Problemista (Julio Torres, 2023): 4/5

"I STAND WITH BANK OF AMERICA." Hilarious, endearing, and imaginative. From Julio Torres, former SNL writer of the legendary "Papyrus" and "Cheques" sketches.

Scoop (Philip Martin, 2024): 2.5/5

I would reveal everything to Gillian Anderson.

Anyway, feel free to skip this and just watch the original trainwreck Prince Andrew interview here: https://www.youtube.com/watch?v=AKQi3wzNFGQ...

Spun (Jonas Akerlund, 2002) : 2/5

Drug-fueled and piss-stained early 00s hyperactive indie cinema bullshit, fun cast but I'm gonna need a shower after viewing this obnoxious trash because everyone here looks fucking disgusting.

Baby Reindeer (Weronika Tofilska, Jon Brittain, 2024) : 3.5/5

Fascinating, original, honest, and an unapologetically raw story. Just discovered Richard Gadd, but now I need to watch his one-man show that inspired this series. Great performances all around. This is a true example of turning our traumas into healing and art. It really exemplifies how messy being human is, how confusing it all can be and the rabbit holes of our own curiosity and empathy. Wish Netflix was doing more to promote this, truly a hidden gem in their oversaturated catalog of options.

Seagrass (Meredith Hama-Brown, 2023): 3.5/5

This coming of age tale about race, identity, and bad marriages surprisingly snuck up on me and stayed with me long after seeing it. I do wish it was mainly focused on the two young sisters and how they navigate their parents' struggling relationship. Which by the way, hats off to the wonderful children acting in Seagrass - such grounded and heartbreaking performances. The film is shaped by their world and they really bring life to an otherwise seen-before movie. (The sisters’ bond actually reminded me of my own two sweet little nieces, so much so that there were moments that left tears on my cheeks.)

Big Fish (Tim Burton, 2003): 2/5

Too sentimental by half, never as fanciful as it clearly wanted to be.

Snake Eyes (Brian De Palma, 1998): 2/5

Dazzling opening shot; pity about frickin' EVERYTHING else. Superlative style wasted on insipid content.

The Thin Red Line (Terrence Malick, 1998): 2.5/5

One part riveting, disconcerting masterpiece to two parts pretentious twaddle. Kinda like an Apocalypse Now in which EVERY character sounds like Kurtz. Of the enormous all-star cast, only Nick Nolte and Elias Koteas make an impression.

Love Lies Bleeding (Rose Glass, 2023): 3/5

Entertaining and sharp, a good looking film. I hope Rose Glass gets to make dozens of movies, she's really adept at it. The film though sometimes feels like a fetish object made for, well, someone who gets the shivers when they see Kristen Stewart with a mullet smoking or Katy O'Brian as a permed glamazon bodybuilder, neither of which send me. But I'm happy for all the genderqueer peeps out there who have a new favorite movie. They could do much worse.  

Stewart and O’Brian are great together. And Glass treats O'Brien the way von Sternberg treated Dietrich. I hope she finds more directors who know how to harness her star power.

Proxy (Zack Parker, 2013): 3/5 

Unpredictable/WTF is Going on Here psychological thriller hampered by a few amateurish aspects. Don't do any pre-reads before watching this. 

Late Night with the Devil (Cameron Cairnes, Colin Cairnes, 2023): 3/5 

Anyone count how many production companies were introduced at the beginning? Did they all just chip in a hundred bucks each or something? Shit.

When the film imitates 1977 late night television and the aesthetic of Halloween, I took that wiggling worm hook, line, and sinker. But all the electric bolts and Linda Blair theatrics expose the film's modest budget.  Still, I think this is destined to be a perennial Halloween favorite going forward.

Can we also talk about how underutilized David Dastmalchian is in film? The man should have way more leading roles.

Youth (Paulo Sorrentino, 2015): 2.5/5

Exquisite photography, floaty musical montages that create mood from juxtaposition, and delectable moments of unexpected surrealism just aren't enough for the total lack of emotional connection I feel. It's been that way for me with all of Sorrentino's films. Vexing. 

Enemies of the State( Sonia Kennebeck, 2020): 2.5/5

Was he a super hacker, or an online creep? ¿Por qué no los dos?