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  • I, Tonya

    I, Tonya

    Margot Robbie and Allison Janney are insanely good, but the film itself not so much. I've liked the last two films by this guy (FRIGHT NIGHT and THE FINEST HOURS), but he's trying to be Scorsese 2.0 (and fails badly). But the performances are damn fine; nasty first and human second. That each actor is able to realize that duality is really something.

  • The Work

    The Work

    In a year of great docs, this might be the best. The cinematic equivalent of an exorcism that rips out the guts of masculinity to reveal repressed vulnerability and deep sadness. A humbling experience.

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  • Spring Breakers

    Spring Breakers

    ★★★★½

    In this postmodern acid wash nightmare called 21st century America, some of us no longer have the ability to register rock bottom. We just spiral deeper into the neon abyss, documenting our own demise by way of pop culture and ego and delusion. Complex emotion is meaningless. The momentum of deceit is unstoppable. Those contemplating the limits of excess are either delusional or weak, unnecessary, disposable. As a result, the Culture teaches us to be cold, unfeeling, and obsessive to the pursuit of nothing else but those boobies y'all. We are what we lust after, and we are lusting after self-destruction. Mission Accomplished.

  • Blackhat

    Blackhat

    ★★★★

    This review may contain spoilers. I can handle the truth.

    The highs of low tech, the lows of high tech. Sensory clashes overwhelm plot. Mann's first pure romance film since MOHICANS. The action scenes are expectedly great, but there's a new wrinkle of humanity and romanticism here. At one point a character has just confessed her husband died in 9/11, then seconds later she lies on the ground riddled with bullets. Mann cuts from a CU of her face to a POV of a massive skyscraper, inferring the end of…