• Dashcam



    Well, it's better than Spree in that I didn't want every single character to die.

    Cautiously optimistic for The Boogeyman.

  • Host



    A pandemic themed Zoom horror film that makes use of its lean 56 minutes, Host might not reinvent the wheel and can get a tad repetitive but it boasts decent enough execution and searing terror to get the job done.

    It takes a lot to scare me, but this one almost made me slip backwards to the floor.

  • Dungeons & Dragons: Honor Among Thieves

    Dungeons & Dragons: Honor Among Thieves


    I dunno, man. Maybe I shouldn't settle for crumbs when I could be expecting a whole banquet.

  • Sexy Beast

    Sexy Beast


    Glazer is 3/3.

    Oozing with tasty black humor, white-hot suspense and an air of pathos, Sexy Beast boasts the most visual bravura and narrative ingenuity I've seen in a feature debut than from any other director I know, and Jonathan Glazer's technical mastery (his use of mise-en-scène is flawless here) and dynamite performances (including a spectacularly unhinged Ben Kingsley) add up to a gripping heist drama about a man who just wants to relax.

  • Orphan



    You've got to laugh a little, cry a little
    Before the clouds roll by a little
    That's the story of...
    That's the glory of love

    Isabelle Fuhrman, Vera Farmiga and Peter Sarsgaard do the heavy lifting in Jaume Collet-Serra's middling psychological thriller that revels in its pulpy thrills but is hampered by uneven pacing, non-existent style and some shoddy child performances.

  • Hustle & Flow

    Hustle & Flow


    It might not break the mold, but Hustle & Flow is a stunningly grounded and engrossing Memphis rap drama with engaging characters, a superlative soundtrack and a committed cast led by an electrifying Terrence Howard.

    Oh, and It's Hard Out Here for a Pimp slaps so much.

  • Far from Heaven

    Far from Heaven


    Echoing the best work of Douglas Sirk and Rainer Werner Fassbinder's Ali: Fear Eats the Soul, Todd Haynes transcends mere imitation and tribute to deliver a warm, blisteringly unsentimental domestic drama about repressed emotions, love and identity with crisp cinematography, Haynes's delicate direction/screenplay and wonderful performances from Julianne Moore and Dennis Haysbert. And did Elmer Bernstein ever make a wonderful score to go out on.

  • What's a Nice Girl Like You Doing in a Place Like This?

    What's a Nice Girl Like You Doing in a Place Like This?


    A briskly paced, surreal, funny tale of crippling obsession and solid early work from Martin Scorsese.

  • A Million Little Pieces

    A Million Little Pieces


    A Million Little Pieces does not completely fall apart thanks to Aaron Taylor-Johnson's committed performance and the film's unglamorous approach to the topic of addiction, but the film stumbles in crafting a strong, cohesive drama based on a controversial memoir where much doubt is cast on the legitimacy of the author's life story.

  • Robots



    Part romantic comedy, part clumsy sci-fi satire, all half-baked horseshit.

    Shailene Woodley should fire her agents, as they clearly don't know what's best for her.

  • After the Storm

    After the Storm


    Hirokazu Kore-eda strikes gold with another absorbing and deeply affecting family drama with a sharp script, stunningly precise editing/camerawork and a phenomenal cast.

  • The Dilemma

    The Dilemma

    Ron Howard's worst film that somehow isn't Hillbilly Elegy, The Dilemma shows how an intriguing premise can fall apart when given to the wrong people, with the result being a "dilemma" where none of the events in the film would happen if the characters weren't all complete shitheads. Vince Vaughn is at his most insufferable, Kevin James is a nonpresence, and Jennifer Connelly and Winona Ryder are criminally wasted, while Channing Tatum makes the most of his limited screentime.