• Stuntwomen: The Untold Hollywood Story

    Stuntwomen: The Untold Hollywood Story


    Not a ton that isn't remedial for someone who follows the craft but nevertheless a totally overdue story being told here. I particularly enjoyed the aspects involving not just how tough these incredible performers are, how much they have to push past to do the extremely dangerous stuff they do (let alone to be allowed to do what they do), but how much simple preparation and practice is involved. That said, I wish just one of these stunt docs would…

  • Bad Hair

    Bad Hair


    Scary BAMBOOZLED is entirely reductive but also you get the idea. Really thoughtful and sly, a confrontation between Blackness and genre that makes a lot of similar current attempts seem amateurish at best and pandering at worst. A raw, angry, funny, campy display of ambivalence over assimilation, complicity, and denial of opportunity that accumulates influences like (yeah very obviously) Spike Lee but also De Palma and vintage Blaxploitation and of course J-Horror and even a little good old fashioned TV movie texture spooky stuff. A real triumph.

  • Borat Subsequent Moviefilm

    Borat Subsequent Moviefilm


    This is indeed frequently very funny and also it is exactly what you think it is, in good ways and bad (personally the "undercover Jew" part was the peak I thought). But don't let anyone tell you it's productive.

  • The Witches

    The Witches


    Zemeckis characteristically candy-coats the bitterness of this pill, which might make it seem corny (which isn't necessarily bad) to some but which I find effectively icky. Hathaway's bringing all her usual theater kid energy, also for good or ill. Either way this is still better than anything Tim Burton's made in at least a couple decades.

  • Love and Monsters

    Love and Monsters


    Surprisingly bittersweet and unself-conscious, directed with some real economy, and featuring terrific creature VFX and the best movie dog since Brandy the Pit Bull.

  • The Gift

    The Gift


    Billy Bob and Raimi concoct this drowsy, dreamy Tennessee Williams hothouse gothic mystery. Has an insanely stacked cast, its director's gleeful way with spooky stuff, and Thornton's intricate, empathetic melodramatics. Under-appreciated.

    Discussed on Episode 47 of The Suspense is Killing Us.

  • Unhinged



    I mean what else is there to discuss? This man is plainly not hinged!

  • L.A. Wars

    L.A. Wars


    Imagine a PM Entertaiment transmission without the borderline competence or a decent car pull or really anything exciting at all.

  • The Trial of the Chicago 7

    The Trial of the Chicago 7


    Deliberately, depressingly timely (not to mention a little centrist) in a way I find sanctimonious and not entirely productive but also extremely engrossing and with all the prestigious craft you'd expect.

  • A Woman's Torment

    A Woman's Torment


    Roberta Findlay's Wide Sargasso Sea. Watch the softcore version.

  • Rebecca


    I'm fine with unfaithful adaptations or finding a jumping-off point to explore inspiration but this is not that. Instead it's a total bastardization of Du Maurier's masterpiece that not only drains this extremely thorny piece of proto-feminism, this tragic doomed romance, of any ambiguity but also turns it into junky pseudo-empowerment complete with a tacked-on happy ending. Absolute garbage. Ben Wheatley is, as usual, very bad.

  • Bugsy



    One of those big, idiosyncratic prestige swings where you look at it and go there's a movie in here that absolutely nobody involved was able to find. Instead Scorsese found it when he made THE AVIATOR. Hand to God, it's the same exact thing. Very cool Warren Beatty puppet in that one scene towards the end.