• Midnight in Paris

    Midnight in Paris


    Wow, what a shock: the one Woody Allen film that I'd say I really love is the one that is extremely sweet and sentimental and revolves around a character suffering from the "Golden Age thinking" fallacy - definitely didn't home for me, not at all. Plus, I went to Paris several years ago and constantly yearn to go back, a feeling this film only amplified. Owen Wilson is a great Allen surrogate, his average (in a good way), everyman qualities are a perfect fit here.

  • The Italian Job

    The Italian Job


    It's not quite the Ocean's Eleven quality it thinks it is, but I'll be dammed if it isn't quite a bit of fun anyway. Tighten up that middle portion where the overall energy slows down considerably and you've got a really solid heist film, because the first and final thirds of the film are pure 2000s blockbuster escapism. Loses a few points for seemingly pushing a refreshing platonic dynamic between Wahlberg and Theron, only to chicken out in literally the final image of the movie.

  • Villains



    Plenty of individual pieces fit together here but a lot of them don't and the big picture is missing that "something." It feels like this movie knows what it wants to be and tries really hard to be that, but ultimately doesn't push it far enough and has to settle in an unspectacular middle ground instead; it's very foul-mouthed (I'm no prude when it comes to language but there's an obnoxious level of swearing in this film) but otherwise it's disappointingly tame. Skarsgard really has a sort of young Steve Buscemi thing going on and Monroe adds another solid horror-thriller performance to her resume.

  • Saint Maud

    Saint Maud


    I remember hearing a lot about this one's infamous delay due to the pandemic, but I don't think I ever actually saw a trailer for it or anything, so I had no idea what I was truly in for. The result, a deeply unnerving slow burn religious drama, has really settled deep in my core, and the more I think on it, the more I like it. Far less of a horror film than I expected, but this kind of…

  • The Big Lebowski

    The Big Lebowski


    Absolutely absurd and I love it. Would've gladly sat through two more hours of The Dude and Walter bowling and getting sucked further into this complete mess of a crime. Pure vibes.

    (By the way, The Eagles are good actually)

  • Assassination Nation

    Assassination Nation


    Let's be nice and talk about this one's good qualities first! There's an incredible one shot sequence as a house is invaded by the crazed citizens of the town that is easily the coolest and most thrilling scenes in the movie. There's also... uh...

    This movie is trash. Obnoxious, edgy, self-important garbage. Levinson really thinks he's making some kind of profound statement about privacy and feminism or whatever without actually saying anything at all. The last line of dialogue made me want to hurl my PS4 controller through the TV.

  • A Quiet Place Part II

    A Quiet Place Part II


    Suffers a little from pretty evident "middle act" syndrome (I know there's a Jeff Nichols-directed spinoff in the pipeline, but I presume we're in for a traditional Part III as well) and that sort of makes it feel like an "episode" more than a truly integral sequel, but overall it's a very solid follow-up - heightened by being my first theater trip in 10 months, maybe, but a fun time nonetheless. Krasinski still knows how to keep the encounters with…

  • Scarface



    Pretty good film, but I think I left this one on the watchlist too long and missed the boat on loving this the way everyone else does. Is it fun as pure 80s camp? Absolutely. A crime genre masterpiece? Not really. A little too long for my liking, and kind of missing that spark in both its Oliver Stone script and its De Palma direction, but the iconic moments are still great (the chainsaw torture, the final shootout, etc.) and Pacino hamming it up is undeniably entertaining.

  • Brokeback Mountain

    Brokeback Mountain


    Alright, I'm officially onboard the "screw Crash, Brokeback Mountain was robbed" train. The kind of film that makes me love the medium so deeply.

  • Army of the Dead

    Army of the Dead


    I'm fully willing to admit that this is easily Snyder's best in nearly a decade, and certainly his best non-DC outing since... well, his other zombie film; how sad is it, though, that this is how low the bar is? There's lots of good here (Bautista continues to prove how strong a leading man he is, and Snyder always has some interesting setpieces up his sleeve) and also lots of bad (the extreme shallow depth of field is a very…

  • Blow Out

    Blow Out


    Pretty silly by the end, but man, the first two thirds are conspiracy thriller perfection. There's just something so riveting about watching Travolta recording foley and splicing together his evidence in the studio. De Palma goes all out with the Hitchcockian directorial flourishes: the 360 spin around the room as Travolta realizes his work has been tampered with, the countless split diopter shots, the crazy shots from high vantage points - I love them all. And that fireworks shot? *chef's kiss*

  • The Woman in the Window

    The Woman in the Window


    Written by Pulitzer Prize winner Tracy Letts???

    This has serious What Lies Beneath vibes, but not even What Lies Beneath is as dumb as this. I'm not even going to make any references to the Master of Suspense, this doesn't deserve to be spoken in the same breath. Kinda plainly mediocre for a while, but then that third act is total nonsense. It's just... exceptionally stupid. Amy Adams, honey: what is you doing.