• Dirty Work

    Dirty Work


    "Are those prostitutes? I mean, who are those girls?"

    Dumb as hell and yet I like it for that. Not even a movie most of the time but it works all the same. An essential piece of the "shot in Toronto" canon.

  • Tokyo Olympiad

    Tokyo Olympiad


    A dedication and showcase of the pure feats of the human body. Really reaches the next level with how it follows the athletes outside of the competition. The urtext of all great sports documentaries to follow.

  • Christine



    The idealization of nostalgia and the danger it poses. Don't get stuck in what was.

  • Zero Dark Thirty

    Zero Dark Thirty


    Revisiting this about a year after first watching and it sadly still doesn't do much for me. The vignettes work well for establishing tension within themselves, but it leads to a lack of intrigue overall. The narrative feels like it moves from target to target without much reasoning, something that I'm sure was specifically done by Bigelow and Boal to accentuate the head-in-the-sand manhunt that this was, but as an audience member, it just feels unfocused. And that's honestly why…

  • Saw



    Completely and utterly opposite of everything I want from a movie. I'm not discounting the fact that a lot of people love this, as should already be evident by the fact that this spawned a very successful franchise, but holy shit this is just the Anti-Max movie. Can't believe I watched this whole thing.

  • Pretty Woman

    Pretty Woman


    Pretty disappointing considering this is one of the most popular romcoms of the decade. Instead of consisting of light scenes with two charming individuals falling in love, it's just a super stretched-out story that has an annoyingly simple take on wealth and class. I am literally Mr. "so what, it's a romantic comedy," but even this pushes my limits.

  • Someone's Watching Me!

    Someone's Watching Me!


    John Carpenter doing his own version of a Hitchcock pastiche, ultimately not the best style of thriller he can make. It's only his fourth feature, made for television of course, but it still feels a lot like him trying to find his footing, serving as the most interesting part of anything going on here. The film almost has too much it's trying to get across. Watching many of his films in order over the last little bit has made it…

  • Road House

    Road House


    I might be slightly influenced by the circumstances in which I watched this, but this was an absolute ball. A martial arts-inspired maximalist action film with some of the hottest people on the planet. A swan song for the 80s.

  • The Thing

    The Thing


    Where no one can hear you scream.

    Unimpeachable. One of the very few movies with literally nothing wrong with it.

  • Purple Noon

    Purple Noon


    I really truly wonder how I'd have felt about this film if I had watched it before The Talented Mr. Ripley. Like other Patricia Highsmith adaptations, Purple Noon is more focused on process, on the actual crimes of Tom Ripley, rather than the characterization and the psychology that comes from it within the 1999 version. It leaves much more to be desired in terms of emotional investment, but it's still thrilling nonetheless.

  • The Nice Guys

    The Nice Guys


    This has basically become the go-to "I wish they made more movies like this" movie but it's pretty wild how much it truly applies. Totally hilarious, full of outstanding comedic performances, and really well-directed. It's an original story with genuine style and good pacing, hell yeah! We all did this film a disservice when it was in theatres, for real.

  • The Five-Year Engagement

    The Five-Year Engagement


    A solid rom-com for a half-hour until it decides to settle way way way down into an annoyingly low energy workplace drama. Can't tell if that's just the movie's message and they really succeed at convincing the audience that Minnesota is boring, or if this just has extremely poor pacing.