• The Godfather

    The Godfather


    This movie has been incredible since you were taking out cheerleaders.

  • Chungking Express

    Chungking Express


    An astonishing showcase for how to take a simplistic narrative and turn it into something unforgettable. Wong Kar Wai deploys hazy and fluid camerawork, fever-dream editing, and an indelible soundtrack to dizzying effect in Chungking Express. The film is equal parts melancholy and playful, being supremely enjoyable while exploring heartbreak and the aftermath of it in an emotionally incisive fashion. This is going to become one of my personal favorites. I already feel like I have an inextricable connection with this masterwork after just one watch. A truly incredible achievement.

  • Thor: Love and Thunder

    Thor: Love and Thunder


    A masterclass in how to make massively scaled action scenes seem anticlimactic through their poor staging and incoherent editing. A showcase for a screenplay pining for both dramatic heft and comedic effectiveness, but miserably failing to attain either through what a tonally jumbled mess. A film that relegates Christian Bale and Natalie Portman, two generationally talented actors, to underwritten and underwhelming side roles. It’s almost impressive how much of a train wreck this movie is.

  • Jurassic World Dominion

    Jurassic World Dominion


    The definition of mediocre. An unremarkable end to a deeply forgettable trilogy that was a painfully obvious cash grab and nothing more.

    The scale is impressive, and it moved pretty quickly. The CGI was solid. The set prices were entertaining. It was nice to see Laura Dern and Sam Neill back. Chris Pratt is such a bore, though. He’s such a boring leading man, and I continue to be baffled why Hollywood puts him at the center of blockbusters. The villain is a woefully generic sinister tech guru who has zero development. A relatively fun but quite average film, in my opinion.

  • Licorice Pizza

    Licorice Pizza


    This is a perfect example of a director being in total command of his craft. The sun-dappled cinematography, the warmly nostalgic soundtrack, the utilization of Hollywood superstars in bite-size roles perfectly. Paul Thomas Anderson has delivered a tender, wonderfully meandering coming-of-age masterpiece. Alana Haim and Cooper Hoffman are absurdly good, considering they have been the center of a movie before. Their chemistry is ripe with equal parts warm affection and naive, bratty jealousy. The movie is defiantly unromantic in its…

  • Don't Look Up

    Don't Look Up


    I don’t exactly get the enraged criticism towards this film. Maybe it’s satire took an throw-everything-at-the-wall approach, but it was undeniably effective in specific attacks that it launched. I loved Jennifer Lawrence and Cate Blanchett in this movie the most out of the star-studded cast. They were fantastic. The movie was surprisingly nihilistic, and it was kind of refreshing for the film not to attempt to instill a false sense of hope within the audience. I just enjoyed it, and I think people are taking the film far too seriously.

  • Spider-Man: No Way Home

    Spider-Man: No Way Home


    I was thoroughly impressed. It shouldn’t work, and maybe it is questionable from a logical perspective, but the ambition and scope of the film was awe-inspiring. Tom Holland kicks ass in this movie, and I hope he can finally find one movie outside of the MCU where he can display the same level of effective earnestness and charisma. One of the best MCU films unquestionably.

  • The Strangers

    The Strangers


    well, it was nice knowing sleep

  • Kill Bill: Vol. 1

    Kill Bill: Vol. 1


    A director pulling off a cinematic miracle through sheer skill, bravado, and the fact that he just can.

  • There Will Be Blood

    There Will Be Blood


    It is absolutely miraculous that one character can accurately embody the ills of the American entrepreneurial and capitalistic spirit without coming across as a sketch. This might be the movie of the century.

  • The Power of the Dog

    The Power of the Dog


    Jane Campion's first film in a dozen years is the type of movie that is not easily able to be washed off. It sticks to you, in ways that you can't begin to rationally explain. The enigmatic, unspoken nature of the narrative is bewildering and hypnotic; there is both a human sympathy and an alien emotional remove present within this film. Benedict Cumberbatch is perfectly cast against-type. The wall of bravado and machismo that he puts up is thinly veiling…

  • 21 Jump Street

    21 Jump Street


    When Ice Cube and Rob Riggle are genuinely funny in a film, you’ve done the comedically impossible. An absolute blast that didn’t attempt to reinvent the wheel and was sprinkled with a noticeable bit of self-awareness. Dave Franco sounds like a slightly raspier Timothee Chalamet. I can’t explain it.