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  • It Comes at Night

    It Comes at Night

    American indie miserablism at its finest; ambiguity that feels like a tongue-in-cheek joke more than a serious thematic technique, and a portentous tone that is never lived up to. Truly the moment of absurdity for "prestige horror" flicks. However flawed he is, Aster at least makes movies that build *ideas* throughout their runtime, and at least Eggers has a sense of humor (tho it too sucks).

  • Swiss Army Man

    Swiss Army Man

    ★★★★★

    Pop pop corn pop pop corn pop pop corn pop pop corn

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  • Booksmart

    Booksmart

    ★★

    Very much the work of a Gen X'er pretending that Gen Z is some kind of ideal society, with every character from the beginning of the film being practically self-actualized. With that, there is absolutely no dramatic urgency: I mean, sure, the girls have something to prove to their classmates, but motivations steadily slip throughout the film—to the convenience of the plot. And that is what this is: a film that cribs all its emotional beats from Superbad without understanding…

  • Spider-Man 3

    Spider-Man 3

    ★★★★

    Spider-Man 2 and The Dark Knight becoming the most highly praised superhero films of all times represents a shift in the ethos of the viewer. No longer could films about fascistic, costumed super-men point fun at their own artifice or have any kind of self-criticism that wasn't completely self-indulgent (Nolan's Batman)—hence, we got the rise of the Marvel Cinematic Universe, which much like John Stewart before it intersperses petty jokes throughout to placate audiences need for levity while delivering portentous…