Favorite films

  • Boogie Nights
  • A Clockwork Orange
  • Bicycle Thieves
  • Star Wars

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  • Halloween Kills

    ★★

  • No Time to Die

    ★★½

  • Lamb

    ★★½

  • Loki

    ★★★½

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  • Halloween Kills

    Halloween Kills

    ★★

    If Scream (1996) was the ultimate post-modern horror film, then Halloween (2018)—a re-sequel that rewrites, while simultaneously paying tribute to, all that came after the iconic original—might be the ultimate post-post-modern horror film.  I could dig it, especially the satisfying ending.  But where could David Gordon Green and company go from there?  The answer: a quaint, clumsy post-9/11 cautionary tale about, you know, society becoming a monster to stop a monster.  From both a storytelling and thematic standpoint, Halloween Kills…

  • No Time to Die

    No Time to Die

    ★★½

    This nearly three hour finale splits the difference between the best entries of Mr. Weisz’s tenure as James Bond (Casino Royale, Skyfall) and the worst (Quantum of Solace, Spectre): “No Time to Die” is a great title, and the action set pieces are fantastic (particularly the first in Acropolis); but Lea Seydoux is no Eva Green (not by a long shot), and Rami Malek has now earned my vote for today’s most overcast actor (although Timothee Chalamet may take that title over the next several weeks),

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  • Dear Basketball

    Dear Basketball

    ½

    The narration has all of the nuance and poetry that you’d expect from a recently retired pro basketball player whose ego just can’t be stopped and who desperately wants the post-#metoo world to forget all the rape-y stuff.  The animation by Glen Keane (Tangled (2010)) was positively groundbreaking when it appeared in an A-ha video over three decades ago.  And so this six-minute commercial for the post-NBA Kobe Bryant brand is nothing less (or more) than a triumph for his publicity team and a perfect reminder of what the Oscars (and Hollywood) are really all about.

    Hoop Dreams, anyone?

  • La La Land

    La La Land

    ★★★★½

    It's 2016. Among our prime A-listers, we don't have a Fred Astaire or Ginger Rogers; hell, we don't even have an Olivia Newton-John or John Travolta. What we do have is Emma Stone and Ryan Gosling (Crazy, Stupid, Love (2011), Gangster Squad (2013)) and a talented director (Damien Chazelle) who has the audacity to create an original musical in 2016 (as opposed to adapting/stewarding a Broadway franchise). With Chazelle's invocation of nostalgia for a once dominant cinematic form and generous…