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  • BlacKkKlansman



    Coming off of his best work in years with the Netflix reimagining of SHE’S GOTTA HAVE IT, Lee creates a culmination point of his prowess as a filmmaker. There’s a deft balance of tone, meditations on fear and hatred, and the soberingly cyclical presentation of American society.

  • Dog Days

    Dog Days


    Five stars where it counts.

  • Teen Titans Go! To the Movies

    Teen Titans Go! To the Movies


    Like The LEGO Movie, except with superheroes. Were it not for AntMan, and even considering that, potentially the best superhero film of 2018.

  • Blindspotting



    While I’ve heard plenty of times that it’s better to show rather than tell, while this shows, tells, and then keeps telling and telling. Which is a shame because there’s a lot to like otherwise and has a number of strong sequences that don’t need to be so explicitly explained.

  • Don't Worry, He Won't Get Far on Foot

    Don't Worry, He Won't Get Far on Foot


    Conventional GVS, which tends to be less interesting to me than his more impressionist works, though he has proven in the past that he's more than capable of bringing an extra weight to more traditional structures (most notably GWH and MILK, obvi), and structure is certainly one of the most notable aspects that he disrupts here. Occasionally time is hard to grasp, intentionally so, though it's used to underscore the repetitions, and boy are there plenty, in how we cope with life.

  • Spring Breakers

    Spring Breakers


    I got Spring Breakers. On repeat. Spring Breakers on repeat! Constant, y'all!

  • Sorry to Bother You

    Sorry to Bother You


    Refreshingly blunt and uncompromising, even when it stumbles at the times it could stand alongside any number of great dystopian works.

  • The Legacy of a Whitetail Deer Hunter

    The Legacy of a Whitetail Deer Hunter


    Truly the Year of Brolin.

  • Three Identical Strangers

    Three Identical Strangers


    In the end I wonder if it's a failure of the film that I am most sympathetic towards the scientists.

  • The First Purge

    The First Purge


    With ELECTION YEAR this series reached for something more, but just as 2018 has further revealed the ugly aspects of America the series adapts as well, showing a willingness to engage in a dialogue on race, class, and systemic oppression that hasn’t be so directly confronted by THE PURGE films before even if there were plenty of traces of these aspects. That occasionally is at odds with the violence, but more often than not it’s in service of lashing out…

  • Ant-Man and the Wasp

    Ant-Man and the Wasp


    We can get the big thing out of the way first, this film does answer the largest question looming over the MCU: yes, Tim Heidecker should probably given his own super hero film. It also capitalizes on what worked well in the first film, even if the grow/shrink action set pieces are pretty much (and strangely so) just bookends for the film. Which really is weird because with a trick that could be used so inventively, it rarely is, though…

  • Fireworks, Should We See It from the Side or the Bottom?

    Fireworks, Should We See It from the Side or the Bottom?


    Visually beautiful, though that's mostly to be expected of any major motion picture attempting to go for this style, it indulges in the seedier sides of anime a bit too much early on (and even at times later), but I think the ideas it probes, conversing with the what ifs of life, the dangers and draws of nostalgia and fantasy, and the desperation of youth work well in conjunction with both the visuals and the time travel conceit to elevate it above the tropes and shortcomings that are more typical of the form's place on the smaller screen.