• The Making of 'Raiders of the Lost Ark'

    The Making of 'Raiders of the Lost Ark'


    This opens with Steven Spielberg recounting the story that eventually became the first scene of The Fabelmans, right down to citing the train crash as the scene that really affected him. And this has a ton of Spielberg at work; observing him as he directs the actors, goes over storyboards. It’s nuts and bolts in the best possible way. I also love Harrison Ford’s description of Indy in this: “Indiana Jones is an archaeologist. And, in his spare time, he’s a grave robber.”

  • Flamin' Hot

    Flamin' Hot


    Tagline Brainstorming Sesh For Flamin’ Hot:

    -“Based on a cheesy true story.“

    -“This is Richard Montañez. A real blue chipper.”

    -“Richard Montañez was never afraid to Ruffle a few feathers.”

    -“Meet the one man who put all his chips on the table.”

    -“Searchlight Pictures proudly presents the story of the janitor who really cleaned up.“

    -“This summer, prepare to get Lay’d.”

    Review at ScreenCrush.

  • Transformers: Age of Extinction

    Transformers: Age of Extinction


    Suggested Transformers: Age of Extinction Drinking Game:

    -Any time a robot transforms, take one sip.

    -Any time someone says “transformium,” take one sip.

    -Any time there is an American flag visible in the frame, take one sip.

    -Any time there is blatant product placement, take one sip of an ice cold Bud Light™ while rocking out to your Beats™ portable Bluetooth speaker.

    -Any time Mark Wahlberg gets angry about his teen daughter’s budding sexuality, take one sip.

    -Any time Michael…

  • The Flash

    The Flash


    Keaton still has that old Batman joie de vivre; even belatedly, it’s really fun to see him back in another adventure. But by the third act, all of the quipping and fan service begin to feel like manic form of distraction; as if The Flash is trying to solve its overloaded story’s problems by outrunning them.

    Full review at ScreenCrush.

  • Magic Mike's Last Dance

    Magic Mike's Last Dance


    Casting Magic Mike as a director who can’t figure out how to end his story and only seems mildly interested in his current project working for a producer named “Max” was ... certainly a choice!

    Some of the final show is spectacular, especially Magic Mike’s [dramatic pause] last dance. Still, this is an awfully long way to go to make the argument that stripping is an art form equal to or greater than “legitimate” theater, especially since the previous two…

  • Spider-Man: Across the Spider-Verse

    Spider-Man: Across the Spider-Verse


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

    One little bit of foreshadowing I did not notice the first time: When Miles goes to evil Earth-42, and puts on that dimension’s Miles’ jacket, it’s dark green with a purple hood — a clue that this Earth’s Miles is the Prowler. (On Miles’ own Earth, his hoodie is black with a red hood — I.e. Spider-Man colors.)

  • Ocean's Twelve

    Ocean's Twelve


    Absolutely ludicrous to me that this movie got mediocre-to-bad reviews in 2004 when it is so obviously the best of the trilogy and one of the all-time great sequels — and still my favorite sequel ever about the making of sequels.

    “We’re forcing it.”
    “Yeah. We’re forcing it.”

  • Indiana Jones and the Last Crusade

    Indiana Jones and the Last Crusade


    When I saw this movie for the first time, I had no idea who Sean Connery was. (In my defense, I was 8.) I thought he was funny, but I did not really understand what it meant to cast him as Indy’s father — or the added comedy of casting James Bond as a bumbling academic. Sometimes, the fun of revisiting things you loved as a kid is discovering that beneath the superficial pleasures you enjoyed is a whole lot more you did not realize was there.

  • Spider-Man: Across the Spider-Verse

    Spider-Man: Across the Spider-Verse


    There are generally two types of sequels: The ones that rehash the previous film’s success for financial gain, and the ones that use the previous film’s success as a license to experiment. Spider-Man: Across the Spider-Verse isn’t just that second kind of sequel, it’s actually about making precisely that sort of movie. Its real villain isn’t the Vulture or the Spot, it’s storytelling orthodoxy; the idea that you must create a work of art in a certain way simply because that’s how it’s always been done.

    Full review at ScreenCrush.

  • BlackBerry



    A proposal: The Academy Awards add a new category, Best Asshole, and unilaterally declare Glenn Howerton the inaugural winner of said award for his outstanding work in BlackBerry

    The film ends with the obligatory title cards that appear at the end of every biopic; revealing the fates of all the key players after the events depicted onscreen. They’re interesting but also a little redundant; anyone watching in a theater knows what happened next because they’ll see everyone around them pull an iPhone or Android device out of their pockets as soon as the credits start to roll.

  • Past Lives

    Past Lives


    The movie is called Past Lives, but that’s not precisely how the title appears onscreen. When it shows up in the opening and closing credits, it looks more like this—

    Past             Lives

    — as if this movie is not just about “past lives” in the sense of reincarnation (although that is occasionally discussed) but rather about those words as distinct concepts, and how one reflects on the other. The huge space between the words onscreen also foreshadows and mirrors the…

  • College



    Some of the funniest parts of this one are just the set ups; show me Buster Keaton next to a track and field event and I’m already laughing anticipating all the silly stuff he’s going to do. (The funniest one: The hammer throw!)