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  • Cry-Baby

    Cry-Baby

    ★★★★

    Weird, funny, and thrillingly infectious, this rock-and-roll musical is such a pure dose of Waters' winking-but-sincere love for everything he's putting on screen that it fully overcame my resistance to musicals where the cast doesn't sing through stylistic energy alone. I could watch Amy Locane and Traci Lords in this universe forever. [Director's Cut.]

  • A View to a Kill

    A View to a Kill

    ★★★

    Was heavily warned that this was one of the worst Moores, but in my opinion, its worst crimes are being a little convoluted, a little forgettable, and about 20 minutes too long. Grace Jones demands attention whenever she's on screen, and Christopher Walken is no slouch either (grinning as he gleefully guns down construction crews as he puts his evil plan in motion). The infamous finale atop the Golden Gate Bridge is so-so (if only you could transplant in the one good scene from Remo Williams, the Liberty sequence), but there are some pretty good chases and other stunt sequences in it.

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  • Vampire's Kiss

    Vampire's Kiss

    ★★★★★

    Audio commentary by director Robert Bierman and actor Nicolas Cage.

    90 minutes of Bierman and Cage giggling in awe and confusion at what a ridiculous, ludicrous, insane movie they were able to get away with making, and it is glorious. Essential companion viewing to the film itself.

  • A Good Day to Die Hard

    A Good Day to Die Hard

    ½

    First things first: The Die Hard sequels can never be Die Hard. Despite a handful of cheesy moments, the original film is a masterpiece of action movie engineering. The writing and acting are top-notch all by themselves, but it's John McTiernan's brilliant direction that sets the movie head and shoulders above 99% of the genre, and the trajectory of Die Hard 2 (love it or hate it) established that key plot elements and the McClane character would be the backbone…