• Honeyland



    Our selection for the 2023 Ebert Interruptus at the Conference on World Affairs. In a tradition established by Roger Ebert, we'll spend a few days dissecting the movie frame by frame, with audience participation, from April 12-14 at the University of Colorado-Boulder. Free and open to all. See the previously titles given the Interruptus treatment here: letterboxd.com/michaelj/list/cwas-ebert-interruptus/

  • Rodeo



    Like a Fast and Furious film that’s been stripped for its flashy parts. Audio review here: youtu.be/AQOruHTZLxM

  • The Big Lebowski

    The Big Lebowski


    Look for a 25th anniversary Sacred Cow review on this week's Filmspotting. For those of you who followed along with our TC Movie Club series on the Coen brothers, I'd say this one is an Old Testament film, with Sam Elliott's Stranger as the prophet the Dude ignores.

  • Sansho the Bailiff

    Sansho the Bailiff


    Our Sight & Sound Blindspotting Marathon begins with this next week on Filmspotting, in case you want to spend the next month or so watching masterpieces. Lineup here: www.filmspotting.net/marathons

  • Showing Up

    Showing Up

    review to come

  • Creed III

    Creed III


    If Ant-Man and the Wasp: Quantumania had me questioning Jonathan Majors’ decision to join a longtime franchise by playing a new adversary, Creed III makes me think it’s not such a bad strategy.


  • Scream VI

    Scream VI


    There’s an intriguing idea and an incredible sequence in Scream VI—which is just enough to justify this follow-up to 2022’s Scream (which itself was just clever enough to justify reheating the series 11 years after Scream 4). The idea? That Sam (Melissa Barrera)—survivor of the slaughter in the 2022 film, where she was targeted because she was the unfortunate daughter of the killer in the original Scream)—has developed a bit of bloodlust in the wake of her trauma. The sequence?…

  • Rage in Heaven

    Rage in Heaven


    Rage in Heaven, one of Ingrid Bergman’s early Hollywood films, was something of a trial run for Gaslight, which she would make a few years later. Here, the man messing with her mind is Philip Monrell (Robert Montgomery), a manufacturing heir who quickly woos her and then begins to imagine/orchestrate a tempestuous love triangle involving them and his best friend (George Sanders). Montgomery mostly comes across as pathetic and ineffectual rather than a disturbing threat, while the clumsy plot and…

  • Creed II

    Creed II


    The most inventive thing about Creed II is the entrance of Adonis Creed (Michael B. Jordan) into the arena for the film’s climactic bout. The stadium goes dark, a dot of light circles the space until it stops above the entrance corridor, cueing spotlights down on Bianca (Tessa Thompson)—musical artist and Adonis’ lover—as she leads him to the ring while singing. Otherwise, this isn’t a repivoting of the Rocky franchise, as Creed was, as much as it is a remake…

  • Persona



    The quintessential, mid-century art film: enigmatic, provocative, European, and shot in black and white. Expanding on the surreal dream sequences of 1957’s Wild Strawberries, writer-director Ingmar Bergman opens Persona with a nightmarish montage consisting of images of film reels, a slaughtered lamb, an impaled hand, and a silhouette of a young boy holding his hand up before the blurry, projected image of a woman’s face. From there, the movie settles into a fairly basic narrative, in which a chatty nurse…

  • The Hustler

    The Hustler


    The Hustler features one of Paul Newman’s most tarnished, self-destructive golden boys: “Fast” Eddie Felson. The performance came on the heels of 1958’s Cat on a Hot Tin Roof and pointed the way to 1963’s Hud and 1967’s Cool Hand Luke. Eddie is a small-time pool shark looking to take down the country’s best player: Minnesota Fats (Jackie Gleason). Eddie has the talent, but—in the words of his sketchy backer (George C. Scott, excellently slimy)—he’s lacking “character.” Whenever things start…

  • Causeway



    Every single performance shines in Causeway—from its two leads all the way down to the minor players who only appear in a handful of scenes. Jennifer Lawrence stars as Lynsey, an Army Corps of Engineers veteran struggling to recover from an explosion in Afghanistan. Back home in New Orleans, living with the mother she keeps at a purposeful distance, she finds solace in a new relationship with James, a car mechanic (Bryan Tyree Henry) who is carrying his own trauma,…