• Strange Days

    Strange Days


    Still one of my all-time favorites, just a stunning combination of still-relevant politics, forward-thinking science fiction, a doomed relationship where the raw emotions are palpable, and Angela Bassett as a tremendous ass-kicker. The exposition and introduction of the brain-recording tech is handled so smoothly and efficiently. The cast is (almost all) top-notch and operating beautifully. The camera stunts may seem old hat today, but they were ridiculously ambitious for their era. (Kathryn Bigelow's description of how she got the opening…

  • The Suicide Squad

    The Suicide Squad


    Kinda the same as the last Suicide Squad, except with all the pieces actually working together, and then a whole bunch of new pieces, a million more fan-favorite stars, and some really silly, extravagant style thrown in. John Cena continues to be hilarious in whatever he's doing. Also: Viola Davis for president.

  • Luca



    Cute story, enjoyably soft and specific animation, all around a nice movie for a nice time with nice people, but not the kind of Pixar movie that makes you see life a little differently.

  • One Hundred and One Dalmatians

    One Hundred and One Dalmatians


    Huh. I remember loving this one as a kid — even had a record version, so some of the dialogue and sound effects are permanently engraved on my brain — but re-watched as an adult, it's a tad ruff around the edges, isn't it?

  • The Woman in the Window

    The Woman in the Window


    Overwrought, simplified remake of Rear Window that apparently operates on the cartoon logic of Second Coconut Theory (or "injury bookend,", as TV Tropes would have it: The simple cure for trauma is a second trauma. Too neat, too pat, and after too many histrionics.

  • Big Trouble in Little China

    Big Trouble in Little China


    I had forgotten how truly ridiculous, random, and above all, John Carpenterian this movie is. Why is there a beholder running around in the middle of it? Why the hell not?

  • Mortal Kombat

    Mortal Kombat


    Plenty of mortal combat, zero actual Mortal Kombat. What a ripoff! Negative eleventy million stars. They should have called this Prequel That Promises Eventually We'll Get To Some Mortal Kombat But Not Just Yet.

  • In the Earth

    In the Earth


    The fact that the characters here return to emotional normalcy so many times throughout this film almost takes it out of the realm of horror for me, and into the realm of science fiction. By halfway through the movie's first big incident, I would have been clutching the biggest tree branch I could find, and swinging it at anyone who came within 10 feet of me. These are either some resilient people, or some deeply crazy ones, is what I'm saying.

  • Godzilla vs. Kong

    Godzilla vs. Kong


    This would have absolutely killed in the theater. At home, it's pretty obviously a miniaturized version of a big-screen epic.

  • The Crazies

    The Crazies


    Finally got to see this one through Alamo Drafthouse's On Demand platform. This film is pretty narratively sloppy in a low-budget 1970s way, kind of all over the place with its large, sprawling cast of distinctive but often still not very interesting characters. But the basic idea — an plane accident releasing a virus into a small town's water system, causing people to act erratically and in some cases violently — is compelling, especially once the military response both goes overboard and…

  • Happily



    The trailer for this film is so strong and sharp, and promises The Perfect Host-style twists aplenty. The actual film feels like it needs another half an hour of character work to cohere. The big reveals all come down to telling us that underdeveloped, hateful characters are a little more hateful than we realized, and maybe in slightly different ways, and the biggest finale action involves two characters who barely get half a dozen lines between them. I didn't know…

  • The Sparks Brothers

    The Sparks Brothers


    I wish I could say I loved this doc as much as I normally love Edgar Wright films, let alone as much as Edgar Wright loves Sparks. This is clearly a work of passionate fandom and full commitment. But I honestly found it kind of dull — 135 minutes of famous people enthusing over how fantastic Sparks is, but without any of the insight I was hoping for into how they do what they do, or what they get out of…