• The Marvels

    The Marvels


    Honestly wasn’t terrible. I laughed quite a bit more than I thought I would and the chemistry between the leads is pretty good. Love the Khan family, easily stole every scene they were in. The plotting is very rough and the final act is extremely ho hum (these heroes really need to start by talking with the “bad guys” and seeing how they can help with their problems). But that’s pretty much par for the course for Marvel.

    At the end of the day, I got to sit in a theater and forget about work and eat some candy. Sometimes that’s all my dodo brain needs. 🦤

  • Symbiopsychotaxiplasm: Take One

    Symbiopsychotaxiplasm: Take One


    The concept of reflexivity is well worn territory in film. On one hand, you have very explicit reflexivity like F for Fake and nostalgia like Cinema Paradiso or The Fabelmans. On the other hand is a more subtle reflexivity, like the monolith and interstellar trip of 2001 and the hidden, behind-the-scenes reflexivity of the probably hundreds of obsessive, possibly self-destructive actors/directors/screenwriters who have slaved away creating films about obsessive, definitely self-destructive characters — Fitzcarraldo, The Phantom Thread, probably every Wes Anderson film, and…

  • The Shop Around the Corner

    The Shop Around the Corner


    The comedic timing in this is so good, the romance is very believable, and ole Jimmy is at his peak. What more could a movie need? Also love how retail workers have hated being retail workers as long as retail has existed.

  • The Wonderful Story of Henry Sugar

    The Wonderful Story of Henry Sugar


    I love when Wes really leans into the fakery. This sub-hour whirlwind packs pretty much every tool he has into its limited runtime. With everything we watch there’s an element of suspension of disbelief, and what Wes does so well in his films is he essentially races to break any semblance of believable façade as fast as possible. He just takes a stop-motion yellow-and-pink sledgehammer to that concept and allows us to see that it’s fake, acknowledge it, and move on

  • Trouble in Paradise

    Trouble in Paradise


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

    Exquisite! So much fun. I would take a whole franchise (TV series?) of Gaston and Lily taking on the world, stealing from the rich, each time nearly breaking up but always getting back together in the end. Somebody make it happen!!

  • Ponyo



    I’d let a fish lick me if it’d get me out of this wheelchair!
    - Well I don’t know about all that licking.

    The first ~ten shots in this movie contain some of the most impressive animation of all time. Love the colored pencil backgrounds throughout, unique for a Miyazaki film.

  • Guardians of the Galaxy Vol. 3

    Guardians of the Galaxy Vol. 3


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

    It’s better than the first one, I guess. I love the wide angle stuff (the VFX work on those shots is absolutely stunning). And u know I love backstory. But overall it was just kinda icky. There’s lots that is icky in this, but for example: I don’t know how I feel about Peter’s characterization in this film. He goes from “the Guardians don’t kill” to “kill them all” in like… two scenes. Not to mention the least emotional reaction to the death of a literal entire planet since Alderaan. Or just… War Pig. I don’t feel in any rush to watch this again soon.

  • Barbie



    Ken is a professional at beach. I am a professional at crying in the Barbie movie.

  • Paperman



    Had to come back and watch this again. AFAIK the first of this 2.5D style. Let me know if you read this and are like “heck no it’s not”

  • Puss in Boots: The Last Wish

    Puss in Boots: The Last Wish


    I remember hitting a point with CG animated films where I wondered if the art style would ever change from that big-eyed-but-somehow-hyper-realistic Disney•Pixar style. Not that it’s a bad style! Just spawned a lot of copycats that could never quite match Pixar’s level of polish.

    We’re sort of seeing a similar thing now in a post-Spiderverse (or is it post-Klaus-teaser? or even post-Paperman?) where we have a whole lot of films coming out with this 2.5D blend. Part of me…

  • Minari



    Feels like a literary classic. Exquisitely made film. Every character has such unique arcs. I felt especially moved by the father’s very flawed character. He sees himself as a male chick in grave danger of being discarded. His actions are seen through that lens – his need to prove his worth and usefulness to his family. But that drive just pushes them further away. It’s a terrible trap to fall into.

  • Asteroid City

    Asteroid City


    Easily his most surreal film, Asteroid City takes The French Dispatch’s English translation of a French theatrical play of a story of a boy that inspired a riot from within a magazine article within the story of said article being written [breathes] and runs with that level of self-compartmentalization. This is a dramatization of a play within a made-up story about a playwright within a local television station’s evening programming. Still, it’s so easy to forget that, as the actors (or…