• Ambulance



    Bayisms start to finish with some of his most intense nervewracking editing and cinematography yet. Story and characterizations are just points on the graph of the action beat per minute.

    The straight-forward quick characterization and intense camera work acting as a western extension of the tokusatsu legends who broke ground with simple impactful action narratives. The everyman's Michael Mann. An ode to the Michael Bay film by Michael Bay. One of the greatest circlejerks on film.

  • We're All Going to the World's Fair

    We're All Going to the World's Fair


    I feel extremely seen as somebody who as a kid was in weird communities online and struggling with mental health and shit but I wouldn't call it the most engaging thing as a Film.

  • The Insider

    The Insider


    To a network… we're all commodities.

    A gorgeous and terrifying film about the power of corporate America. A tale of what was to come for the structure of America. Who would not flail in anguish, fear and sorrow under such a boot?

    One of Mann’s most powerful works, with stunning casting and what is now one of my favorite scores. Al Pacino’s raw sexual drive in Mann’s films is always breathtaking, every god damn time.

  • The Matrix Resurrections

    The Matrix Resurrections


    It fucking sucks so much fucking suck it fucks! It fucking sucks so much cocksucker motherfucker bullfuck that... well, I *kind of* liked it.

    The film gets a whole star for having cute robot bug buddies, another for having the matrix do something unsettling and uncanny for once.

    Both extremely "watchable" and also simultaneously full of like, 'terminator sequel you forgot came out' levels of annoying quirky fake ass dialogue.

    Glad Lana liked Blackhat.

  • The Matrix Reloaded

    The Matrix Reloaded


    5 total minutes of interesting film. 

    Wish the film had anything to convey or say, and wish it wasn’t shot like porridge. 

    Surprised how little these films are interested in playing with any concept of uncanny valley with a digital world or the actual depth of cyberpunk literature.

    The show Reboot, a show for kids, is more emotionally mature and capable of building out a world in which back stabbing programs and malfunctions is gripping and also fucking gorgeous.

  • Evangelion: 3.0+1.0 Thrice Upon a Time

    Evangelion: 3.0+1.0 Thrice Upon a Time


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

    Ya ever cry at an animation cell?

  • Good Time

    Good Time


    Extremely high 3.5

    I will probably like this a lot more with time, but I already like it a lot. 

    This film brought me back to east end Toronto in the worst way, it’s amazing. Every dirtbag, every little shitty decision, a spattering of impulses and zero awareness. 

    When I was a kid my high school partners friends would go on about the guys they’re trying to shake who’s lives are a never ending series of mistakes. I feel like I’ve lived on the fringes of this film, it’s bizarre.

  • Collateral



    The accessible Mann. Perhaps less focused on the trappings of a Mann piece, it’s still a fun and stressful exploration of character through the frame of violence and craftsmen. 

    The whole shot on DV look is an amazing choice for a noir tale in LA. 

    Soundtrack is lacking a lot of the oomph that the more cult hit Mann works have, and overall the film is less focused which is surprising for such a tight premise. Nevertheless highly recommended.

  • Heat



    A classical epic for modern times, an American battle of factions and battle of the interpersonal. 

    Michael Mann explores his fascination with dysfunctional people breaking under the weight of their fascination and dedication to their skills, by expanding this character type into a roster. You see multiple iterations of the strokes Mann is obsessed with, clashing and melding with themselves.

    The tensions of command and the contrast of hierarchy of relationship power dynamics AND social power dynamics ? Jesus y’all.

    This is essential western film canon.

  • Manhunter



    Shout Factory 2 Disc Disc 2 Director’s Cut. Which crime show hasn’t been influenced by this holy shit. This film feels like it’s caught between two ideals. Is it a film about the chase or is it a film about facing ones dark impulses. The differences in cuts definitely showcase what it was meant to convey vs what is mass marketable. 

    The contrast between ones skills and fascinations, and the impulses that dictate those skills.

    This film has some of the best 80s haircuts and soundtracks. As always Mann is fascinated with hilighting the dedication of the working class man of America.

  • Face/Off



    One of the most playful 90s action films. Take the big concept, run with it. First take best take. Magical guns and mystical science.

    Nic Cage has to hold most of the film in that he’s one of the greatest actors in the world, against one of Hollywood’s worst most stilted frontmen.

    I’ve watched this film countless times and I’ve come to love it more and more especially as I learn more about Hong Kong action. 

    It’s a bit long…

  • Thief



    Michael Mann truly does love making films about people and the technicality of their labor. A film about the lies in the backbone of American society, and the damage done by believing them.

    This film echos through all of modern action filmmaking, but it’s not an action film or a thriller. Michael Mann makes character dramas with thriller dressing, but nevertheless every aspect every detail is considered. 

    A great down to earth working class noir, as it fucking should be.