a) No-one warned me this was a "weepy melodrama".

b) If you compared this to anything like a weepy melodrama of recent times you'd think they'd been made on different planets.

c) I've never seen Cary Grant so broken, so delighted, so scared, as the brief moment he thinks the baby has been kidnapped. His monologue to the judge is going to be my quintessential "Pretend you're not holding back sobs but barely succeed" monologue. It's remarkable.

d) Given how…

A bunch of robots, AI holograms, and hollowed-out humans in an unfeeling world that has long since given up all try to express their feelings without admitting they have feelings. Perhaps the only character who is able to fully express their happy, sad, and fearful emotions from frame one is JOI, the only character whose reality is constantly to be doubted. Which is just the root of all the sadness in K's life.

I find this to be overwhelmingly, shockingly…

It's like if They Live was more interested in being a sci-fi cop movie than it was a commentary on consumerist culture in 80s America. Your mileage may vary - I think the commentary is definitely alive and kicking here, but the deliberate strangeness of Kyle Maclachlan's performance undercuts a lot of the Cop movie patina that The Hidden could otherwise be turning to its advantage in this genre blend. Found it thrilling and pulpy, but a little more clinical…

I don't want to know who could hate this film.

I will say that if you're hoping to watch it and discover that it isn't actually about "men and women can never be friends because the sex part always gets in the way", you're going to be sorely disappointed! It's awfully pat to say the film "is just about two people", because while it is rich in specifics, it feels reductive to say a romantic-comedy can't be about anything greater.…