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Tim has written 162 reviews for films during 2018.

  • Spider-Man: Into the Spider-Verse

    Spider-Man: Into the Spider-Verse


    What a sweet and innocent and beautiful game changer of a film.  What a buoyantly charming and ludicrously realized world these lunatics created.

    Miles Morales is the hero we needed in 2018 and we didn’t quite realize it until the last seconds of the terrible year.  He’s a kid.  He’s innocent, goofy, GOOD, he’s never looking for a fight, he’s scared, genuinely scared too not Hollywood scared, he doesn’t know what he’s doing, he’s trying his best which sometimes isn’t…

  • If Beale Street Could Talk

    If Beale Street Could Talk


    I’m frustrated that I don’t have anything meaningful to say about this and I’m frustrated with myself that this wasn’t more affecting or resonate to me.  I don’t know if it’s me or the film, but it felt like a lot of beautiful, isolated moments of truth and love and beauty and pain, strung together with voiceover and inert scenes.  It feels rightfully important because it is, but it doesn’t feel as real and immediate as it should be considering…

  • The House That Jack Built

    The House That Jack Built


    This is one of the more harrowing things I’ve sat through.  Just for all the little moments of horror that jump in and out in little snippets.  We never spend too much time reveling in the blackness, which I was surprised by considering the reputation of the filmmaker.  Instead, he chooses his moments carefully and hits hard with clinical precision as he tells his awful awful story.

    I don’t know what it says about me that I think this is…

  • Bumblebee



    This movie is exactly like ET if ET started with ET decapitating an evil ET and kicking it’s head at another evil ET during an ET war.

    And then the rest of the movie more or less proceeded the same way with us watching an alien act like a scared puppy with an outcast human poorly dealing with the absence of their father.

    It’s a good idea to utilize Spielberg’s skeleton to force feed some humanity back into the franchise…

  • Batman: Gotham by Gaslight

    Batman: Gotham by Gaslight


    Gotham by Gaslight is one of my all-time favourite comic books and this is a pretty compelling adaptation of the material, especially considering how hit or miss WB’s animated DC division can be.

    Halfway through this, I realized I was breaking the story down and figuring out how I would adapt this as a live action story and I realized that this is my ultimate dream.  To direct this as a big, proper thing, and dig into all the themes…

  • Aquaman



    I think there are two reasons this isn’t an entirely exhausting and weightless debacle.

    The first and main reason is just in the way that James Wan conducts the camera.  The fluidity of motion and the hard edges in the fight scenes keep the film moving and give you a constant sense of momentum.  We slip and slide through most sequences in the first hour as if they are all tangibly connected and it makes the actual scenes themselves a…

  • Elevator to the Gallows

    Elevator to the Gallows


    This thing is slick and it moves.  The shots move like butter and the characters feel real within their stupid and personally motivated decisions.  The film is a cascade that starts with an almost perfect crime.  One tiny thing goes wrong and it unravels the lives of six people in the process.  This is just a great example of a well-written thriller screenplay.

    While it keeps the pulse of the proceedings pretty quiet and subtle, the energies of the characters…

  • Vox Lux

    Vox Lux


    The commodification of pain and the corruption of absolutely everything. Youth, dreams, innocence, hope. And, perhaps most crucially, meaning. This thing is a damning indictment of us, as a whole. Of 21st Century Society. Of the disposability of feeling.

    You notice how it’s getting harder to remember things, lately? How, as we get older, suddenly no one remembers anything? And we spend all our time reminding one another of the five things we had the emotional capacity to store in…

  • Roma



    To be perfectly honest, I didn’t think I was going to get through this after the first half. It’s beautifully composed and peaceful and naturalistic to the point of stagnation as we watch Cleo almost silently take care of this family. We aren’t really introduced to any of the characters at any point and we aren’t allowed to get close to any of them, Cleo included.

    This makes sense, what with the unseen barrier between her and the family. They…

  • Watchmen



    This grows on me more with each viewing.  Especially with the assistance of the Director’s Cut, which is for my money the only cut to watch.  As seems to be the way with a Zach Snyder film.  The first viewings are overwhelmed by the visuals and the style and the violence, all of which are always so audacious and singular that they can be a lot to handle initially.  But on further viewings, I always find myself digging deeper and…

  • Spider-Man: Into the Spider-Verse

    Spider-Man: Into the Spider-Verse


    I watch this and I wonder why Spider-Man ever bothered to shackle itself to live action. That said I’d love a Chris Pine/Shameik Moore film but that’s a rabbit hole of dream casting that there’s just no time for.

    This is the only Spider-Man movie you ever need to see. Ever. Serious. People holding onto SM2 have to at some point admit the nostalgic component of their praise. This is both a crash course in a world you probably have…

  • Vox Lux

    Vox Lux


    I was dazed. The film starts in an insane and awful place and my blood quite literally ran cold and I shivered. And then, in a sick way I got excited. Because I haven’t kept up with this film so I don’t know how heavily advertised it is, but this film does not start anywhere close to where I thought it would. It starts in a hellhole. With Willem Dafoe narrating.

    And it clashes together different filmmaking styles and soundscapes…