• The Drover's Wife: The Legend of Molly Johnson

    The Drover's Wife: The Legend of Molly Johnson


    Not unlike THE BLACK PHONE in that it’s a feature-length adaptation of a very short story. The similarities end there! This is an awful review. 

    The writing is a bit much towards the end in a “jeez, we get it” sort of it way but it’s well-intentioned and beautifully photographed and features some solid performances. More on the show Friday.

  • Day Shift

    Day Shift


    A great example of how a director having fun can elevate tired material. Not quite Neveldine/Taylor levels of bombast here but it’s trying. Jamie Foxx adds a lot, too, always happy to see him. 

    I loved the contortionists and the vampires-flying-around-due-to-shotgun-blast kills but it all grows tired by the third or fourth instance, despite a few unique and memorable inventive kills. Hilarious how much vampire lore they throw at you via straight exposition. Good enough!

  • The Immaculate Room

    The Immaculate Room


    Impressive feat that this movie plays out in real time, it really feels like it’s 50 days long!

  • Star Wars: Episode I - The Phantom Menace

    Star Wars: Episode I - The Phantom Menace


    Did the STAR WARS prequels set the table for “prequels explaining things nobody asked for” culture? Can you draw a straight line from PHANTOM MENACE to JOKER? I think so! 

    More notably to me though is how the designs here were so clearly an inspiration for the HALO video game franchise. From the identical tanks (called wraiths in HALO) to the little personal laser shields that some droids have, HALO cribs future tech from this movie pretty liberally! 

    Does the use of battle droids here anticipate drone warfare?! Answers to all these questions and more on this week’s Roger & Me…

  • Spin Me Round

    Spin Me Round


    Accidentally fitting double feature with CARRIE in that legendary composer and De Palma staple Pino Donaggio did the score?!

  • Carrie



    My favorite prank film outside the JACKASS franchise. Let me know when Johnny Knoxville slaughters a pig as the jumping off point to a weeks-long game of targeted psychological torture that results in a mass casualty event. Epic!

  • Alien³



    Theatrical version, on 35mm.

    I really appreciate how audience-unfriendly this in some respects (killing Newt, cutting her open, killing a dog, then killing Ridley) but unfortunately that concept extends to the alien kills and action, at least in this version.

    It’s constantly cutting away or obfuscating the goods in some way. The alien looks great when it’s a guy in a suit and less great when it’s early-‘90s digitized. I remember liking assembly cut more but don’t remember why.

    Watching in 2022, I kept joking “oh this is about COVID” and even “this is about abortion” and it’s funny how well either of those work

  • Glorious



    I must’ve missed the memo genre filmmakers sent around where they decided “purple” is *the* color of indie cosmic horror. I enjoyed the joke about a guy assuming the key to the universe is his dick but did we need to write a whole movie around that?  

    Your mileage may vary, I didn’t care much for COLOR OUT OF SPACE either. It’s that by way of WE NEED TO DO SOMETHING.

  • Predator 2

    Predator 2


    Battle: Los Angeles 

    Every single one of these movies takes way too long to get to the Predator action but once they do, they deliver!

  • Predator



    Really appreciate that this ends with sitcom-style every-character-mugging-to-the-camera credits

  • Emily the Criminal

    Emily the Criminal


    Emily The Criminal, Aubrey The Performer of the Year!!!!!!

  • Clerks III