• Bullet Train

    Bullet Train

    You're not funny, Leitch. You're just not.

  • The Empty Man

    The Empty Man

    ★★★

    So predictably shits itself in the last 20 minutes that you want to dock extra points out of spite, but there's still a lot to like. Great opening chapter!

  • X

    X

    ★★

    Really good gore! Capable cast. Otherwise thought it was bullshit.

  • Broadcast News

    Broadcast News

    ★★★★

    A fantasy where you are always able to say exactly what you mean, and the reality that, even so, it's not enough. It's never enough. You clinch the line, you stick the landing, you say what's in your heart, and it's simply always never going to fit just so.

  • Confess, Fletch

    Confess, Fletch

    ★★

    I dunno, it's probably fine. Don't mind me. Slap on an extra star or what have you. I just think maybe we're all just really fucking tired.

  • Elvis

    Elvis

    ★★★

    Peaks early - Baz frames the first live show in such a way that it's only missing "Also sprach Zarathustra" (Elvis being the monolith). I was pretty tickled, especially by the earliest screamer who moves as if trying to catch her scream and put it back.

    This won't surprise any of Luhrmann's detractors - I'm hard-pressed to think of a living filmmaker who's not only as deeply divisive, but seems as sheepishly, almost ruefully enjoyed by his fans, as giving…

  • Ice Station Zebra

    Ice Station Zebra

    ★★½

    Jim Brown gets done pretty dirty in this - his character is killed by mistake and never mentioned again.

    It's an OK big box picture anyway. Never quite elephantine, despite its design. The best part is the centerpiece action-suspense sequence, when the submarine is sinking fast and we see a bunch of individual characters reacting in different ways in considering the odds of survival or doom. I could have used one less shot of Ernest Borgnine screaming like a horror movie girl, but I guess they told him to do that.

  • Breathless

    Breathless

    ★★★★

    Griffith is quoted by Straub that modern movies lacked the beauty of "the wind in the trees". I wonder if, had he lived another dozen or so years and seen Godard's film, he would agree with me that the film's famously languorous midsection captures the beauty of busy Paris air gently pushing into the open windows of Patricia's flat.

  • The Outfit

    The Outfit

    well-intentioned, weirdly stagey mediocrity. tolerable enough, but also Graham Moore (here making his debut as director, presumably off a by now very dusty Oscar for writing the wretched 2014 film The Imitation Game) is one of those half-smart types who are pathologically unable or unwilling to extricate a meager portfolio of assets (a smart bet on Rylance to carry the picture, deploying Simon Russell Beale mid-film like Harry Lime; an undeniably well-intentioned desire to make an unfashionable vintage period-set crime…

  • Prey

    Prey

    ★★½

    some fun carnage, also the 99999th film owing its structure to Robert McKee.

  • Moon Knight

    Moon Knight

    The first episode is a real hash. Mohamed Diab directs this a lot (for the record his movie 2016 movie Clash is pretty great) but the story is a junk drawer. Ooh, spooky Ethan Hawke and his undercover minions just accosted me at the museum where I work but then he let me go, guess I'll just ... go back to work, just over there. Will watch 2nd episode to see what my boys Benson/Moorhead do... hopefully fewer egregious needle drops.

  • Pinocchio

    Pinocchio

    ★★★½

    hehe Monstro is awesome