• Friday



    It's possible I let the cult following of this hype it up too much. Good example of mid-90s stoner humor, that hasn't aged particularly well.

  • The Night Porter

    The Night Porter


    Well, this didn’t age super well. In a lot of ways it feels like a “cinema” take on a grindhouse idea. I can see why Criterion picked it up. It’s well shot and well acted, but somehow that just illuminates the flaws more. I almost wonder if it were trashier, would it be a better film.

  • We're All Going to the World's Fair

    We're All Going to the World's Fair


    My third film at Sundance 2021

    An at times striking horror film about internet urban legends and loneliness. I found it fascinating, but it does take its time. That allows it to get under your skin some, but by the end I found it a little underwhelming. However, I am interested to see what Schoenbrun does next.

  • Going Steady

    Going Steady


    Saw this at the Kansas City Film Festival.

    Great stuff. Funny, dark, excellent use of color. Real excited to see what the director does next.

  • R#J



    My second film at Sundance this year.

    A social media retelling of Romeo and Juliet. With a couple exceptions the performances are great. The juxtaposed use of the modern and the iambic language give an interesting look at who we communicate both online and in real life. The tech heavy lens may hurt the shelf life of this in a couple of years, but I found this to be pretty great.

    For a more in-depth review, listen to my podcast with my buddy Tim here.

  • Censor



    First film I ever got to see "at" Sundance.

    A meta-horror tribute to Video Nasties, a notorious list of films banned in Britain. The story follows Enid (Niamh Algar), a British censor, who reviews a film that is eerily similar to a traumatic event from her childhood. She sets about trying to solve a life-long mystery, while dealing with backlash for passing a film that the press blames for inspiring a crime. Questions about the purpose of censorship and its impact are explored in a not too obvious manner.

    For a more in-depth review click here.

  • The Unbearable Lightness of Being

    The Unbearable Lightness of Being


    When I can’t figure out exactly what I want to say about a movie. I find writing a haiku helps.

    Great performances
    Fascinating mirror use
    Unsure if it aged well

    Indeed the performances are great, even if you don’t always like the characters. DDL, what can I say? Everyone else is great too, though. I find the use of mirrors really interesting. I can’t help that it is making a comment on self-absorption in the characters. A very human drama.

  • Freaky



    Super fun. Take Freaky Friday, add a little John Hughes, a good helping of 80’s slashers, a heaping scoop of Heathers, and just a hint of Evil Dead. It you liked any of those movies I just mentioned, you'll probably enjoy it. Vince Vaughn earns the acclaim.

  • Darling



    Interesting document of mid-sixties Britain. Well acted with some inventive camera work. Schlesinger seems to have a good grip on his style. I can see why this won for Original Screenplay, though it may seem kind of dull by today’s standards.

  • David Byrne's American Utopia

    David Byrne's American Utopia


    During the first half-hour or so I felt that this film was: Stop Making Sense + True Stories = American Utopia. Not a bad thing at all, but it quickly becomes more than that. It’s amazing that something can be both minimal and full of spectacle at the same time. Much of that is due to the original stage production, but Spike Lee’s directorial flourish adds something extra.

  • For All Mankind

    For All Mankind


    I found myself more fascinated in how they made this documentary, compiling years of footage from NASA folx, than the actual documentary itself. That said, the film has strong visuals and a killer score by Brian Eno. I particularly enjoyed a sequence of two astronauts collecting rocks and just generally enjoying the fact they were on the moon. Best line: "There's a good rock, right there."

  • Unpregnant



    Twin films, two unconnected films with the same or similar plots released around the same time, are not a new phenomenon. I think a lot of folx in my generation became aware of the concept when Armageddon and Deep Impact came out close to each other. “A 17 year old girl, with a friend, travels across state lines to get an abortion” was not the plot I expected to see two movies of in 2020. This is the bright teen…