I get to play a fun game whereby I try and discern how many people involved were aware of this movie they were making

  • Holiday Inn

    Holiday Inn


    Irving Berlin is one of a handful of songwriters who can make conversational lyrics catchy!

  • House of Gucci

    House of Gucci


    Everyone’s talking about Ridley Scott’s give-no-fucks press tour, but more should be discussing how Scott is channeling all his long-held misanthropy into his films on a pretty consistent basis these days. After the bitter satire of The Last Duel, House of Gucci is another dark comedy that turns one of the most prestigious companies—once a family company, as the film giddily chronicles the implosion of—into a sub-SNL sketch where the Gucci’s become the Corleone’s. Everyone is playing it to the hilt,…

  • The Daytrippers

    The Daytrippers


    Greg Mottola quietly makes one of the best character ensembles of the ‘90s here! Maybe one day everyone will recognize that, but until then I’ll just be barking about it like a prophet with a human body and a dog’s head

  • Payday



    Payday is the movie that protestors of Robert Altman’s Nashville thought the latter was: a scathing indictment of the country/western scene, the genre’s folksy “aw shucks” veneer hiding a pathological misogyny and sociopathic good ol’ boy value system behind it. Yet director Daryl Duke, writer Don Carpenter and star Rip Torn refuse to let “Maury Dann” be a one-note caricature of a human being. He’s disturbingly sympathetic and utterly likable, not to mention watchable, as he self-destructs little by little until he’s…

  • Freaky



    The rare horror comedy that also goes hard, you truly love to see it

  • The Innocents

    The Innocents


    Sure, you can make other adaptations of Henry James after this, but good friggin’ luck beating it

  • The Keep

    The Keep


    Flawed? Missing pieces? Sure. But very little comes close to the sheer visual poetry on display here. One of those movies you can get lost in forever.

  • Sleepwalkers



    One of the rare movies to perfectly capture the vibes of cats: they’ll be helpful when they’re goddamn good and ready, but not before