• The Banshees of Inisherin

    The Banshees of Inisherin


    Colin Farrell deserves an Oscar just for facial expressions. And as much as I love IN BRUGES, I think this is the absolute quintessential McDonagh work. Bleak, hilarious, pretty close to perfect.

  • Glass Onion: A Knives Out Mystery

    Glass Onion: A Knives Out Mystery


    No spoilies, but we got to see this at the Key West Film Festival and it is a goddamn delight. Everything the first one steove for, but bigger and funnier and with 100% more Bautista.

    Twitter is gonna be so much fun the night it starts streaming.

  • Weird: The Al Yankovic Story

    Weird: The Al Yankovic Story


    This film understands the most basic rule of comedy: some things are just inherently funny, like polka music, the phrase "hay boy" and the idea that John Deacon would be the only member of Queen at a big Hollywood party. All hail our Weird Overlord.

  • See How They Run

    See How They Run


    I did "The Real Inspector Hound" in high school oral interp, of course I was going to enjoy this one.

  • Accident Man: Hitman's Holiday

    Accident Man: Hitman's Holiday


    I'm not even being hyperbolic when I call this the Citizen Kane of DTV action sequels: after all, both films are technically accomplished and stylistically showy, flashing back from a memorable opening scene to tell a universal tale of the meaninglessness of life without simple human connection.

    Kane didn't have a murderous clown impervious to pain, though. Point to Adkins.

    Anyway, like its predecessor, Hitman's Holiday is a delightfully demented series of perfectly choreographed fights, punctuated with moments of legit…

  • Saloum



    Strong John Carpenter vibes from this excellent Senegalese mashup of heist film, Western and horror (which refers to itself in the credits as "a Southern"). Made with real skill and style, and making the most out of its budget, Saloum would sit nicely in a double feature with 2019 gem Bacurau as examples of the best in current global genre cinema.

  • Day Shift

    Day Shift


    Honestly wouldn't have watched this if I hadn't heard Scott Adkins was in it, but it turned out to be 80% more fun than I was expecting.

  • Moonage Daydream

    Moonage Daydream


    The marketing for this goes really hard on the point that "it's not a traditional biopic, it's an IMMERSIVE EXPERIENCE," and, for better and worse, that's absolutely correct.

    The better: it truly does wallop you with extreme closeups, intense surround sound, visceral (even assaultive) music and total immersion; one moment you're in the crowd being wowed by Ziggy Stardust, the next you're riding a Tokyo escalator on Bowie's shoulder, nearly close enough to read his thoughts. You're intimately connected with…

  • Confess, Fletch

    Confess, Fletch


    Charming, roguish and legitimately funny (Eugene Mirman's runner about the J Geils Band is my favorite throwaway joke in a long time). Plus, with all the boat-related action, it's as close to a Travis McGee movie as I'm going to get.

    If this were 30 years ago, Struggling Actor Tom Hamm would have a franchise on his hands; I'm hoping there's still room for that sort of thing today.

  • The Toll

    The Toll


    A throwback to the heady days when every third movie was a Tarantino/Ritchie knockoff, but in the most enjoyable possible way. Great showcase for the always-appealing Michael Smiley as the calm but menacing eye of an idiot-criminal hurricane.

  • Band of Outsiders

    Band of Outsiders


    Rewatched this in JLG's memory for the first time since my New Wave crash course in college, and found it much more profound than I'd remembered. (My take then was more 'cigarettes are cool, dancing is cool, Anna Karina* is mind-bendingly hot.')

    What struck me this time is how, even this early in his career, you can see Godard's commitment to interrogating the inescapable power structures that shape modern life, no matter how hard individuals try to break from them.…

  • Time Share

    Time Share


    After finishing The Resort, we decided to explore other entries in the "Luis Gerardo Méndez at a weirdly sinister hotel" genre, which led us to this one.

    The incredible prologue and first act (complete with Kingdom-style creepy corridors) promised more weirdness than the film ultimately delivered, but it's still a blackly comic and enjoyably trenchant comment on the insatiable need for corporate capitalism to commodify everything it touches. Excellent performance from RJ Mitte as the friendly-scumbag CEO type, too.