I had forgotten how episodic La Dolce Vita is, maybe because Fellini effortlessly shimmies the story from one episode to another. Some are exuberant, while others are deeply melancholic, but the scenes with Marcelo's father remain my favorite. The father is both a mirror and a time machine and it brings to the fore the underlying sense of despair and hollowness.

Ralph Fiennes has sort of quickly become one of my favorite actors working today and Conclave is yet more evidence of his range and effortless charisma. It’s kind of incredible that this is the same actor who’s played Francis Dollarhyde, M. Gustave, Amon Goeth, Harry Hawkes, and Lenny Nero.

I watched the theatrical cut this time, because last time (years ago) I watched the extended editions they felt too sluggish. Just about every part of this movie still impresses me, but this time I was struck by how fast it moves. Besides the opening sequence in the Shire, the first half is so well paced, it feels like an extended chase scene.

Getting in the holiday spirits with Joe Bob is never wrong.

The best thing about Gladiator II is when they play the music from the original at the end.

I don't usually like the whole "person losing their mind" trope, and I found the first hour of this to be too repetitive (minus the killer prologue). But then the movie got down to business and director Parker Finn delivered some truly exceptional horror sequences (dance!) and a bold ending. The hype about Naomi Scott was also warranted; she delivered a phenomenal performance that felt very real yet never grating.

A Real Pain is a perfectly tuned road trip movie about being an immigrant, being depressed, and what happens when you've grown apart from someone you used to be very close with (but not necessarily in that order). There's nothing particularly new here in form or content, but Jesse Eisenberg does a good job focusing on the characters as the director and with his acting and writing is able to bring out an absolutely gigantic performance from Kieran Culkin. Culkin gives one of my favorite performances of the year (or decade even), but he doesn't do it alone. Eisenberg plays the neurotic, repressed type role so well, and he is the perfect foil here for Culkin's character who is teethering on the brink of oblivion. One does not work without the other, and it is to both their credits that they know it.

The way Fellini moves the camera makes me swoon. But what I didn’t realize until this (third?) watch is how funny 8 1/2 is. I need to watch this on the big screen next with an audience.

A fully realized work of unbridled imagination made on a shoestring budget. I didn’t think I’d go for this, having bailed on Lake Michigan Monster, but it was hard to resist the chaotic energy and precise craft of this Looney Tunes homage. My only issue with it was the length. It gets quite repetitive in the middle, with variations of the same gag playing out a bit too often.

A sumptuous piece of cinema, achingly tender and beautifully realized. From the use of minatures and sets to the propulsive score and soundtrack, everything about Queer is just stunning. Of course the real star is Daniel Craig, who gives a career-best performance in the lead. Craig adds a physicality to the role so every shrug and pause layers the character with grief, hope, and longing. Queer is one of Guadagnino's more challenging movies; the use of dreams and hallucinations contrasts with the more straight-forward Call Me By Your Name, but it's never alienating. It enrichens the experience, and the ending is both awesome and heartbreaking.

A surprisingly empathetic and suspenseful TV movie from the master of horror. I've never thought of John Carpenter as a conservative filmmaker, but I was surprised at how unabashedly feminist this movie about a TV news director that's being stalked by a psychopath but no one believes is. Lauren Hutton is also completely disarming in the lead, effortlessly veering from charming to scared and back.

I didn’t think Hamaguchi was a funny director, but there’s a 20 minute community meeting scene midway through Evil Does Not Exist that’s legit one of the funniest scenes of the year. The rest is subtle, very subtle storytelling that could easily be mistaken for slight. It’s not, but when the movie moves away from main character Takumi it loses some focus that I think lessens the impact of the ending.

I liked this a lot more this time. I still have issues with some of the adaptation choices, but formally this is unimpeachable.

Charming yet unfulfilled.

I was not expecting something so thoughtful. It’s formally and thematically a rethread of the original but in a way that feels meaningful. This is a nostalgia trip in the weary sense, as the characters and Boyle have all hit middle age, looking back at their peaks. It even manages to give Begbie depth as it builds towards the inevitable climax, but the scene that really killed me was the countryside redux, with Mark confronting Simon over the baby. It’s devastating and Jonny Lee Miller’s performance raises the question why he’s not had more of a career.

Bloody tedious.

Face-melting nonsense that rips off better movies, including Night of the Living Dead and The Crazies. It’s cheap thrills and awful writing, but it has an unnerving atmosphere and some cool production design (even though the make-up and special effects are pretty shoddy).

Another solid entry in the Florida neo-noir subgenre. Denzel is amazing as always, and Carl Franklin does a good job keeping things humming along fast enough so we don’t notice the strained plotting.

Heretic is the movie equivalent of that horse drawing meme. I was really into it for the first hour or so. The first act is terrific, and the second act ups the ante and moves at a terrific pace. But it all falls apart in the third act in an almost shocking way. It really left me ambivalent about the whole movie, despite a good start and three terrific leads (Hugh Grant especially). It’s like they had to abandon a script rewrite two-thirds of the way through. Truly baffling.

I really dug this. The script is fun and well constructed, and Aldo Ray and Anne Bancroft are perfect in the lead. Ray especially has this boyish charm that feels quite fresh compared to the more dour leads we usually see in these movies.

Shyamalan used to make movies that 1) had something to say (even if it wasn’t too profound) and 2) were formally interesting and engaging. This is neither. But Josh Hartnett is great.

This reminded me of all those road trips I took as a kid with my grandfather. Driving over mountains, past the fjords, and through small towns up and down the country. Those memories of time and place and him all fused together like big, hazy pieces of myself.

A coming-of-age story basked in a warm glow yet framed by dread. I thought at first that Charlotte Le Bon was mixing drama and horror simply to symbolize the uncertainty of youth--this is not a nostalgic endevour, but a real, tactile story. However, Le Bon has bigger aims, and the final act ties together the formal and thematic elements into something much grander and more interesting. I don't want to say much more because it would spoil the ending, but it recontextualizes the whole movie and portends a serious filmmaking talent.

Tragedy as farce. Impeccable.

This Hicksploitation gem is mostly one long chase interrupted by a few pit stops, but it is fabulously entertaining. The car stunts are exhilarating and chaotic, and there’s one involving a helicopter that left me slack-jawed. Susan George and Peter Fonda are perfectly fine in the title roles, but it’s third-wheel mechanic Deke, played by Adam Roarke, that steals the show with a mix of professional weariness and stoicism papering over deep sadness.

The pacing is a bit dodgy but Peter Cushing as Sherlock Holmes is simply delectable.

The way this movie handles rape is deeply unsettling. I don’t know how it was viewed on release, but looking at it now through the modern feminist lens it feels both honest in how it portrays attitudes and somewhat accusatory. Credit goes to Lee Remick who delivers a performance that is much more nuanced than the rest of the movie. Yet I’m not sure how much of this nuance was intentional on Preminger’s part. Is the humanity that shines through accidental or intentional?

I took my oldest to see this and I was pleasantly surprised by how beautiful and moving it is. The animation is breathtaking at times, and while the story is fairly rote, it nonetheless has plenty of heart.

A thoroughly grim portrayal of generational trauma. Like Nick Nolte's lead character, Paul Schrader's film moves wearily and sickly. This is a cop thriller but only in the sparsest sense, as the plot is a vehicle for exploring Nolte's decaying body and mind in the face of stress and pressure. Every scene feels cold and poor as if to remind the viewer that you do not want to be here.

Worst. Cockney. Accent. Ever.

(Charles Laughton is fucking incredible, though)

I haven’t laughed that hard from something so inappropriate in a while.

A really cool French horror movie with a terrific premise and a cool gimmick. However, it is structurally unsound and narratively vague. For the first two-thirds I had trouble really engaging with the movie, but then the story shifted and it got real stakes that also made it all the more terrifying.

That most certainly lived up to its reputation. Mesmerizing and haunting, and another example of how ingenuity in the face of material limitations is an essential part of cinema.

Mikey Madison’s performance in Anora is the kind of star-making performance you come across once every five or ten years. It is charismatic, physical, vulnerable, and surprisingly nuanced. I say surprisingly, because Madison is playing a role in the shadow of decades of character tropes, and we sort of expect every character development and quirk in this kind of story. Baut it is a testament to her skills and Sean Baker’s script and directing that the title character never feels too familiar, even when she makes the choices we would expect from a person in this situation.

With this film, Sean Baker also cements his place as one of the chief storyteller about class in contemporary American culture. Many have noted his focus on sex workers in his movies, but there are larger themes at play and ideas about class mobility, struggle, and structure are essential to his cinema. When Anora turns into an overnight hangout movie halfway through, we can feel the class solidarity between the very different characters all struggling to answer to the boss—even as they bicker amongst themselves.

There is one thing about this movie that I don’t know what means just yet, but it feels significant. The story concerns itself with the American dream, or at least how it drives Anora, yet the real villain is foreign. I don’t think Baker is angling for xenophobia—rather, he seems to suggest that American institutions cannot protect Americans anymore. What little was left of national solidarity is now gone. Only class remains.

A cool premise and a promising start slowly unravel as the movie shifts from character-based drama (albeit with obnoxious people) to plot-driven storytelling.

It was the opposite of my experience watching Cuckoo, which I liked more and more as it went on.

A decidedly uneven affair that starts out timid but ends frenetically. There’s a lot of weird stuff here and most of it doesn’t make a lick of sense, but the storytelling isn’t quite weird enough to sustain the movie on vibes alone. Thankfully, the last act is very well executed, with a good mix of straight horror, suspense, and stakes. The monster alone is worth a rental.

That definitely lived up to its reputation.

LOL.

I watched the Italian cut, and I kinda wish it didn’t. This is still a great giallo, but it really drags in the first hour.

Good dad movie.

Well, I’ll be damned. This one actually held up really well. Arachnophobia was a childhood favorite, so I was a bit apprehensive about revisiting it. But it remains a lot of fun. And the final act is actually super tense and exciting.

This one’s an odd mix. It’s partially a deconstruction of film noir, it’s got the second-best shark-themed monologue in cinema, and a masterpiece of a final act. But the first half is kinda drab.

As usual, V/H/S is a mixed bag. No real stinkers this time, but none that really wowed me. The best of the bunch is Live and Let Dive, which is very high concept and executed nearly flawlessly. There’s also a nasty Tusk ripoff and a disturbing alien spaceship entry that tickled me.

Nothing good will come of this.

Oddity has both legit scary scenes and an emotional core to it, as exemplified by the absolutely outstanding cold open. I really liked it. I have some reservations about the script, as some of the character motivations and plotting are a bit flimsy, but there's depth here that makes you actually care for the characters (even the dead ones). The other thing it does really well is keep the audience guessing. The plotting is unpredictable (up to a point), and in certain suspenseful scenes we're not clear who's the antagonist and who's the protagonist. That type of purposeful narrative ambiguity is uncommon in horror, and it works really well here to create a sense of unease.

This was the craziest movie theater experience I’ve had since seeing Gerald’s Game at Fantastic Fest. I could feel the audience members squirming in their seats throughout, and those last 20 minutes are even more bonkers than the hype claims.

But underneath the insanity is a shockingly thoughtful feminist body horror satire full of swagger. This is exceptional filmmaking on all levels, from the brazen directing to the assaulting sound editing. It’s a baroque fairy tale full of vigor and anger, masterfully led by Demi Moore and brilliantly assisted by Margaret Qualley. Oh, and Dennis Quad fives one of the wettest, most repulsive performances of the century.

I really dug Revenge, but this is a big step up for Coralie Fargeat, as a formalist and storyteller. I can’t wait to see what’s next. I bet it’ll be gross and delightful.

It's a bit rough around the edges, but Sergio Martino's giallo madness is unsettling and dream-like in a way that sets it apart from most of the genre. Edwige Fenech's desperate performance reminded me of Catherine Deneuve in Repulsion, hitting a striking balance between beauty and heartbreak. There are also some genuinely scary scenes here, though nothing will beat Martino's bravura home invasion scene in Torso.

One of the better horror comedies of recent years, Happy Death Day is a surprisingly fresh horror take on Groundhog Day. The direction is tight and fun, the script packs a few surprises, and Jessica Rothe adds a lot of nuance to the mostly unlikeable (at least initially) lead. It’s got some good scares and adds real stakes that makes it unpredictable and suspenseful. I thought director Christopher Landon’s Freaky was a bit bolder, but this is still very enjoyable.

The new Salem’s Lot is, as the kids say these days, mid. I’ve never read the book, but I really enjoyed Tobe Hooper’s miniseries. This one, however, has traded the creeping sense of dread for quick bursts of horror. Some scenes are quite good, even scary, and most of the cast try their best with the time they have. But everything here feels rushed—even the opening scene where we meet Straker is awkwardly blunt—which is a shame, because Gary Dauberman has a good eye for horror. I suspect all the complications of this famously troubled production led to a compromised version, because there’s just no way this story can be told in less than two hours.

I watched The Big Red One when the restoration  came out nearly twenty years ago, but this kinda feels like my first Fuller joint. It’s mean, lean, and perfectly cynical in all the parts that matter. Sure, it has ridiculously shallow Cold War politics, but there’s a lot more going on here under the surface.

It also has a phenomenal cast, with Thelma Ritter and Richard Widmark (in that order) the standouts. Ritter’s final scene is achingly vulnerable and brutal, and I was frankly kind of shocked at the level of violence in this movie.

The movie has a fairly austere look to it, but it’s not without some cinematic grandeur. Widmark’s character lives in a stilted shack on the river and there’s something so captivating about how it looks and what it says about the man. It might be a small touch, but it gives the movie the space to feel big, if that makes sense.

Movies I adored first time around that are potential all-time favorites, but need a rewatch.

• Eden
• Winter Light
• A Hidden Life
• Kings of the Road
• Persona
• The Vast of Night
• Hoop Dreams
• Holy Motors
• If Beale Street Could Talk
• The Last Black Man in San Francisco

...plus 32 more. View the full list on Letterboxd.

A work very much in progress. I had a Top 100 many years ago, and revised it once, but things have changed, as have I. So I'm starting from scratch. Films are mostly in ranked order.

A couple of notes on selection: I only put movies on here that I've watched at least twice. I also prefer to wait a few years before putting a movie on here, with recency bias and all.

• The Godfather
• Dawn of the Dead
• Rushmore
• Jaws
• Sideways
• The Thing
• Do the Right Thing
• Fanny and Alexander
• The Lord of the Rings: The Fellowship of the Ring
• Rear Window

...plus 187 more. View the full list on Letterboxd.

Continuously updated throughout the year.

• Civil War
• Challengers
• The Remarkable Life of Ibelin
• I Saw the TV Glow
• Queer
• Anora
• Dune: Part Two
• The Substance
• Drive-Away Dolls
• Red Rooms

...plus 21 more. View the full list on Letterboxd.

Movies shot or taking place in Florida.

• Any Given Sunday
• Bad Boys
• Bad Boys II
• The Birdcage
• Body Heat
• Drive-Away Dolls
• The Florida Project
• Invasion U.S.A.
• Miami Vice
• Moonlight

...plus 8 more. View the full list on Letterboxd.

Because I keep nagging my friends to watch more Italian horror.

• Black Sunday
• Black Sabbath
• Blood and Black Lace
• The Bird with the Crystal Plumage
• The Strange Vice of Mrs Wardh
• All the Colors of the Dark
• Don't Torture a Duckling
• What Have You Done to Solange?
• Your Vice Is a Locked Room and Only I Have the Key
• Torso

...plus 9 more. View the full list on Letterboxd.

Some fun, some adventurous, some heavy, but all indispensable summer movies. Best enjoyed late on a warm summer evening after a day in the sun.

• Rear Window
• Jaws
• The 'Burbs
• Call Me by Your Name
• Do the Right Thing
• Falling Down
• Badlands
• Everybody Wants Some!!
• Before Sunrise
• Almost Famous

...plus 14 more. View the full list on Letterboxd.

A work in progress.

• Kings of the Road
• Y Tu Mamá También
• River of Grass
• Planes, Trains and Automobiles
• The Blues Brothers
• The Last Detail
• The Hit
• Morvern Callar
• Scarecrow
• Civil War

• Phantom Thread
• Scenes from a Marriage
• Force Majeure
• Possession
• Marriage Story
• Le Bonheur
• Diary of a Mad Housewife
• Ema
• A History of Violence
• Anatomy of a Fall

...plus 1 more. View the full list on Letterboxd.

Work in progress. All entries are Blu-ray, unless otherwise noted.

• 12 Years a Slave
• 2001: A Space Odyssey
• 2046

  Criterion Collection (WKW box)

• 25th Hour
• The 39 Steps

  Criterion Collection (Classic Hitchcock box)

• The 400 Blows

  Criterion Collection

• 48 Hrs.
• 8½

  Criterion Collection

• The Abyss

  (4K/BR)

• After Hours

  Criterion Collection (4K/BR)

...plus 516 more. View the full list on Letterboxd.

Continually updated throughout the year.

1. Asteroid City
2. The Holdovers
3. Oppenheimer
4. Spider-Man: Across the Spider-Verse
5. Past Lives
6. Killers of the Flower Moon
7. Anatomy of a Fall
8. May December
9. The Taste of Things
10. All of Us Strangers

...plus 15 more. View the full list on Letterboxd.

Ho ho ho. Tentatively ranked.

1. Fanny and Alexander
2. Die Hard
3. Eyes Wide Shut
4. Catch Me If You Can
5. Bad Santa
6. The Night Before
7. The Silent Partner
8. The Holdovers
9. Black Christmas
10. Kiss Kiss Bang Bang

...plus 11 more. View the full list on Letterboxd.

New watches and rewatches planned for the spooky season.

• The Boogeyman
• The Texas Chain Saw Massacre
• The Texas Chainsaw Massacre 2
• The Kindred
• Freaks
• V/H/S/85
• The Faculty
• The House of the Devil
• The Thing
• Bones and All

...plus 4 more. View the full list on Letterboxd.

A work in progress as I make my way through Criterion’s box-set. Some will be rewatches.

First watch of the marathon: Varda by Agnes. My least favorite, but still overall good.

Second: La Pointe-Courte. Remains fascinating in form and story.

Third: Cleo from 5 to 7. It still doesn't grab me as much as I want it to, but this second watch made me really appreciate the formal experimentation and character development Varda does in the second half.

Fourth: Daguerrotypes. A cute, charming cinema-verite documentary of Varda's neighborhood.

Fifth: Le Bonheur. Loved this clever take on male narcissism even more the second time around.

Sixth: The Creatures. An interesting concept, but cold experience.

Seventh: Lions Love. A real, pretty dud.

Eight: Mur Murs. Charming piece of history.

Ninth: Documenteur. My favorite of Varda's California adventures. Tender, yearnful, and empathetic.

Tenth: One Sings, the Other Doesn't. Essential Varda, summing up her political and dramatic interests in one sweeping story of female friendship.

Eleventh: Vagabond. My favorite Varda. A portrait like no other on film.

Twelfth: Jane B by Agnes V: Meta-textual celebration of her friend, but also a reflection on the actor-director relationship.

Thirteenth: Kung Fu Master: Intimate portrait of a deeply problematic relationship. A stellar technical job by Varda, but I'm not sure she knows she wants to say.

Fourteenth: Jacquot. A loving, lovely tribute to Demy.

Fifteenth: The World of Jacques Demy. A bit meandering, but a lovely companion to Jacquot.

Sixteenth: One Hundred and One Nights. A whimsical meta narrative and ode to film, past, present and future.

Seventeenth: The Gleaners and I. A rich tapestry of French society at the edges.

Eighteenth: The Gleaners and I: Two Years Later. A nice epilogue.

Nineteenth: Faces Places. Varda comes full circle.

Twentieth: Agnes Varda: From Here to There. A cute travel show.

Twenty-first: The Beaches of Agnes: Whimsical and wistful.

1. Vagabond
2. One Sings, the Other Doesn't
3. Le Bonheur
4. Cléo from 5 to 7
5. La Pointe Courte
6. Faces Places
7. Jacquot de Nantes
8. Documenteur
9. The Gleaners and I
10. The Beaches of Agnès

...plus 29 more. View the full list on Letterboxd.

Greatest movies of all time. Honorable mentions to: Seven Samurai, All that Jazz, The Godfather part 2, Vagabond, Moonlight, Annie Hall, Ashes and Diamonds, Texas Chain Saw Massacre, Under the Skin, Days of Heaven.

1. 2001: A Space Odyssey
2. Apocalypse Now
3. Jaws
4. Fanny and Alexander
5. Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles
6. 8½
7. Do the Right Thing
8. Rear Window
9. In the Mood for Love
10. Night of the Living Dead

1. Aftersun
2. Everything Everywhere All at Once
3. Nope
4. TÁR
5. After Yang
6. Top Gun: Maverick
7. Prey
8. The Banshees of Inisherin
9. Bones and All
10. Athena

...plus 15 more. View the full list on Letterboxd.

Listening to the Pure Cinema Podcast for the last three years has been such a great experience. They've introduced me to so many great movies and cult gems, and so this is a work-in-progress of all the movies (I think) I discovered thanks to the recommendations of Elric, Brian, or one of their guests.

1. The Swimmer
2. Possession
3. Prince of the City
4. Mikey and Nicky
5. Starman
6. The Blob
7. Wake in Fright
8. Blue Collar
9. A New Leaf
10. Croupier

...plus 53 more. View the full list on Letterboxd.

Inspired by the new Sight and Sound poll.

1. Moonlight
2. There Will Be Blood
3. Under the Skin
4. Clouds of Sils Maria
5. Frances Ha
6. Inside Llewyn Davis
7. Portrait of a Lady on Fire
8. Y Tu Mamá También
9. Parasite
10. Dick Johnson Is Dead

A wonderful decade for horror because of the style, humor, and developments in make-up and effects. It was also the decade where the genre really flourished in many directions, from existential dread to satire and slapstick. It might be my favorite decade of horror, and a lot of these movies are just so enjoyable, even if they're not all super scary.

Not ranked (yet).

1. The Thing
2. Evil Dead II
3. The Shining
4. Day of the Dead
5. Re-Animator
6. Prince of Darkness
7. An American Werewolf in London
8. The Fog
9. The Evil Dead
10. The Blob

...plus 18 more. View the full list on Letterboxd.

The title says it all. Ranked in terms of grimy-ness.

1. Street Trash
2. The Driller Killer
3. Maniac
4. Ms .45
5. Basket Case
6. Cruising
7. Vigilante
8. C.H.U.D.
9. After Hours

A work in progress. I'm not sure all of these qualify as "New Hollywood," like Romero's films. They might be classified as regional horror instead. Some, like The Godfather, are a bit too obvious, perhaps, while others are big studio pictures. I'm also not sure what the cut-off should be, with Star Wars out in '77, does it make sense to include Blow Out on this list?

• The Last Detail
• The Conversation
• Five Easy Pieces
• The Last Picture Show
• All That Jazz
• The Friends of Eddie Coyle
• The Last Waltz
• Night Moves
• Days of Heaven
• Badlands

...plus 27 more. View the full list on Letterboxd.

1. The Worst Person in the World
2. Licorice Pizza
3. The Hand of God
4. The Lost Daughter
5. Bergman Island
6. Drive My Car
7. Spencer
8. The Card Counter
9. Dune
10. Bo Burnham: Inside

...plus 20 more. View the full list on Letterboxd.

It’s science!

1. There Will Be Blood
2. Phantom Thread
3. Inherent Vice
4. The Master
5. Licorice Pizza
6. Boogie Nights
7. Punch-Drunk Love
8. Hard Eight
9. Magnolia

Arguably the greatest American filmmaker ever (in fierce competition with Scorsese), but ranking his films is nigh impossible. I feel pretty confident about my rankings 1-11, but a lot of the lower-ranked ones I've only seen once or not for many years. Though I don't think he's made a really good movie since Lincoln (the praise for Bridge of Spies baffles me, as I found it dreary and dull).

1. Jaws
2. Close Encounters of the Third Kind
3. Munich
4. Raiders of the Lost Ark
5. Schindler's List
6. Saving Private Ryan
7. Jurassic Park
8. A.I. Artificial Intelligence
9. Minority Report
10. E.T. the Extra-Terrestrial

...plus 17 more. View the full list on Letterboxd.

So many movies in need of a rewatch.

1. A History of Violence
2. The Fly
3. Scanners
4. Videodrome
5. The Brood
6. Dead Ringers
7. Eastern Promises
8. Shivers
9. eXistenZ

Neglected or overlooked horror favorites. Most of these I discovered in the last couple of years, thanks to recommendations from Pure Cinema Podcast or their respective blu-ray boutique labels.

1. Let's Scare Jessica to Death
2. Night of the Eagle
3. Chopping Mall
4. Slugs
5. Ganja & Hess
6. Pieces
7. Dead of Night
8. The Lords of Salem
9. Patrick
10. Horror Express

...plus 3 more. View the full list on Letterboxd.

A work in progress of movies with a heavy focus on music. Concert films included. Ideal for those late nights with the headphones plugged in.

• The Last Waltz
• Stop Making Sense
• Suspiria
• Everybody Wants Some!!
• The Blues Brothers
• Monterey Pop
• La La Land
• All That Jazz
• Cruising
• Almost Famous

...plus 10 more. View the full list on Letterboxd.

One of the greatest American directors of his time. Few directors can match his streak from 1976 to 1987.

1. The Thing
2. Halloween
3. They Live
4. Prince of Darkness
5. Assault on Precinct 13
6. The Fog
7. Starman
8. Escape from New York
9. In the Mouth of Madness
10. Big Trouble in Little China

...plus 6 more. View the full list on Letterboxd.

What a great year for movies this was.

1. Annihilation
2. Minding the Gap
3. Suspiria
4. Mission: Impossible – Fallout
5. Roma
6. If Beale Street Could Talk
7. First Reformed
8. The Rider
9. Mandy
10. Climax

...plus 10 more. View the full list on Letterboxd.

1. Once Upon a Time... in Hollywood
2. A Hidden Life
3. Portrait of a Lady on Fire
4. Parasite
5. Knives Out
6. Marriage Story
7. The Last Black Man in San Francisco
8. Little Women
9. The Irishman
10. Uncut Gems

...plus 10 more. View the full list on Letterboxd.

These messed me up.

• Martyrs
• Irreversible
• Melancholia
• Henry: Portrait of a Serial Killer
• Cannibal Holocaust
• I Spit on Your Grave
• Inside

A work in progress inspired by The Night Stalker (in a good way) and Army of the Dead (in a Not Great, Bob! way). Rule: Majority of the story has to take place in Vegas, so The Godfather: Part II and Swingers are out.

1. Fear and Loathing in Las Vegas
2. Casino
3. Bloody Nose, Empty Pockets
4. Ocean's Eleven
5. The Night Stalker

It was a really good year, with many films hitting me on a personal level.

1. Dick Johnson Is Dead
2. Time
3. Another Round
4. I'm Thinking of Ending Things
5. Small Axe
6. The Painter and the Thief
7. David Byrne's American Utopia
8. The Invisible Man
9. Possessor
10. Shirley

...plus 15 more. View the full list on Letterboxd.