A sweet film that hits familiar beats and mostly plays out predictably with some odd pacing. There’s a moment in the second act that feels like a gradual build up to the conclusion, whereas the actual ending feels a bit more abrupt. Wes Craven choosing this as his ion project might seem surprising but look closer and you’ll catch moments of sharp tension that, intentional or not, make Music of the Heart actually feel like a Craven film in subtle ways.

This movie plays so much better at midnight, when you're in the mood for something obscure and odd. The soundtrack is a bit overbearing, the movie is bananas, but Modern Problems delivers the kind of goofy, dated humor and messy plot that hits just right when you're feeling mindless, nostalgic, and half asleep.

I often think about David Lynch repeatedly shouting, "Hey, Sally, do you me?" in an old, abandoned factory.

Sinners is rich with metaphor and builds into a bold Southern gothic horror story rooted in intergenerational trauma, cultural erasure, and the brutal cycles of sin and survival in Black American history. It explores the weight of a stolen legacy that's been repurposed, resold, and reclaimed. The film is gorgeous, atmospheric, and anchored by one sequence so euphoric it demands to be seen on the big screen. This is cinema. This is a powerful story. Told with clarity and force.

Viewed in 70mm ultra Panavision at the Vista Theater.