• Top Gun: Maverick

    Top Gun: Maverick



    A Hawksian tribute to the Big Screen and every individual who plays a part, all equally important no matter how big or small, in making it happen. Cruise is genuinely, sincerely looking at his own stardom here with confidence and a tinge of regret. Acknowledging his own mortality, his age, and his ever present ability which still seems unmatched. Time is changing, he CANNOT keep doing this forever, but as long as he is able, he’ll give it his…

  • Oblivion




    A film at the apex of derivative and inspired. One of the most movies ever made. Yet I can’t deny I have only seen this like twice maybe and I do remember a good bit of it. It’s kinda weird. Its gorgeous. Tom is good. Good sound, score, some ideas. Yet it never reaches greatness or past it’s influences. Yet I do appreciate that it’s willing to go so slow and develop its story, even if it’s story introduces too many ideas to actually flesh any out particularly well. Cruise Control wasn’t as effective on this one unfortunately :(

  • Mission: Impossible

    Mission: Impossible



    I can’t get enough of this movie. It’s so atmospheric, stylish, and propulsive. Lots of slow tension that builds well to the massive spectacle that is definitely the most small scale of the series. But it’s all fantastic. The things holding it back most are the character of Claire being underwritten and the aspects of some technology being dated as hell, especially the portrayal of the Internet. The email sequence is masterfully lit, crafted, and edited, but I can’t…

  • Faces




    Scene to scene of angry domesticity, no real structure to it. Just constant existential dread. Even with such oppressive claustrophobia and capitalist distortion of values/desires etc., Cassavetes still finds moments of kindness, gestures of love, and true happiness. There’s a possibility for us to be happy, choices we can make, yet we so often don’t choose happiness, or we can’t. There’s rarely ever a chance to breathe in a Cassavetes film, only moments where you aren’t being suffocated, moments…

  • Avatar




    Aside from the white savior ish aspects of some of the plot, this is still one of the most impressive technical accomplishments in the medium, and one of the best epics ever made. Not a single other filmmaker has topped this since, at least on this scale. Just look at what Marvel has done with this large scale CGI focused canvas. It doesn’t even come close! Even after 13 years, this looks ridiculously good, and better than almost every…

  • Doctor Strange in the Multiverse of Madness

    Doctor Strange in the Multiverse of Madness



    It’s good to have Raimi back. Yes, this is unfortunately still a Marvel story, but Sam’s style is EVERYWHERE in this. So many ideas and scenes are obviously his conceptually and in craftsmanship. He whips that camera around like NO ONE else ever has even once in this series. Many MANY shots are burned into my mind, and I nearly cried at a couple of points. Not because the story was particularly emotionally effective, tho it has its moments…

  • Bringing Out the Dead

    Bringing Out the Dead



    Bringing out the Dead is one of Marty’s most disturbing movies. Unlike Taxi Driver or Raging Bull, the two other Scorsese/Schrader joints featuring damaged leads, you actually care about Cage’s Frank Pierce here. He doesn’t enact the horrific, monstrous acts of violence on people close to him that Bickel or LaMotta inflict; Frank is trying to stop violence as much as he can. Yet Frank can’t outrun death. It seems to be following him everywhere despite his most desperate…

  • After Hours

    After Hours



    Just watched Casino, The Irishman, Age of Innocence and, After Hours back to back over the past couple days. Convinced Marty can do anything. After Hours was significantly better than I remember. Probably no better distillation of Kafkaesque anxieties in cinema than this. Constantly hilarious, absolutely FULL of classic bit players and “That guys” that are all putting in some of their best work. Griffin Dunne kills it as the lead, bringing coked up energy to a character that…

  • The Northman

    The Northman



    Apparently Eggers had some trouble with the studio demanding this be cut down a bit, but that’s only visible in the opening 20 minutes which were likely originally 40. The inciting incident comes a little too early without enough time to truly learn about the inner machinations of King Ethan Hawke’s kingdom and style of ruling. Hints are there, the scene between Hawke and Kidman is well done and the moment when young Amleth bonds with his father in…

  • Everything Everywhere All at Once

    Everything Everywhere All at Once



    Don’t know much, but I damn well know this is one of the best films I’ve ever seen. Not a single beat misplaced, not a single moment less than exceptional. Brimming with more heart and creativity in every second that most films ever achieve during their entire runtime. Hot damn, I wasn’t ready to have a borderline life changing experience with this movie, but it floored me in every respect. Unquestionably a future classic. Will see again ASAP. Front to back perfection. Eat your heart out Marvel, THIS is how you make a multiverse story.

  • Batman Forever

    Batman Forever



    This has some great moments and some terrible moments. Kilmer plays it super low key in a way I really enjoyed. It’s clear he’s trying to make Batman his whole life, leave behind as much as he can of Bruce Wayne, only becoming him when he needs to be. Bruce is more of a persona than Batman. Slowly by the end he reclaims his humanity, empathy, and connections. The big problem is that the steps he takes to get…

  • Batman Returns

    Batman Returns



    This was a significant improvement upon rewatch. While Joker was an antagonist I had no sympathy for in the first, Penguin and Selina here are heartbreaking characters who both suffer the horrific power of the rich. Danny DeVito, in any other film that doesn’t have Michelle Pfeiffer, nearly steals the entire show with a committed, disgusting, and hugely empathetic performance. As much as Oswald is a disgusting little jackass, he’s also an orphan who’s parents literally threw him away…