• Men



    Not entirely coherent or subtle, but I'm still a sucker for these heavily allegorical, self-consciously stylized genre works. A folk horror that goes full body horror in the final act, it's disturbing and disgusting in equal measure. Buckley is of course terrific and Kinnear, mostly known as Tanner in the Bond films and the pig-fucking Prime Minister on Black Mirror, sinks his (false) teeth into the juicy role(s) and obviously has lots of fun playing variations of toxic males. Like PROMISING YOUNG WOMAN, it's probably too obvious in its thesis, but in a way it has to be.

  • Day of Wrath

    Day of Wrath


    Not quite as stark stylistically as VAMPYR or dramatically as THE PASSION OF JOAN OF ARC – and the first half especially feels a bit derivative of the latter – but there's something weirdly comforting about Dreyer's severe storytelling and austere aesthetic.

  • Operation Mincemeat

    Operation Mincemeat


    Not sure why they thought this compellingly bonkers true story needed a love triangle – the procedural elements are strong enough without the extraneous melodrama.

  • Shrek the Third

    Shrek the Third

    "How about a hug? That's the best kind of magic there is!"

  • Shrek 2

    Shrek 2


    "I'm sorry, the position of annoying talking animal has already been taken."

  • The Believer

    The Believer


    Gosling is remarkable, but the film is too amateurish to really hit like it should.

  • Senior Year

    Senior Year


    Not so much bad – it's actually pretty funny throughout – as completely ill-suited for Rebel Wilson. Props to Angourie Rice for successfully conveying the sense of a teenage version of her without going completely over-the-top (as she does).

    Also the most play DEEP IMPACT has had in over 20 years.

  • Happy Together

    Happy Together


    I dunno, they don't seem very happy together.

  • Taste of Cherry

    Taste of Cherry


    Don't see the coda as anything more than an unplanned solution to a lab mishap – I've read the self-reflexive arguments and I don't buy it – and to an extent I agree with Ebert about its "tiresome distancing strategy". But he's very wrong about the rest of the film, as it's anything but lifeless: the conversations are compelling, and the non-dialogue scenes even more so by virtue of Kiarostami's expert framing and shadowplay. Just don't think the meta-cinematic elements add anything substantive.

  • Batman Begins

    Batman Begins


    "Men fear most what they cannot see."

  • Conan the Destroyer

    Conan the Destroyer


    More fun than the first, but also way goofier and even more nonsensical. And 15-year-old Olivia d'Abo crushing on 36-year-old Arnold Schwarzenegger is all kinds of icky, no matter how much they try to play it down.

  • Conan the Barbarian

    Conan the Barbarian


    "What daring! What outrageousness! What insolence! What arrogance!... I salute you."