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  • The Man Who Killed Hitler and Then the Bigfoot

    The Man Who Killed Hitler and Then the Bigfoot

    ★★★½

    This feels uneven but only because it's not aiming for genre reflexivity. It feels a little thematically trite but only because it's not after anything much more profound than genuine pathos. But it's formally precise and anchored by an unsurprisingly terrific lead performance and also very ironically funny. It's the late-period movie that's consistently been escaping guys like Joe Dante or Don Coscarelli. I liked it a lot.

  • All Square

    All Square

    ★★★½

    Not quite the rambunctious BAD NEWS BEARS callback you might be expecting from the premise. The humor is similar but this is more of a patient drama laced with some poisoned Americana. Hyams typically embellishes his camerawork just enough to be distinctive (I'm looking at you, Scorsese whip pans in the baseball scenes) but more often than not simply places the shot unfussily exactly where it needs to be; the guy's a natural. Also features a lot of lovely Baltimore location work. I miss my hometown sometimes.

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  • Star Wars: The Last Jedi

    Star Wars: The Last Jedi

    ★★★★

    Reminds you of what this sort of thing can be with an actual director behind it instead of merely a gang of well-meaning producers. Johnson deploys a few basic narrative and visual tricks that haven't really popped up in a STAR WARS film before, along with his usual precise frames and tight technical craft, and a particular attention to emotional continuity. There's also a welcome preoccupation with collateral damage, both physical and psychic. One thing Johnson's films have never really…

  • Fyre

    Fyre

    ★★★

    I don't feel bad for anyone here except the locals, workers, and vendors who never got paid. The rest are social media dupes and con artists. Fuck 'em.