You know, you're kind of an asshole

Man, you know you've got an incredible catalog when they can make a 135-minute movie about the first five years of your career and it's basically all just songs.

Truly such little story here propelling the plot. The only thing keeping us going is figuring out which Bob Dylan classic is coming next. The narrative tension does pick up in the 1965 chapter for obvious reasons, though even the Newport framing is awkward as it's made to seem more about this specific festival than about the movement.

But it is in this final act that Timothee Chalamet's Dylan comes alive. This is when his performance goes electric, after hobbling through the first 90 minutes mumbling and straight faced. Here is where he has personality and attitude. This is why you cast Chalamet. The New York fuckboi comes alive.

The similarities with WALK THE LINE are pretty hard to miss here, including Johnny Cash literally being in this movie. But where the love triangle dynamic basically made the former, that template almost dooms this one. There's just not a lot there to warrant how much we're expected to buy into it. The female characters have absolutely no dimension, so they almost just act as vessels to get us from one song to the next, instead of driving any sort of interesting plot forward. But thankfully those songs are some of the best of the century. I practically cried at "The Times They Are A-Changin'."

Now I've asked you forty different ways and it's time you come up with a fresh answer.

There is a reason this movie is so achingly conventional. Because it still works.

The literal inspiration for WALK HARD, this is tragic and invigorating, often at the same time. It's not about Johnny Cash making the music, but about what is behind the music, allowing us to buy into that cliche childhood foundational trauma because it is exactly that, foundation for the rest of his life. There are events that color everything that come after, that haunt you every moment. Sometimes trauma storytelling is deserved.

And I'm not a Cash guy. I know a few songs, but little of the mythos that made him special. This delivers a lot of that, but still has little of the fans-swarming-star and newspaper reel montages that bog down other biopics. This is about as good as this version of this story could be.

Look upon me! I'll show you the life of the mind!

Man.

This starts so excitingly, with John Turturro's antic playwright sent to Hollywood to write for the pictures. Surely, hijinks must follow! And they do, but this specific brand of Coen Brothers abstraction (peeling wallpaper, mosquito buzzing, repeated identical hallway shots), never quite reaches the heights of their 90s classics.

Though, right when you start to feel that sense creeping in, they take this movie in such a shocking direction. This threatens to make the picture exciting again, but again, the way this resolves itself is so outlandish in a perfectly Coen way, but not something that's satisfying at all. Though I do love a movie audacious enough to upend expectations, the ending fails to continue that streak, only challenging us on the fringes.

I am the Lord's humble servant. I am Allah's disciple. I am the Floaty Thing's go-for boy. There has been a miracle here.

Almost shies away a bit too much from delving into Timothy Treadwell's psyche. But it remains a fascinating portrait of a modern Icarus, with incredible access and footage. It's a testament to Werner Herzog's direction here that so much is left on the table and you still get a captivating documentary.

God, grant me the serenity to accept the things that I cannot change, the courage to change the things that I can and the wisdom to know the difference.

The spoilery tagline for this sounds like the stuff of pulp fiction. But what we actually get is a complex and harrowing story of a moral quandary. It's a story of violence that is not violent. It is a story of a maybe-good person who may have done a bad thing, and how they choose to recover from that.

Didn't know Clint Eastwood still had this in him after the snoozefest of CRY MACHO. This is an honestly propulsive courtroom drama filled with good actors chewing up scenery.

It does feel rushed in spots, and the passage of time is rarely clear. But what may seem as defects at first glance, slowly unfurl themselves to be potent foreshadowing. This is not a staggering work of art, but it's a great time on the couch where many will have to see this. It's the type of movie we used to see a lot more of.

I'll date his brains out! </em?

Has some of the funniest bits in recent comedic film history (not tough competition), including naked Jennifer Lawrence beating people on the beach, an accidental punch in the face at a high school party and about half a dozen other sight gags from JLa. This is a genre she belongs in, with her knack for physical comedy and pitch-perfect timing.

But when this movie swerves into dramatic stakes, and turns into a story about quasi-gentrification and friendship, it lags a bit. It starts taking its subject matter a bit too seriously, and takes the bond between these two characters a bit too seriously. This stuff just doesn't land nearly as well, and makes you yearn for the comedy of the first 75 minutes. Unfortunately, this is the direction it must go, surely it can't just be a rip-roaring good time without a message.

Because you let us

This is such an interesting remake. For 75%, it's almost shot by shot identical to the Danish version from just two years ago. And then it veers away from the source text and almost completely changes genres, from horror to thriller.

What made the original so thrilling was its abstraction, that we had little idea the motives of the host family. This, in classic Hollywood fashion, makes the unsaid explicit. And this gives us a final act that diverts fully from the original in ways that make the opening eerie shot that sticks you with in the original almost moot because it doesn't seem to be playing the cyclical role it did in the first version.

James McAvoy is obviously incredible here, even though he is so obviously strange from the opening shot that you can find it hard to believe anyone would trust him. This hurts the social commentary, the idea that if the American couple could just have a social backbone and not let themselves be taken advantage of, that they could've gotten out of this a long time ago. The iconic line quoted above also becomes moot, as McAvoy's psychopath doesn't do this because Scott McNairy and Mackenzie Davis let him, it's because this is what he does.

All of that said, in a vacuum, it's still a blast and compelling if a bit sugercoated from the devastation of the original.

Ethan, today is a day you’re gonna remember for a very long time, but if you handle it right, you’ll have a chance to forget it.

A really taut thriller with true star power that strains credulity at times, as it should, and ends maybe unsurprising generally, but with a genuinely surprising method of finale.

The car crash sequence will instantly enter this film into the action canon, which is somewhat unfortunate because that happens in the least interesting strand of plot. The Danielle Deadwyler sequences are so flat, not because of her but because of their plainly expositional nature that leaves them with no energy. They only, only, only serve to move the plot forward.

Iris, if you were a melody, I used only the good notes

I don't care how long this is, it's getting cozier with each watch. And justice for Jack Black, who might be the most charming character in this stacked cast.

One of the better entries in the Netflix Christmasverse. Has some actual gags and a filled-out plot. What a concept.

You like John Wick?

Some of the best movie fights in recent memory.

It's got a sequence pulled straight from KILL BILL. Within that sequence is a shot ripped from OLDBOY. The middle interlude is similarly reminiscent of KILL BILL. And that flat interlude is also not unlike the kids commune stuff in BEYOND THUNDERDOME.

It leads to a rousing third act that is equal parts shocking moment to moment, even if where it leads is not surprising. The way Dev Patel kills people in this movie is just so inventive. At one point, while in a knife fight in an elevator, he stabs a guy in the throat, then uses his teeth to drive the knife in to kill the guy. Is there anything better than that in this world?

That said, this still has real problems in just about every facet. The editing is really choppy, especially in the early fights. It feels like he wants these long takes, but couldn't make them work so there are these momentary insert shots to bridge the gap. It doesn't feel frenetic. It feels chaotic, and not in the way he presumably intended. And he is really leaning on music cues to drive momentum in ways that are exciting at first, but start to feel messy and crutch-like very quickly.

The story is simply underbaked. The motivations of Patel's character are clear. Though, how could they not be? It's the same violent revenge fantasy we've been seeing on screen for 100 years. No one else makes a ton of sense, or feels fully explained. The inciting flashbacks feel like they're missing something. Perhaps, this is just an American blind spot on something that would be obvious to another audience.

Wish I could've seen it in a theater.

Thank god you're weird

The original title was The Case for Reparations.

Just a great narrative conceit. Revelations of the origins of an ocean hamlet on the coast of California lead to a violent reckoning enveloped in a glowing fog. It mixes classic horror styling, with its focus on the obscure and the dark, with some commentary on the making of America, the pillaging of land with no recourse and how to recover from that fact. This juxtaposition between pulp and politics is delivered in stark crosscutting that oscillates between the delivering of truths, often by Hal Holbrook's pastor, and the sheer horrors of what the fog can do.

No one could deliver this turn on classic horror storytelling like John Carpenter. He's a student of Val Lewton and James Whale, but instead of mimicking, he innovates. He creates archetypes anew. He delivers new scares. Are the slasher elements of this rendered perfectly? No. Are they where the movie falters the most? Yes. Am I still glad he tried it? Of course.

And it becomes difficult to deliver a truly satisfying ending when you have to keep upping the stakes, but have also plotted yourself into a narrative corner where the only way out is to make this ridiculous story even more ludicrous. But it also gives us a borderline laugh out loud final shot and frame.

You don't like it, do you Rocco, the storm? Show it your gun, why don't you? If it doesn't stop, shoot it.

Edward G. Robinson gets one of the great character introductions. And he deserves it. His performance breathes such life into Humphrey Bogart's neutrality and Lauren Bacall's quiet stirring.

It's a testament to this movie's greatness that I watched it in two installments over the course of a week and I was able to drop back in and remember everything that had happened and not feel like I'd lost any continuity. You could come in at any time and basically start anew with the movie and follow what's happening. It's twisty and not uncomplicated, but it so perfectly -- almost formulaically -- brings back prior plot points that the pacing feels like you're gliding.

And unlike many studio movies of the era, it really achieves a realistic mise en scene that makes the place feel lived in, even if it was all shot in a studio on the other side of the country.

This is the better Bogart-Huston collaboration, having just rewatched THE MALTESE FALCON. The conceit of a persona non grata mob boss stuck in a Florida Keys hotel during a hurricane is better than the twistiness of MALTESE. Guess THE TREASURE OF THE SIERRA MADRE and THE AFRICAN QUEEN should come soon.

Just remember, in every pothole there is hope!

A really fun breezy watch, even if the dialogue often feels stilted and no character seems to truly be reacting to another character, but saying their own thing at any given time, a surprising criticism for a Nora Ephron movie.

Love the classic 90s continued escalation of stakes, like an episode of "Frasier" on steroids. It's aided by a great cast of characters, including a trans Liev Schreiber, a shrill Madeline Kahn, a pregnant Juliette Lewis, a freeloading Anthony LaPaglia and an Adam Sandler-y Adam Sandler. It's reminiscent of a gymnast falling on the vault and still standing tall for the judges as if they deserve a 10.

It's definitely funny at times, but the chemistry between any of the actors is never quite there, particularly important in a movie with multiple romantic storylines.

I was made of snow and now I'm made of... not snow.

Probably the most braindead thing I've ever seen, and the main guy isn't even really hot. Some overqualified actors in here chewing up the scenery, none more than Craig Robinson. Really strange to see Chrishell from "Selling Sunset" pop in for three seconds, never to be seen again, despite being the most famous person in the movie.

Act like normal children

The somewhat heartwarming if rushed story of a high-powered city-type being forced to take on his dead sister's four young sons. I'll always ride for shorter movies, but this felt like the kids went from absolute heathens to cuties in the matter of moments, that they were able to stage a showing of the Nutcracker in a matter of days.

And it all leads to this shockingly abstract montage that seems to be grasping for some sort of mega-catharsis where there isn't one. It's an audacious choice for the overqualified David Gordon Green, but one that decidedly doesn't work in a small grounded movie about a man finding balance in his life, in a strong Ben Stiller performance that plays to his type. It seems to be trying to make the beats of this story more surprising, when they are so obviously choreographed from the opening moments.

You always have a very smooth explanation ready

Love that ol' Dashiell Hammett dialogue with phrases I'm sure no one has ever uttered in real life, but when said by Humphrey Bogart you know exactly what they mean. But perhaps 80 years later, in our world of constant plot twists and character turns, this can't quite hold the attention it once could.

I'm sure I've seen this before, but it's probably been 10 years now, so this seemed like a new watch, which still, despite it all, feels special.

Let's get this over with: no, I'm not seasick; no, I didn't eat grass as a child; and yes, I've always been green.

A movie that's able to skirt a lot of the modern Hollywood pitfalls because of what it is. The CGI here isn't too painful because you know everything is meant to have a sheen of surreality. And the broad, heavy-handed notes of the plot, with sometimes little dimension, are purposeful when coming from a stage production.

It's just a really enjoyable movie. The set pieces are a lot of fun, which makes sense coming from the director of IN THE HEIGHTS. My favorite would probably be the library sequence, mostly because Jonathan Bailey is just scrumptious in this. These are the best musical moments this movie has to offer.

But so many of these musical numbers, especially in the first hour, stop the movie's momentum in its tracks. They're often used more as a manifestation of what we already know our characters are feeling than as a device to shrewdly and entertainingly move the plot forward. And so it feels more like a detour than an advancement. You see this particularly in the non-set piece songs. I assume this issue arises because a lot has probably been added here from the musical. I wouldn't know, being completely unfamiliar with the stage production other than a passing knowledge of "Defying Gravity."

Because of that, the opening conceit that spoils what I assume is the ending of part 2, was a little frustrating.

Rage pours out of you like milk — from a whore’s tit

Right near the top of the late period Ridley Scott movies. It's got the spectacle that made NAPOLEON worthwhile and delivers on the comedy where NAPOLEON sometimes faltered. (Though nothing here is quite as indelible as Austerlitz.) And it is a compliment to say this is closer to THE LAST DUEL than HOUSE OF GUCCI. But while THE LAST DUEL oozes with complexity, this, like every other modern Hollywood blockbuster, flattens it.

Scott's sequel confuses plot with story and moves at a pace that doesn't allow enough room for an "Are you not entertained" moment. Its monologuing is, instead, oft-shallow. And its structure follows such a similar path as the first movie to almost make them hard to diminish, a disappointing storytelling turn that leaves little of its journey to the imagination.

But it is a great time at the movies and probably outpaces the first installment, surely a controversial statement that'll land me fighting in the Colosseum and might only stand because this was seen in a theater and that was seen at home. But this CGI was far less grating than the original and most of its competitors. Sure, the sharks don't look great, but the Colosseum imagery is mostly strong, and I found the monkeys more menacing than tacky.

Denzel Washington is this movie's true secret weapon, not Maximus' sword. He steals the show. It is a testament to his power that I was rooting for him until almost the bitter end, and doing so simultaneously with Paul Mescal's Hanno.

The question is, Frau Helm, were you lying then, are you lying now, or are you not in fact a chronic and habitual liar!

Perhaps the greatest thing about this Billy Wilder adaptation of an Agatha Christie mystery is what comes after all the twists have played out. A narrator comes over the credits to plead with us not to spoil the movie. Mind you, this is three years before Alfred Hitchcock wouldn't let people in late to showings of PSYCHO, a half-century before spoiler culture would really mean something.

That's how twisty this movie is. The twist with the titular witness is strong, but you know there must be another. And then there are about four more, leaving you bewildered by the end of how treacherous this has all become.

But true to what makes Christie's work live on is that the movie is more than its twists. Indeed, it would be a lovely watch even if it followed exactly the path you would expect. Wilder obviously elevates it, bringing levity to this serious subject matter. A version of this now would be so self-serious as to be banal.

Charles Laughton's barrister is constantly holding the screen with gravitas and wit. It'll always amaze me that two years earlier, he directed the masterpiece that is THE NIGHT OF THE HUNTER and then never directed another movie.

Red one is on the move

So ridiculous but still somewhat fun. One of the better things Dwayne Johnson has done in the slog of the past decade, but it's not a high bar. Here, he plays the security guard for Santa who betrays no hint of the ludicrousness of his work. It's a little funny! That all said, I fell asleep and missed the last 10 minutes, but it sounded cute from what I was told on the walk to the car.

It was just enough to get me in the Christmas spirit to spend $100 at HomeGoods the day after. But to see it as cute, you must overlook the god awful CGI. Why haven't we figured this out yet?

Me go fuck myself? Me fuck myself? You go fuck yourself and your fucking mother, motherfucker!

An absolute blast, with a middle hour for the ages, bordering on UNCUT GEMS-level stress you can feel in your bones.

Though, it ends with a literal whimper that has been so obviously telegraphed for the better part of an hour that overplays the emotionality of this otherwise vibey masterpiece. Leaves you feeling cold, almost sorry for enjoying the rest of it because of the trajectory it sends our titular Ani on.

This really feels like the culmination of the Sean Baker experiment, as he has grown his scope from the iPhone-shot TANGERINE to this glitzy story of a Russian oligarch's son with some of the budget to boot. Each step in the journey has been strong, often leaning on interiority, while this one plays much more visually. It makes you wonder where his sex worker cinematic experience could go next.

Watched on Sunday November 10, 2024.

Why are you doing this to us?

By about the halfway mark in what is meant to be a terrifying home invasion movie, the scares start to feel inert. You know the invaders are basically omniscient figures that can be anywhere at any time and hear any movement. They are closer to the creatures in A QUIET PLACE than humans. This feeling makes this uninteresting because you know your characters never have a chance.

And you know these villains won't be truly violent until the climax. They are purposefully only using terror, not gore to scare the victims. But you know gore must be coming, so it makes the ending fall flat, despite the reverse jump scare in the final shot.

Still, the first 30 minutes are masterful. That almost-verite quality where we see Liv Tyler in the foreground and a villain slowly and quietly approach unknowingly is a horror trope that will never get old. That intensity is what makes the first half hour so strong and what makes the rest so flat. This is a common horror issue. The setup is what's terrifying and then what follows can't match that feeling again. And the need to constantly escalate diminishes any feeling of realism you come in expecting.

No sane man would want the papacy

This is the movie we beg for, the smart mid-budget thriller. This one plays out in riveting conversations behind the scenes as cardinals vote on the next pope in the titular conclave.

What this movie does so effectively is how linear it is. It presents a conflict and immediately resolves it. It's not trying to string us along for suspense, or pull a thread until there's nothing left. It leaves stuff on the bone. Each time, it gives us a hint of something, then cuts to it being resolved through open communication and conversation. It's refreshing. This movie is always twisting, but they never feel like twists. They feel like a continuous narrative, on a path toward a finale.

This method, of course, goes wrong in the final act when it uses this same technique again in a turn that feels like one too many times and the most far-fetched contrivance of them all. It somewhat sours the experience leaving the theater, but you have to remember the 105 minutes of greatness, of pulsing score taking you from marble room to marble room, of conversations between Stanley Tucci and Ralph Fiennes, of waiting for Isabella Rossellini to have her moment with patience, of John Lithgow struggling, of one of the great jump scares in recent movie history (yes, really) and of a grandiose political battle of the wills.

On that score, similar to Edward Berger's ALL QUIET ON THE WESTERN FRONT, the music is what stands out. It's the first thing that draws you into the movie and keeps you there, with dramatic, piercing notes. It really sells the thrills of a movie about men in robes.

Don't make me drink alone!

It's immediately clear why this movie has become such a meme. It is so ludicrous, but so fun.

The adult cast is so overqualified. We've got Octavia Spencer on one. We've got Luke Evans and Missi Pyle as a couple. We've got Allison Janney of all people playing a vet with literally nothing to do. We've got Juliette Lewis as a busy mom. This troupe makes clear how flat and boring our teenage actors are.

Could've been so much better if the script didn't take a couple escalations before the final act that take out a lot of the suspense of the climax. They're completely unnecessary and really never remarked upon. You keep waiting for those actions to come back up, but they never do. Very strange.

And then you've got your horror movie teens, as is typical, making horrendous decisions, such as taking your mom's car to go to Ma's home even though you know how dangerous she is and leaving your mom no way of rescuing you.

But a lot of this can be forgiven because of how exciting Spencer is in the lead role. She somehow takes this caricature and makes her convincing.

You have no idea what men of power can do

Oh oh oh OHHHH.

A case study in suspense. At first, you think it's a classic Hitchockian thriller, dramatically keeping information from characters while letting the audience in on its secrets. We think we know everything for almost all of the movie. The joy of the movie is watching that information slowly get unfurled and see our characters unravel in the face of these revelations. The movie would be more than good enough if this was "all" it was.

But a final heel turn shows the audience wasn't as smart as we thought we were. We think we know everything. We get comfortable with that feeling. And then the movie pulls the rug out from under us in the final moments. It's genius. You can't help but laugh with giddiness. Because of this, it feels repeat viewing might pay off.

Kevin Costner is great. Gene Hackman is great. Sean Young is great. But Will Patton honestly steals the show, with his icy escalating unraveling the almost the centerpiece of the movie. He embodies the movie's themes of power and influence ruling all. Morals mean nothing when self-interest is involved. That's how this movie sees the Washington elites. An interesting commentary of the Reagan era at the end of the Cold War and the tail end of Watergate government paranoia.

Some people, they are the real people. Like in a movie, they're the ones you're watching, they're the ones making moves. And the other people, they're just there filling the space. And you take'em for granted. You think, they're easy. Take a penny, leave a penny. That's you, Eileen.

Finally caught up with this and found so much to recommend it.

Was hesitant about it for a long time because I find Thomasin McKenzie to be a very strange screen presence, with a voice that always takes me out of movies. She was the worst part of OLD and LAST NIGHT IN SOHO. But this is probably her best performance, to date, using her inherent offputting naivete to her advantage.

Her performance plays nicely in to this film's constant eerieness. You're left feeling for the first 70 minutes what is waiting around the corner, waiting for the shoe to drop so this movie can kick into high gear. Surely, this movie that opens with a woman putting snow on her crotch while watching a couple make out must be up to something devious.

And then what that shoe does drop, it's one of the most shocking moments I've seen in a while, Anne Hathaway playing this absurdity with such self-assuredness you can't help but believe this could happen. This leads to a sequence that will leave knots in your stomach. You have a clear sense of where it's going based on the staging, but a monologue is still so powerful, it leaves you dazed.

Really the only wrong step in the movie is this use of dream sequences to show what the characters are really feeling. This is an exhausting trope that we don't need. We know Eileen wants to kill herself or her dad. We can see in one glance at the prison guard that she wants to be manhandled by him. We don't need these fits of surreality tossed into our movie to keep us engaged. We want reality. What makes this movie so compelling is its reality, with all its warts.

What are girls for?

A pretty impressive directorial debut for Anna Kendrick, with few expectations coming in.

Kendrick, who I found to be an otherwise rigid (in a bad way) performer, delivers a pretty taut 95-minute thriller. A lot of its conventions in the first half-hour feel a bit obvious, the non-linear storytelling that basically tells us anytime we see a new character they're going to end up dead. But the movie subverts this in the end in somewhat interesting ways, so have to give the screenplay some credit.

She finds about six really great shots here, including one of her character walking in a parking late at night that I wish she would've held longer.

I do think "The Dating Game" segments are poor, just because the other two guys are so cartoonish, it takes all of the competition aspect out of it. She can't help but pick the one guy who isn't a total prick. But despite some of the movie's issues, the final act delivers some pretty strong suspense that actually keeps you at the edge of your seat. I'll take it from a random Netflix movie.

It's greatly aided by a vulnerable and spine-tingling performance from Daniel Zovatto as our killer. You can see why people would fall into his spell, but also so clearly how his emotions are always on a knife's edge. It's Dastmalchianan.

I'm not gonna drain you completely. You're gonna turn for me. You'll be my slave. You'll live for me. You'll eat bugs because I order it.

Quentin, you sick puppy. I love you for it.

Really wish I didn't have the plot-pivoting twist spoiled for me, because it is one of the great surprises in movie history. The first hour is so exhilarating in its own right, as brothers George Clooney and Tarantino (uncanny resemblance) kidnap a preacher's family to make it into Mexico unscathed. The tension is glorious moment to moment. It is Tarantino writing at its core. It's the opening to INGLOURIOS BASTERDS.

Then it turns to horror at the Titty Twister. It will be no surprise that this second half is the lesser of the two, to me. Once you get beyond the audacity of it -- no one has been more atop apex mountain at this point that Tarantino -- it turns the movie in a pretty boring direction. The movie continues to iterate on the shift, but it's still disappointing. It just becomes an old-fashioned western bloodbath, when the simmering tension is what draws you in here. Made the mistake of trying to eat dinner during this portion.

And then the final reveal in the closing shot is honestly Hitchcockian. A really impressive, truly unique feat of moviemaking.

I tend to do better when people point out the things I'm doing right

Just infinitely charming the way these cookie cutter Netflix rom-coms so often are. You can feel what's happening in every moment, the unsurprising and inevitable trajectory to which we're spiraling, but still can't resist it. And that's saying something in a movie starring Ellie Kemper, who I find to be the flattest of performers. But the vulnerable Luke Grimes keeps us in.

It is mankind, rather, who insists upon making it difficult for life to exist upon this planet

One of those movies where you kinda know the outline of the plot beats because it's so iconic. But this one still surprises you, with how it remains truly freaky, with how its commentary still endures, and with how beautiful its technicolor is.

It's a masterpiece, other than the whimper of an ending, that left me so underwhelmed and sighing in exasperation that there wasn't some big classic Hollywood reveal about the importance of the lovebirds. But looking back on it, after a few days, it is audacious for Alfred Hitchock to leave it ambiguous when he knew the audience might rub up against it. Again, Hitchcock will always surprise you.

You're anal as hell, Cesar. I, on the other hand, am oral as hell.

You know, it's like when a pitcher throws a curveball, but the batter, expecting a fastball, swings out of their socks and falls to the ground. I appreciate the swing, I like home runs as much as the next guy, but boy were you off the mark there.

It's visually stunning at times, not something I was expecting to say after the trailer. But it is. It can be dazzling. But that's about all you can say for it. How one scene connects to the next and informs the next is unclear. The plot machinations, even the ones underpinning the whole movie, are often unexplained. The characters have fairly clear, simplistic motivations about somethings and then seemingly no motivation for other actions.

The performances are fine, if so often one note. Though, I do appreciate Francis Ford Coppola turning Shia LaBeouf into an ugly ghoul.

It's a good idea for a movie, a megalomaniacal inventor gets permission to turn New York City into a utopia because of a magical material he created. But the thing you keep thinking as you watch is that it needs direction from there. It needs a director who can take a step back and see the forest for the trees. Sadly, Coppola can't be that.

I think there's something wrong with your suit. There's a dead guy in it.

Fucking rips.

The kind of chance you wish Tom Cruise would make more now, an original sci-fi epic that is both cutesy and thrilling. It's JERRY MAGUIRE meets MINORITY REPORT. The romance is never drawn out. We know it's there. We can feel how hard it must be to die over and over again, to watch someone you have come to love through sheer closeness die over and over again.

I will say it really skips ahead in the middle. It almost feels like a swath got edited out. At one point, we're talking about how Tom Cruise and Emily Blunt can never make it off the beach. The next, they're talking about how they've made it up the hill, tried out every car and gone to Lyon. Really gets yada-yada'ed, as it must. Though this conceit leads to some great revelations. As we repeat over and over some set pieces, we get dropped into others, unaware what we're seeing has happened dozens of times before. This leads to great pathos, most notably in the quiet barn scene.

The climactic sequence is also a big 'ol dark CGI mess, but it works all the same because it leads us back to where we began. Those effects are made all the more annoying by how good the beach sequence always looks, so dynamic and fluid. It feels like living the campaign in a first-person shooter.

Those first 45 minutes are probably the best movie the has to offer, before it needs to explain it self too fully, before it needs to reckon with the mess it has created. It's the training montages from ROCKY, but with Tom Cruise as a giant robot. Doug Liman, you beautiful bastard.

I'm glad you're back. You left before you could see my shit-eatin' grin.

Has its issues. Too long. Dare I say, too fast? It just takes you from one complicated plot mechanism to the next in the second act. The first is clearly the superior, as the stakes remain low, but slowly escalate with fun conceits (search MCMAP on Wikipedia). The motives of the auxiliary characters flip flop. The action sequences are bland.

But damn is it fun! It's so nice to have this type of mid-budget original thriller in our lives. Do I wish a raucous crowd could have seen this in a theater, instead of on Netflix? Sure. But I don't think crowds would show up to see this in droves. This is what Netflix is for, for DEN OF THIEVES and SIX UNDERGROUND and, now, REBEL RIDGE.

Aaron Pierre fans have been waiting for this. His moments in THE UNDERGROUND RAILROAD are the best in the show. He is such a compelling screen presence, using his large frame and emotive eyes to destabilize the audience and his scene partners. He reaches heights here only matched by JOHN DAVID WASHINGTON in the TENET kitchen scene. Needs more about him and his cousin and less about small-town corruption.

But the latter delivers something so rare in conventional Hollywood fare. A true platonic friendship between a man and a woman, mutually beneficial as they seek to uproot a system. They never have to kiss to cement their relationship. They respect each other. They care about each other. It's so much more than romance. Take notes.

I hate this detail. I hate this fucking chickenshit detail!

Can see a lot of this DNA in THE HOLDOVERS. The men forced to go on a trip together. The curmudgeonly leader. The New England climax. Going to see the young man's family and being saddened by what you find.

Just a good time, with well-drawn characters who really develop over the course of 100 minutes. It's both hilarious and heartfelt, as this trio can drink as many beers as they want in a hotel room or visit as many brothels as they want, but the fact that Meadows is going to Portsmouth still hangs over them. You can always feel that dread no matter what is happening in this Robert Towne masterclass.

Seen as second movie in a drive-in double feature, so note I was falling in and out of sleep by the end.

This has all the trappings of a modern high-concept horror picture. It's got the budding movie star. It's got the fun location. It's got some trauma in the background slowly unraveling itself. It's got this quite eeriness that you can't quite put your finger on for a while.

But trappings are just about all this has. What this turns into in the final act is pure gibberish. Nothing makes sense. It's weird in all the wrong places.

Seen as the first movie in a drive-in double feature.

Just your bargain bin AI horror movie. Family gets an AI assistant that's way better than Alexa and then it slowly takes over and terrorizes them. There are moments of invention, especially in the subplot involving the family's daughter and revenge porn. This is where the movie could have found its footing and its place in this growing genre, but instead it hinges on more of the same. And with a sub-90-minute runtime, it's over before it gets started. It's not quite merciful because it's not an unpleasant watch, but just a bland one. And that is almost worse.

Everybody makes their own fun. If you don't make it yourself, it isn't fun. It's entertainment.

Great cast, fun concept and classic Mamet dialogue, but doesn't feel like it does anything with where it ends, despite having come a long way with the Alec Baldwin subplot that turns into the main plot. Perhaps it's just the fact that our avatar, Philip Seymour Hoffman's Mamet stand-in, doesn't exactly get to do much. His romantic relationship is just bland and often distracts from where we want to be, which is often with William H. Macy.

Everybody say, “Making memories!”

Really baffling.

Perfectly fun and crowd-pleasing on its surface, but is so disjointed it's hard to ignore. The first 15 minutes are so disarming that the audience can never land on its feet as the whole rest of the movie is set up. The Naomi Ackie character seems to be shifting her personality in every shot, from anxiously not wanting to say anything to ham-fistedly asking Kyle MacLachlan to blink twice if she's in danger.

And then the movie basically goes exactly how you'd expect it to, but the way it goes is so disturbing. And that would be fine if Zoe Kravitz seemed to recognize how disturbing it was. Instead, it's treated as simply a plot device that changes little about the tone of the movie. It's hard to continue laughing at jokes after seeing what you see here.

Meanwhile, the dynamics on which the plot hinges also doesn't make a ton of sense.

This is a movie that is good if you don't think too much about what's going on. But it wants you to be interrogating every moment for clues. So when the audience comes in that way, it's hard not to feel wrong-footed. In many cases, this is a feature, not a bug. Not here, though. This has little to say about wealth and abuse of power other than that it's there. And anytime it seems like it's hinting at an idea, it feels the need to say exactly what it's thinking out loud. There is no subtext, or message.

Perfectly fine.

Your daughter's never gonna forget this day

Gotta say, if the whole concert was a ruse to find the butcher and there was a guy acting the way Josh Hartnett does in this movie, he'd be my first and only suspect. His acting is so on-the-nose it's hard to watch. His mannerisms are so strange and off-putting. He's the perfect symbol of a seemingly well-adjusted guy who is actually a serial killer. He fits well in a modern M. Night Shyamalan movie, where the dialogue is always a bit unnatural.

As a whole, the movie just could never quite do it for me. On its surface, this is a great premise: Police know a serial killer will be at this concert, so they stage a huge operation to find him. But in reality, that is all they know, so their grand plan is to interview every man in attendance. And ask what exactly to figure out this is the serial killer? That Hartnett's character panics and upends his life is almost beyond belief. He had no reason to believe they had anything on him.

Moment to moment, this is tense and engrossing, but the plotting just never quite delivers, a criticism you could level on just about any Shyamalan joint of the past decade.

I will say, some of the best movie music in a while. Shyamalan's daughter has actual chops!

You don't face your fears, you ride 'em.

This movie falls into the same trope of so much modern Hollywood fare with its trauma backstory that colors the rest of the movie. The difference is that here Lee Isaac Chung gives real time to that trauma.

The movie opens with Daisy Edgar-Jones and her best friends from college going out into a tornado for a science experiment. Everything goes wrong. And it affects the characters' for the rest of the movie in a real way.

It's amazing how good this movie can be despite how miscast Edgar-Jones is. Just don't get why Hollywood is obsessed with making her the southern belle. She can't do the accent. She sounded different in just about every shot. She is so charming and so winning. Her face says so much. But whenever she talks, it takes you out of the movie ever so slightly.

Glen Powell doesn't have the same problem. After 20 minutes, you're just yearning to see the man who is now anointed as America's Movie Star. And the way he is introduced is so fun, you can't help but melt. Talk about charm! He had the quasi-luxury of TOP GUN: MAVERICK getting held through the pandemic, so he could land all of these other parts and get the projects going right out of COVID. He is on an all-time run. Could've spent the whole movie with his crew that basically embodies the energy of Philip Seymour Hoffman from the first movie.

Meanwhile, Anthony Ramos reckoning with his company's profiting off the havoc that tornados wreak is compelling. The collection of these three stars is an almost overwhelming combination of charisma it's hard to believe they could all be chasing storms at the same time.

Does this movie still have issues? Oh yeah. Is the CGI perfect? Definitely not. Do I trust the science for a second? Nope.

But it's refreshing to see Hollywood go big on something so fun without superheroes.

You know, for kids

The Coen Brothers' ode to the HIS GIRL FRIDAY and IT'S A WONDERFUL LIFE era of Hollywood screwball comedies.

This is really clicking in the first half hour, when it introduces you to this world that seems like ours with a slight tilt, where the skyline looks fake and everything is heightened. The mail room orientation scene is just oh so good.

The narrative loses its footing after this. Its commitment to the romance between Tim Robbins' dimwitted company president and Jennifer Jason Leigh's ridiculous Rosalind Russell impression just never quite works. I'll never understand how she could just go undercover there for weeks at a time. And I'll never understand how no one could put two-and-two together that she was, if not the writer, then the source of the bombshell stories in the Argus.

But the Coens pull the audience back in the way only they can, with a moment of pure joy and awe. You know this world operates differently, but you can never understand the full extent of that until the climax of the movie. It's a revelation with that lilting score to close the movie, but it can't make up for a slog of a second act.

I mean, for me, I could love someone even if I, you know, wasn't paid for it. I love you, and you don't pay me.

Didn't realize how much it would help to have just seen MIDNIGHT COWBOY, as River Phoenix is a prettier, more narcoleptic Ratso Rizzo and Keanu Reeves is Joe Buck.

But the first of this is honestly really encumbered by its adherence to Shakespeare, not just in structure and ideas but in dialogue. Once it strips that away, and gets out of Portland (awful city), the movie starts clicking. This is where we get to better learn the relationship between Phoenix and Reeves. The campfire scene is magnificent. That compounded with the visit to the brother in Idaho is one of the more emotionally visceral 15 minutes I've seen in a long time. But it could've been even stronger if the first third was focused at all on developing these characters as people, rather than just hustlers.

Still, it is a testament to Gus Van Sant's control that he can still make this so affecting, without us knowing much at all about the characters. Van Sant gives us so many great images here. The house falling from the sky. The sex shot as still-life montage. Basically every time Phoenix has an episode. Udo Kier's haunting performance at lamplight.

The movie's psychology is probably a bit too simplistically Freudian, but it works on someone with a dead mom. Phoenix's pursuit of her across continents is so devastating because you always know what the end result will be. You watch in sympathy, not in hope. You know he can never figure it out, that he will end up back where he began, asleep on a road to nowhere.

Look at that. You can't see that, I'm on radio.

A lot of fun, but much of the comedy bits really haven't aged well. I'm usually not one to get too worked up about that, but it's so on the nose here that it's hard to believe some of this was ever funny.

Yet, the premise of the disbanding team that tries to woo buyers by fighting as much as they can to find a buyer is an inherently funny one. The Hansons alone are a magnificent invention. This idea escalates until the final sequence, when the fighters see this as true hockey, while someone dancing on the ice is considered a disgusting act. It's a commentary on how we appeal to our basest instincts for violence and blood for entertainment, instead of trying to create art.

As always, Paul Newman is great here. His relationship with Lindsay Crouse can never match what they have in THE VERDICT, but you can immediately see why the team would gravitate toward him, while they'd steer clear of just about any other 40-year-old has-been. When he smiles with his crooked teeth and bloodied face, you can't help but smile right along with him.

This one who's blind. She's the one that can see.

Some of the best editing I've ever seen.

From the jump, Nicolas Roeg instills in you this sense of dread. You know something bad is going to happen. That's the feeling you have throughout the film, even when something awful is just happened, or even progress. It can get worse.

The editing wrong-foots us, takes us places we don't expect. But it's not a stodgy, quasi-Kubrickian tactic to destabilize an audience, it's actually in pursuit of Roeg's vision of this group of people with special powers, who can see into the future and the past and the heavens all at once. This only comes together in the final moments and when it does, it's the ultimate a-ha moment when you least expect it.

Really not a fun watch, but it's something special that feels almost out of time, like their couldn't have been movies at all before it and nothing could match it that came after.

For example, the ending is, somehow, very similar to THE BLAIR WITCH PROJECT.

You had a leak? You call what's goin' on around here a leak? Boy, the last time there was a leak like this, Noah built hisself a boat!

Faces the difficult problem of being clearly inspired by ALL THE PRESIDENT'S MEN, but can't write a fictional story that matches the bombshell that was Watergate.

But it comes so close. This movie is really clicking when it's focused on the newspaper and the story of an investigation into the mysterious disappearance of a union leader and the corruption that follows. However, maybe I only vibe most with these moments as a fellow newspaper reporter who would kill to have this story.

Where Sydney Pollack here falters is in the romance between Paul Newman's son of a bootlegger and Sally Field's reporter. You can't blame him for going this direction. They're so charismatic, you want them together as much as possible. But what that results is an on-again-off-again relationship that is hard to follow and constantly stopping before it can get started. By the third time Newman closes the door on her, you can't help but get a feeling of deja vu. None of this is aided by an awful score that feels so atonal it's as if Dave Grusin didn't know where his music was going.

All of the movie's best sequences have little to do with their being, as Field calls it, involved. None sticks out more than the climactic airing of grievances emceed by Wilford Brimley, whose name showing up in the credits gave me an immediate adrenaline rush. Every word out of his mouth is perfectly dipped in arsenic. The movie needed more of this. The tough-talking, no-nonsense southern lawyer type.

Meanwhile, the journalism of the movie is so ethically flawed, it made me shudder. I figured scenes must've been cut out, or Pollack was skipping further reporting for pacing, but that doesn't seem to be the case. Ben Bradlee would've had a field day with her.

I am a nice guy. Just a different kind of nice guy

Honestly deserves to get treated like THE FUGITIVE and SPEED for 90s thrillers, a perfectly impressive update on DELIVERANCE without some of the hard edges of that classic but with more wows.

I'm on quite a streak with Kevin Bacon as the biggest asshole, between this, MAXXXINE and AXEL F in the past two days. But he plays it so well. You can tell Curtis Hanson loves eyes. The way he leans into Bacon's blue bombshells, you can almost see how Hanson sees him, as a classic Aryan villain from the start.

And then you have Meryl Streep's eyes. Nothing has ever told a story like her eyes. The fear, the joy, the motherly instinct, the pleading. It's these small orbs in this grandeur of Montana that draws you in. These are characters in a world where, sure, nature could sweep them away. Or, as is so often the case, humanity could get in the way and foil it all anyway.

You told me fairy tales... About Malone... Billy Danreuther... The President getting shot... Your erect nipples!

What an artifact.

Much prefer the domestic drama, conventional private investigator part of this than the crime thriller where characters drop like flies. Until about the final few minutes. This is when you realize the wonder of Alan Sharp's script, that throwaway dialogue about appreciating artifacts and erect nipples is important.

And it's when the script matches Arthur Penn's visual splendor. He delivers a riveting final sequence, shocking in its brutality and scale. It's one of the best set pieces of the 1970s. It is devastating. We just watch from above, a man floating alone in the ocean, his need for satisfaction and fulfillment leading him down a path of destruction. Then the movie just ends. There is no final coda of Gene Hackman and his wife getting back together, or anything. We are just left to ponder what we've seen, the moral and physical redlines crossed over and over.

• Good Night, and Good Luck.
• Walk the Line
• War of the Worlds
• Batman Begins
• The Family Stone
• Grizzly Man
• Wedding Crashers
• Breakfast on Pluto
• Saw II
• Just Friends

• The Silence of the Lambs
• JFK
• The Doors
• Point Break
• Cape Fear
• Terminator 2: Judgment Day
• Barton Fink
• My Own Private Idaho

• Dune: Part Two
• Challengers
• Anora
• Conclave
• Juror #2
• Civil War
• Gladiator II
• I Saw the TV Glow
• Twisters
• The Fall Guy

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

• Oppenheimer
• Infinity Pool
• Maestro
• Barbie
• Past Lives
• Anatomy of a Fall
• Killers of the Flower Moon
• Air
• Mission: Impossible – Dead Reckoning
• Asteroid City

...plus 61 more. View the full list on Letterboxd.

• The Shining
• Raging Bull
• Ordinary People
• Dressed to Kill
• The Fog
• Cruising
• Airplane!

• Pulp Fiction
• Speed
• Four Weddings and a Funeral
• The River Wild
• Léon: The Professional
• Chungking Express
• The Hudsucker Proxy
• Mixed Nuts
• Little Odessa
• It Could Happen to You

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

• Parasite
• Uncut Gems
• 1917
• Midsommar
• Marriage Story
• The Irishman
• Once Upon a Time... in Hollywood
• Portrait of a Lady on Fire
• Knives Out
• Queen & Slim

...plus 28 more. View the full list on Letterboxd.

• Broadcast News
• Planes, Trains and Automobiles
• Wall Street
• No Way Out
• Fatal Attraction
• House of Games
• Moonstruck
• Beverly Hills Cop II
• Raising Arizona
• The Untouchables

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

• Fargo
• Jerry Maguire
• Swingers
• The Daytrippers
• Scream
• Bottle Rocket
• The Birdcage
• Hard Eight
• Mission: Impossible
• From Dusk Till Dawn

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

• Nightcrawler
• Gone Girl
• Boyhood
• The Grand Budapest Hotel
• While We're Young
• Edge of Tomorrow
• American Sniper
• John Wick
• The Trip to Italy
• A Most Violent Year

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

• Mean Streets
• American Graffiti
• Badlands
• The Last Detail
• Don't Look Now
• Bang the Drum Slowly

• Erin Brockovich
• Sexy Beast
• Almost Famous
• In the Mood for Love
• O Brother, Where Art Thou?
• Traffic
• Final Destination
• Amores Perros
• Gladiator
• State and Main

...plus 2 more. View the full list on Letterboxd.

• Raiders of the Lost Ark
• Modern Romance
• Thief
• Blow Out
• Escape from New York
• My Dinner with Andre
• Arthur
• Absence of Malice
• Mad Max 2

• Dog Day Afternoon
• Jaws
• One Flew Over the Cuckoo's Nest
• Night Moves
• Three Days of the Condor
• Mirror

• Beverly Hills Cop II
• Beverly Hills Cop
• Beverly Hills Cop: Axel F
• Beverly Hills Cop III

• X
• MaXXXine
• Pearl

• Paris, Texas
• The Terminator
• Romancing the Stone
• Broadway Danny Rose
• Footloose
• Beverly Hills Cop
• Sixteen Candles
• Indiana Jones and the Temple of Doom
• Red Dawn

• The Verdict
• Tootsie
• E.T. the Extra-Terrestrial
• Blade Runner
• Fast Times at Ridgemont High
• 48 Hrs.
• First Blood
• Rocky III

• Moonlight
• Good Time
• Lady Bird
• Uncut Gems
• Past Lives
• The Killing of a Sacred Deer
• Locke
• The Lobster
• First Reformed
• While We're Young

...plus 45 more. View the full list on Letterboxd.

• Moneyball
• Midnight in Paris
• Contagion
• Melancholia
• The Girl with the Dragon Tattoo
• Warrior
• Limitless
• Margin Call
• The Tree of Life
• Haywire

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

• The Worst Person in the World
• Derek DelGaudio's In & of Itself
• Bo Burnham: Inside
• Summer of Soul (...Or, When the Revolution Could Not Be Televised)
• Red Rocket
• Judas and the Black Messiah
• Malcolm & Marie
• The Last Duel
• West Side Story
• Nightmare Alley

...plus 69 more. View the full list on Letterboxd.

• Out of Sight
• Croupier
• Rounders
• The Big Lebowski
• You've Got Mail
• Run Lola Run
• Wild Things
• Rushmore
• He Got Game
• Ronin

• Babylon
• The Banshees of Inisherin
• TÁR
• Till
• All Quiet on the Western Front
• Armageddon Time
• Nope
• Barbarian
• The Fabelmans
• The Northman

...plus 94 more. View the full list on Letterboxd.

• Fight Club
• Magnolia
• Eyes Wide Shut
• Go
• Election
• Notting Hill
• Any Given Sunday
• The Virgin Suicides
• Being John Malkovich
• The Talented Mr. Ripley

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

• All the President's Men
• Taxi Driver
• Rocky
• Assault on Precinct 13
• Mikey and Nicky
• Carrie

• Before Sunset
• Eternal Sunshine of the Spotless Mind
• Kill Bill: Vol. 2
• Birth
• Collateral
• The Life Aquatic with Steve Zissou
• Shrek 2
• Man on Fire
• The Terminal
• I ♥ Huckabees

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

• The Social Network
• The Town
• Incendies
• Inception
• The Fighter
• Scott Pilgrim vs. the World
• Black Swan
• Blue Valentine
• Somewhere
• Remember Me

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1. Sound of Metal
2. Dick Johnson Is Dead
3. Mangrove
4. The Trial of the Chicago 7
5. One Night in Miami...
6. Never Rarely Sometimes Always
7. Another Round
8. Minari
9. Nomadland
10. Palm Springs

...plus 59 more. View the full list on Letterboxd.

• Arrival
• Dune: Part Two
• Polytechnique
• Prisoners
• Incendies
• Enemy
• Sicario
• Dune
• Blade Runner 2049

• There Will Be Blood
• No Country for Old Men
• Zodiac
• Atonement
• Michael Clayton
• Ocean's Thirteen
• The Darjeeling Limited
• Before the Devil Knows You're Dead
• Eastern Promises
• The Assassination of Jesse James by the Coward Robert Ford

...plus 5 more. View the full list on Letterboxd.

• A Few Good Men
• Reservoir Dogs
• Malcolm X
• Glengarry Glen Ross
• Basic Instinct
• A League of Their Own
• Sneakers
• Light Sleeper
• The Player
• Patriot Games

...plus 2 more. View the full list on Letterboxd.

• The Godfather Part II
• California Split
• The Texas Chain Saw Massacre
• Alice Doesn't Live Here Anymore
• Lenny
• Blazing Saddles

• sex, lies, and videotape
• Do the Right Thing
• Field of Dreams
• Born on the Fourth of July
• National Lampoon's Christmas Vacation
• Indiana Jones and the Last Crusade
• Sea of Love

• Oldboy
• Kill Bill: Vol. 1
• Matchstick Men
• Memories of Murder
• Love Actually
• The Fog of War
• Good Bye, Lenin!
• 2 Fast 2 Furious
• Intolerable Cruelty

• The Social Network
• Se7en
• Fight Club
• Gone Girl
• Zodiac
• The Game
• The Girl with the Dragon Tattoo
• Panic Room
• The Curious Case of Benjamin Button
• The Killer

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• Inglourious Basterds
• Polytechnique
• Avatar
• The Taking of Pelham 1 2 3
• An Education
• Daddy Longlegs
• Jennifer's Body
• (500) Days of Summer
• State of Play
• Public Enemies

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• Titanic
• Good Will Hunting
• Boogie Nights
• The Game
• Jackie Brown
• Face/Off
• Cop Land
• Con Air
• Men in Black
• The Devil's Advocate

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• Cinema Paradiso
• Die Hard
• Bull Durham
• Cocktail
• Midnight Run
• Mississippi Burning
• Heathers
• Mystic Pizza
• Scrooged
• Coming to America

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

• Ocean's Eleven
• Y Tu Mamá También
• Training Day
• The Royal Tenenbaums
• Vanilla Sky
• Serendipity
• Ali
• The Fast and the Furious
• Spy Game
• Mulholland Drive

...plus 2 more. View the full list on Letterboxd.

• Schindler's List
• True Romance
• Sleepless in Seattle
• Dazed and Confused
• The Fugitive
• The Age of Innocence
• Jurassic Park
• The War Room
• In the Line of Fire
• The Firm

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

• Moonrise Kingdom
• The Grand Budapest Hotel
• The Darjeeling Limited
• Bottle Rocket
• The Royal Tenenbaums
• Asteroid City
• The Life Aquatic with Steve Zissou
• The French Dispatch
• Rushmore
• The Wonderful Story of Henry Sugar

• 12 Angry Men
• Sweet Smell of Success
• Paths of Glory
• The Tarnished Angels
• The Seventh Seal

• The Dark Knight
• Body of Lies
• The Curious Case of Benjamin Button
• Indiana Jones and the Kingdom of the Crystal Skull
• Four Christmases
• Older Than America
• Twilight

• The Pianist
• Adaptation.
• Minority Report
• Insomnia
• Solaris
• Panic Room
• Signs
• Punch-Drunk Love
• The Bourne Identity
• Dirty Pretty Things

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

• Spotlight
• Carol
• Creed
• The Lobster
• The Invitation
• Mad Max: Fury Road
• Brooklyn
• The Big Short
• Sicario
• The End of the Tour

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

• Mission: Impossible – Fallout
• Mission: Impossible – Dead Reckoning
• Mission: Impossible III
• Mission: Impossible – Ghost Protocol
• Mission: Impossible – Rogue Nation
• Mission: Impossible
• Mission: Impossible II

• Magic Mike
• Magic Mike's Last Dance
• Magic Mike XXL

• sex, lies, and videotape
• Ocean's Eleven
• Erin Brockovich
• Out of Sight
• Contagion
• Magic Mike
• Solaris
• Ocean's Thirteen
• Logan Lucky
• Traffic

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

• The Prestige
• The Departed
• Children of Men
• Inside Man
• Mission: Impossible III
• Babel
• The Pursuit of Happyness
• Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan
• Rocky Balboa
• Miami Vice

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

• Before Midnight
• Her
• Prisoners
• 12 Years a Slave
• Locke
• Enough Said
• Rush
• Behind the Candelabra
• Under the Skin
• Enemy

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