• Mission: Impossible - Ghost Protocol

    Mission: Impossible - Ghost Protocol


    Lotta moving parts, I'm constantly like, why are they doing this? And, who's this guy? What's going on? But the action's great, I mean, as far as stunt work goes, this is T. Cruise at his best. The Burj Khalifa sequence blows me away every time, that is just good, good stuff. So yeah, it's fun, it's confusing, it's got a weak-ass villain, some neat gadgets... wait, is this Quantum of Solace?

  • Mission: Impossible III

    Mission: Impossible III


    "Who are you? What's your name? Do you have a wife? A girlfriend? Because if you do, I'm gonna find her. I'm gonna hurt her. I'm gonna make her bleed, and cry, and call out your name. And then I'm gonna find you, and kill you right in front of her." That's some pretty good writing, but Hoffman's delivery makes it truly awesome and sinister and memorable, the guy’s a legend, and he's easily the best part of this very good action movie. Probably lands right in the middle for me in the series.

  • Husbands



    I've seen eight Cassavetes flicks, haven't liked a single one. I've tried, I'm trying, I don't know, they're just not for me, and this one might actually be my least favorite. I'm the same age Cassavetes was when he made this, I'm a husband and father, I've lost close friends, and yet there's nothing here I can relate to. To ponder the deeper meaning feels pointless to me; ideas are half-baked, these guys are assholes, every scene is painfully long,…

  • Don't Worry Darling

    Don't Worry Darling


    Once the setup was over, things got very repetitive, and I got very bored. It's not the most original idea to begin with, but you throw in a predictable plot and bland characters, the whole thing just goes exactly as you'd expect. On the bright side, all the costumes and sets look great. Plus, Florence Pugh puts on an absolute clinic. Would love to say I'll give this another shot soon, I just don't think my attention span could handle it.

  • Spy Game

    Spy Game


    Hard for me to fault all the crazy camerawork and editing since that's the kinda stuff I love about Tony Scott flicks, and to be honest, his style is suited perfectly for this story and its nonlinear structure. It's exciting and tense, has a nice pace, Pitt's good, Redford's great, it's a good flick. But yeah, the camera. Does not. Stop. Moving.

  • Enemy of the State

    Enemy of the State


    Voight really wanted to get that law passed, huh? And you know, I forgot how stacked this cast is, damn. Smith was good, he just couldn't always hang with Hackman, which is fair enough. Speaking of Hackman, first time he shows up is like 45 minutes in, what gives? That's not enough Hackman. Anyway, the action's great, feels like Tony Scott's beginning to really let his style loose here. Has its fair share of questionable moments, but I'd say the good far outweighs the absurd.

  • Mission: Impossible II

    Mission: Impossible II


    Part of me's like: this movie's ridiculous, absolutely ridiculous. But another part of me feels like this is just two glorious hours of T. Cruise playing in John Woo's sandbox. So, I don't know, I guess I'll give it a reluctant thumbs up in slow-motion as a dove flies past my head.

  • Mission: Impossible

    Mission: Impossible


    "My team is DEAD! They knew we were coming, man. They knew we were coming and the disk is gone!" With De Palma directing a script written by Koepp, Zaillian and Towne, you know you're getting good stuff, but T. Cruise makes this great, it's a sneaky pick for one of my favorite performances of his. "Do you read me?! The list is in the OPEN!" Boom! T. Cruise! Damn, he's good.

  • Elvis



    Good grief, this movie needs to chill out. On one hand, it's kinda neat how they cut the whole thing like a trailer, but on the other hand, the whole thing is cut like a trailer. The Austin Butler hype is real though, he's great, but Tom Hanks is ridiculous, I'm hastily chalking it up as his worst performance to date. Anyway, I knew what I was getting into when I pressed play, Luhrmann's style once again beat me into submission, and at the end of the day, it was a good time.

  • Onibaba



    I thought this was great, had me on the hook from the opening shot (a high-angle of tall grass that tilts down to reveal a deep, dark hole in the ground). Brilliant on a technical level (especially the lighting), and I loved how the story played out. Gonna make a point of checking this out again real soon.

  • Where the Crawdads Sing

    Where the Crawdads Sing


    My wife loves the book, so she was excited for this. I was not, but like any good husband and film buff, I was like, "hell yeah, let's go to the cinema." And you know, it wasn't bad, she said it was adapted well, I take her word for it, and the way it all played out was interesting enough. No plans on ever watching it again though, I think I'm good.

  • The French Dispatch

    The French Dispatch


    The heaviest dose of Wes Anderson's style in a single film to date. Which is fine, I'm a fan, but halfway through story 2 (Revisions to a Manifesto), I really feel the excess. I think story 1 (The Concrete Masterpiece) builds up so much good will, I just kinda ride that high all the way to the end. In terms of bringing creative vision to life on screen, Wes Anderson's one of the best to ever do it. Guess my…