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True healing only comes when you do the donkey roll with your (style) boys!

Having a bunch of real music industry talking heads in this is the type of thing that could kill a movie like this and somehow they’re all pretty good?

Tim Meadows!

Now I’m not saying Hugh Grant’s pauses are pregnant, but I did read that they gave birth to a healthy set of quintuplets after filming on this wrapped.

Now I’m not saying Hugh Grant’s pauses are pregnant, but if you did a supercut of this and removed them it would be a brisk 20 minute short film.

I’m assuming the unspoken backstory on Rhys Ifans’ character is that he suffered 17 concussions while playing community rec league rugby.

This can certainly be read a pretty straightforwardly patriotic movie, but it does contain within it the idea that the only way we could compete w/ the Soviets, at least on the ice, was to positively embrace one of the core tenets of their ideology - the spirit of the collective. The movie doesn’t do a whole lot with that idea per se, but it’s definitely in there and that’s a more interesting idea than a lot of what you typically get in movies like this.

There are a handful of moments that feel more than a little hokey (not “hockey”), but O’Connor is pretty good at navigating all of the sports movie cliches. It helps that Kurt Russell is giving a pretty amazing performance in this. Genuinely one of the best on screen portrayals of a coach I can think of. He manages to imply all of the swearing that you know happened in real life but that they can’t show you bc this is a PG Disney movie. That’s movie star magic for ya, folks!

Hockey is low-key underrated as one of the more cinematic sports.

My Monday morning quarterback take on rewatch is that this script is pretty bad and that probably has something to do with them rushing this thing over the finish line so it could be held up as the definitive document on this. The fact that the ing of events here is, at best, extremely questionable suggests that maybe that wasn’t the best approach!

The concept of a society where one can only achieve true citizenship through military service is pretty chilling. Thank god something like that definitely doesn’t exist in any form in our reality!

These truly are some of the ugliest hot people I’ve ever seen in my life. Props to Verhoeven for somehow threading that needle.

This viewing prompted a very important question. As a sceeenwriter, does James Cameron get royalties from the Fatboy Slim song?

Nobody, and I mean NOBODY, has ever looked cooler than Angela Bassett does in this.

Last half hour is god-awful CGI slop, but everything before is pretty enjoyable!

It’s funny to me that there’s a character named Billy Cranston and Bryan Cranston is in this. Also a character named Jason (Scott) with an actress named Naomi (Scott). Even funnier that it’s the type of movie where everyone refers to everyone by the full name a LOT. 

They give Naomi Scott the line “Rita and her golden boy still haven’t found Krispy Kreme yet” and the fact that she delivers it completely straight and it’s not embarrassing is frankly a reminder of why I sang her praises as hard as I did for Smile 2.

RJ Cyler’s SO funny in this! Easily the stand out of the bunch.

I had hoped that surprisingly loving Strictly Ballroom on a recent first time watch as much as I did would finally unlock this for me, but no.

There are a few bits that I like, mostly involving McGregor, but the manic direction is so pedal to the metal that by the time the plot kicks in I’m completely exhausted. I don’t really like how Luhrmann stages or blocks any of the musical sequences and I never really get swept up in the romance, even if both leads are individually charming. Also, the tragic romance element feels really forced and is one level up from “she lost the will to live” in of execution.

It also always boggles my mind that THAT voice is coming out of Leguizamo.

I’ve been on a real Anna Paquin run lately, huh?

There’s a fine line between cutesy and insincere and Crowe really rides that line. It really holds me back from being all in on this in the way I feel like I should be.

Some great performances here, especially Crudup.

Ralph Fiennes has several line delivery hall of fame entries, but “the words ‘Laurence Lorenz Presents’ used to mean something to the public!” is up there.

Alden Ehrenreich pretty undeniable in this.

Better written from scene to scene than in its totality, IMO.

Certainly my favorite Spike Lee t, and probably my favorite Ed Norton performance. Is that a hot take? I just think he kinda nails the essence of Monty and the subtle shifts in how he interacts w/ the different people in his life.

Really love the script here (David Benioff, what a weird career). The dialogue is so conversational and has such a natural flow to it and serves to define every character really sharply. It also helps when you have world class actors across the board. I think Barry Pepper might be our greatest actor who absolutely no one has ever talked about. Ever.

The back-to-back double dollys w/ Paquin and then Hoffman to bookend that sequence are both exceptional.

Also, is Isaiah Whitlock Jr. the first actor to have his own catchphrase? I realize it’s just saying a word a particular way but it’s absolutely HIS and I can’t think of another actor who has anything like that.

Aggressively ableist, which is to say “mildly offensive by the standards of early 2000s comedies”.

Hadn’t seen this in years but few movies have more thoroughly seeped into my brain from endless Comedy Central reruns. Remarkable how many of these jokes still hold up.

Having just seen Shes All That for the first time I think this parody is actually the better use of the “Kiss Me” needle drop, if that makes sense?

What did you mean when you said “kind of a Chelsea Clinton thing going on”? 

Wait, never mind, don’t answer that.

Big Terry Weekend.

The Melanesian vocal music at the beginning and end is absolutely beautiful and soul stirring. 

The fact that they spend much of the movie complaining that there isn’t enough water and then the second they get some Jim Caveizel is pouring it on a giant leaf just to see what it looks like is a pretty good analogy for Malick’s approach to filmmaking. 

It would honestly be easier to name the actors that don’t appear in minor/background roles here than the ones that do. So, here it goes…

>Joaquin Phoenix
>Viggo Mortensen
>Billy Crudup
>Liev Schreiber
>Guy Pearce
>Clive Owen
>Jason Isaacs
>Matthew Fox
>Brad Dourif
>William Fichtner
>David Morse
>Ted Levine
>Kevin Durrand
>Jeremy Sisto
>Kevin Pollak

Note: this list initially included Bill Pullman until I read the Wikipedia and discovered he was in fact in the movie, but all his scenes were cut out. I kid you not.

The title sequence is like the Game of Thrones titles mixed with the Days of Heaven titles mixed with Ken Burns. I kinda love them.

The way Malick is able to make those English ships landing at Jamestown, imagery we’ve seen zillions of times before in other iterations of this story, feel like alien spaceships is really something.

Colin Ferrell. With those locks!?! And THAT beard!?! And that furrowed brow!?! Unreal.

Gotta be up there for me in of incredible opening shot and closing shot. Chivo won 3 Oscars in a row and yet when you look at his previous nominations he should have already won at least another 3, this being chief among them.

National Lampoon’s Once Upon a Time in America

I really wish I could’ve been the toon union rep on set for Roger. He shouldn’t have to bring his own birds to fly around his head when he gets concussed! If the studio wanted stars instead, THEY should be providing them!

Love how hard both Hoskins and Lloyd are committing to the bit.

Something we don’t talk about enough:
>best integration of practical effects into live action environments = The Thing
> best integration of computer generated effects into live action environments = Jurassic Park
> best integration of animation into live action environments = Roger Rabbit

Same cinematographer for all 3. Dean Cundey. Legendary stuff.

This movie is practically designed as a social experiment to see if a collection of certified “my-guys” (Florence! Sebastian! Wyatt! Geraldine!) could single-handedly get me to care about this dying carcass of a franchise, and the answer is… eh??

I found the first 3/4 of this thing pretty tedious, mainly because of how little patience I have left for any of the extended universe world-building stuff at this point and how unbelievably forced 90% of the banter is. And my god, there is SO MUCH BANTER!! It also greats on me how self-regarding and up their own ass all these movies are, but I digress.

The last fourth is essentially an entirely different movie in of tone, and the execution isn’t anything radically upending but I gotta say it kinda worked for me. A lot of that is frankly just Pugh being exceptionally good at what she does though.

The two JK Simmons scenes really take this over the top for me. Such a funny “breaking the fourth wall without actually breaking the fourth wall” bit and an indictment of our intelligence agencies not as nefarious, machiavellian chess masters but, like everyone else, just a bunch of idiots who have no idea what the fuck is going on and don’t wanna do any more work than they have to.

I really love that the Coen’s are the only directors who look at Clooney, one of the most “conventionally handsome and conventionally charming to the level of boring but never too boring” movie stars ever and let him be a bulging, bug-eyed freak.

They Live for the TRL era. The satire feels a little quaint in these times of total resignation to hyper consumerism, but the jokes here LAND.  

Perfectly carbon dated, including a scene where Aries Spears is there just to do a bunch of his MADTV impressions.

Should Tara Reid have won an Oscar for the way she says “coasters”? Don’t get mad at me, I’m simply asking a question!

This whole ensemble is perfect, including a surprisingly excellent self-parodying Carson Daily.

Can I confess something?

I’ve never actually seen the theatrical version of this before now and only ever saw it in full one time years ago on AMC. I don’t know if this is how they actually show it on cable or if I have a false memory but it was always in my head cannon that when Phoebe Cates gets out of the pool it cuts away to Judge Reinhold jerking it just before she goes topless in his fantasy and just as she barges in on him in the bathroom in his reality. I didn’t actually realize until today that you actually see her go topless.

Just to be clear, I have absolutely zero other thoughts about this matter.

Would make for a fascinating double feature w/ Sinners.

I think it would go a long way in bumping this up a tier if we knew that Everett was lying to Pete and Delmar about the treasure from the beginning. It would give the film a more emotional underpinning knowing he’s actually trying to get back to his kids and his wife, especially when that wife is Holly Hunter! And it’s not like it’s son’s big twist (based on The Odyssey is right there in the title cards!) But I digress…

My immediate thought on seeing Clooney was how great his hair looked and I loved how essential to the text that ended up being. 

If it’s a rootsy America soundtrack with impeccable production value and arrangements you know T. Bone Burnett’s name is ALL OVER THAT SHIT!!

Sorry but it has to be said that Deakins knows how to light the shit out of a KKK rally sequence.

I for one like the Inside Llewyn Davis soundtrack so I guess that means I’m a vampire now.

Wasn’t expecting this to be a full-on valentine to the delta blues and it’s absolutely my favorite thing about the movie. Miles Caton, what a talent!!

Coogler’s taking some huge swings here and I ire all of them but it remains to be seen how fully they gel for me until I see it again. There’s a LOT of movie here and it does at times feel like more movie than it can fully handle. 

My Michael B. Jordan and Hailee Steinfeld stocks are absolutely soaring after a few years of stagnation. Always nice being reminded of what really good a-list actors can do if you give them good material to work with. Never took on any Jack O’Connell stock and not feeling great about that now. Dude’s absolutely cooking here.

Also was expecting it to be sexually suggestive based on the trailer (and vampires), but this thing is full-on H-O-R-N-Y and I consider that a real win in the current landscape.

Possibly the funniest Western and almost certainly my favorite in of the acting.

“Beware the wheelers” would’ve been a really good tagline for Revolutionary Road.

Pre-Oz felt very del Toro to me, whereas everything in Oz felt very Miyazaki. I like how it’s not even trying to approach the visual style of Wizard of Oz, which is probably the smart choice.

LOVE the David Shire score and the visuals.

God do I miss Alan Rickman.

Definetly left me questioning what exactly the point was at the end, but pretty undeniably gripping and visceral with some really spectacular sound work. 

Worked better for me than Civil War but I’d really love it if Garland shifted away from his recent run if gritty war realism back to the speculative sci-fi he cut his teeth on as a director.

Oh is that a shirtless Ewan McGreggor!?! I wonder if he’s gonna take out his di—-

Toni Collette, an Australian, playing an American pretending to be British and doing it badly. Layers!

Not Haynes best but it’s a pretty wild swing w/ some good music and great visuals, including some UNBELIEVABLE costumes from Sandy Powell.

Watched this in two chunks. The first was infuriating in of the pacing and how badly misjudged nearly every element of the Peter Banning setup is.

The second chunk slowly started to win me back just a bit. They never really figure the Peter stuff out, which is kind of a big problem, but Hoffman and Hoskins are cooking and David Crosby gets kicked in the nuts so that’s fun.

I beg anyone who was hounding Julia Roberts at the time for her performance in this, which is frankly totally fine, to consider for even a second the context she was acting in and what’s she was being asked to do here.

I was reminded of some of the stories that came out about Aaron Ralston (127 Hours guy), where after making it through that near death experience instead of it grounding him it gave him a sense of invincibility that completely destabilized his life. It’s an interesting psychological framework to build a character study out of and Bridges, one of our finest, really nails the assignment here. 

The opening five minutes of this are absolutely harrowing. Just an incredible sequence depicting the aftermath of a plane crash. Even in her first 30 seconds on screen, Rosie Perez is so gripping, which is to say nothing of how good she is throughout the rest of the movie. Very deserved Oscar nomination.

I was worried Isabella Rossellini was getting short shrift with an afterthought wife role at first, but the neglect of her character is ultimately a part of the text and she gets several really excellent scenes later on.

I didn’t know John Tuturro was in this and I think it says a lot about his and Bridges’ range as actors that I didn’t immediately clock the dude/lebowski-jesus connection. 

Didn’t even realize until after that that was Tom Hulce as the lawyer, even though he looked familiar. What a strange career for that guy.

Fairly sloppy in its overall execution, but Turner is great, Cage is absolutely going for it, and I found it quite touching by the end.

Talk about an ending to a non-horror film that’s absolutely terrifying! 

Anderson’s a filmmaker who doesn’t make anything less than very watchable, so when I say this is one of my least favorites of his, that’s mostly a function of how strongly I feel about his body of work as a whole. 

There’s a weird odds/evens phenomenon for him w/ me where every other film is one that deeply resonates w/ me (Boogie Nights, Phantom Thread, The Master) and the ones between I have definite iration for, but leave me a little cold (Magnolia, Inherent Vice). Licorice Pizza is solidly in this later camp.

There are a lot of moments I do love here, but this is very much a film of sporadic moments and a case of the sum never really equaling the parts. Two segments in particular that made me want to watch the full length version of that movie: a) Skyler Gisondo having an awkward dinner w/ the Haim family and b) Benny Safdie running for mayor w/ Joseph Cross as his jilted lover. Also really loved Bradley Cooper and his big coke energy as Jon Peters.

I think the main thing holding me back is that I never found the dynamic between Gary and Alana terribly compelling and I liked them better when they were separate from each other on screen. It has to be said that I think Cooper Hoffman is fantastic playing a very particular character who could go so deeply wrong in a thousand different ways, but he pretty much nails it from top to bottom. Can’t wait to see what his future holds.

As much as it pains me to say it, I don’t think Alana Haim was fully up to this. Shes not by any means a dud, but this is a lot to put on the plate for someone who isn’t an actress by trade and I think she falls short of delivering. It really stood out to me that multiple other of her own family were popping more for me, namely the father and Danielle, who one top of being the best musician in the group may very well be the best actor too?? Not to pit sisters against each other though!!

Also it can’t be a mistake that Anderson, who we know loves Adam Sandler, wrote a character who shares a name with Kevin James’ brother, can it?

A real fever dream of a movie. Was kinda digging the zaniness for a bit but really started to lose me w/ the insane plotting after a while. There’s some good horror comedy stuff throughout though. 

So weird that this falls in between “Heavenly Creatures” and the LOTR trilogy in Jackson’s filmography.

I know this is a movie, but central scheme of producing a show that’s a bomb, yet is actually more financially lucrative for said producers is absurd! That would be like a studio making a film and then canning it purposely just to get a tax write-off.

I laughed a few times, but I can’t really say Brooks is my cup of tea comedy wise. The only consistent laugh-getter for me was Dick Shawn, who absolutely crushes in the handful of moments he has.

Found this to be really dull, especially for Cronenberg, in spite of a really good, up-my-alley premise. The lead actor is a total stiff. 

I did like when head go boom though.

I really like most of the discreet components of this movie, but there are a number of things which really held it back for me.

As good as both Snipes and Sciorra are, the arc of their relationship is so poorly executed. They have their first meeting scene, then it’s a 1 minute montage of them working late nights than ends with then fucking in the office and then they’re just in a relationship. It’s rushed along just so we can get like 30 incredibly long scenes in a row of other characters being varying degrees of disapproving of their relationship, which all just underscores that Spike isn’t really interested in Flipper and Angie as two people sharing a connection as much as he is in using them as a means to do social commentary about interracial relationships.

Lots of good performances from the ing cast. Especially Turturro, Ruby Dee, and Samuel L. Jackson in maybe the best performance of his career. All of the stuff with him unfortunately feels completely disconnected from the larger film, which speaks to another huge issue which is that there are just so many subplots that detract from the main story that feel lifted in from another movie that take time away from us getting to know out protagonists better.

Also, Spike has a weird Achilles heel for me, which is that as good as he is at needle drops - and you get a ton of Stevie Wonder bops throughout here - I really hate how he uses underscoring in conversation scenes. The music is often so overcranked ave tonally mismatched with what’s happening on screen and it’s really grating. Just let your actors talk!

Watched on Saturday March 29, 2025.

I’ve logged this movie more than any other on this app and I don’t think I’ve ever mentioned how rad all the plane designs are.

“A police officers job is only easy in a police state”

It’s hard to underscore how hard that line hits watching this in the present day, and how ironic it is that it’s delivered by the future head of the NRA.

As prescient as that line is and the overall themes touched upon here are, you never forget you’re watching a movie from a bygone era when Charlton Heston is reminding you every 15 minutes that he’s playing a Mexican.

I feel a little silly that I didn’t immediately clock that it was Welles himself playing Quinlan at first. I think I had it in my head that he was a director only on this one and there’s a voice and physicality to his performance that feels distinct from the greater Welles persona. To put it mildly, it’s an incredible performance and had me thinking it may be the finest performance anyone’s ever given while directing themselves. Obviously he has another pretty famous example, but I’m probably more drawn to the brand of scummy character actor work he’s operating within here.

Thank god Hank Quinlan is a fictional character from the 50s because if he wasn’t you know that mother fucker would be the DHS Secretary right now.

Janet Leigh spends a lot of this movie cooped up in a run-down, off the beaten path motel run by an extremely twitchy weirdo. What could POSSIBLY go wrong!?!

Not by any means bad, but definetly feels like the debut feature from a soon-to-be great who’s still figuring stuff out, particularly when it comes to the pacing.

The plenty of nice stuff to look at, but the story was a bit of a snoozer for me. Luckily, Ron Perlman pops up every so often to bring a much needed and welcome jolt to the proceedings, but even he can only carry things so far.

First things first, the period design elements in this are just exquisite. Not shocking with it being Sofia, but still very much worth noting. Even moreso than the costumes and sets and natural lighting and painterly composition, which are all wonderful, is the sound design.

It’s easy to imagine a more blown-out, melodramatic approach to this material (I haven’t seen the Don Siegel version, so no comment there) but the approach here is mostly scoreless, leaving space for an eerie quiet that simultaneously grounds everything happening on screen while suggesting a sense of foreboding and ominousness just below the surface. There’s also a lot of sound of battles and muskets firing in the distance, especially early on, which evokes a similar feeling to The Zone of Interest but in a way that’s not drawing nearly as much attention to it. 

This isn’t necessarily my favorite Colin Farrell performance, but it’s quite possibly my favorite weaponization of his screen presence and it really stands out to me for that reason. There’s a tension in watching this and thinking that Corporal McBurney couldn’t possibly be as chivalrous and graceful in his manner as he’s putting on with all these women (and I do mean ALL of them), but you need to buy into it in the same way they do and I think his performance really works on that level. The directions it takes from there I won’t spoil but suffice to say there’s a lot going on and I think he nails every bit of it.

All of the younger actresses are pretty spectacular too, Oona Laurence (also great in Pete’s Dragon, for what our worth) in particular. Kiki and Nicole great as well, not that that should surprise anyone.

I could understand why it might bristle with some how much traditional character development feels like it’s happening off screen here, but I think it really works in this case. 

No spoilers, but the ending is so reminiscent of another 2017 film that I can’t believe any discourse about the similarities at the time could have so easily ed me by, but alas.

There are a few indicators that Song Kang-ho’s character is a bit of a moron, chief among them when he’s drunk and arguing that the FBI are smart.

Great example of a movie that uses its score very sparingly but is really impactful in the moments when it does appear.

Delightfully odd. Shambolic even by the singularly shambolic standards of Altman. 

A lot of it went right through me but I was either laughing or watching in awe at the sheer audacity of it throughout and it both starts strong and ends strong, which can make up for a little bagginess in the middle.

Found being around these guys a little tiring after a while. Wyatt Russell innocent though.

Feels like Villeneuve channeling Cronenberg just a little, which would make sense given the Canada of it all. 

I think I knew what the deal with this was at some point but completely forgot. I’m glad I did because I was just along for the ride on this one and what a hell of a ride it is!!

Obviously not a movie where you want to think about anything too literally but I did find it funny that Daniel St. Clair is supposed to be this 3rd rate, borderline extra level actor and yet everyone treats him like he’s actually Jake Gyllenhaal.

Love how this actually embraces the distinct aesthetics of Toronto instead of pretending it’s some other city. Having been there though, I don’t it being nearly so yellow.

Definitely an abrupt ending, but it’s memorable!

Falls into the same bucket for me that much of Sir Ridley’s work does, compositionally striking but dramaturgically dull.

Undeniably has its moments - the production design is superb, and the duels themselves are all pretty gripping to watch - but there’s a big void at the center of this in the form of Keith Carradine’s performance. He’s a talented actor I often like, but it’s tough sledding here and he’s asked to carry this in a way he just can’t.

The final duel and the spectacular closing shot of Keitel do a lot to paper over how saggy much of the rest of this is.

Looks like this American Dream turned out to be an American Nightmare [gun cock sound effect]

Did I just pay money to get the Ludovico Treatment?

Ngl I started watching the first one and about fifteen minutes in I was like “this isn’t that good, why don’t I just watch the sequel, which has an infinitely better reputation. It was the best decision I’ve made all week. 

Ah, the 90s, when you could imply that an annoying, rude child character gets a deserved comeuppance being burned alive at the stake. The movie does eventually confirm that this didn’t happen, but they REALLY leave it hanging out there for a while!

All the Camp Chippewa stuff in this is absolute gold. Ricci’s Wednesday performance is so iconic and yet somehow I think it’s still underrated. Pairing Wednesday with a sickly, asthmatic David Krumholtz in her own little Moonrise Kingdom camp romance was something I never knew I needed, and now I can’t life before it. 

It’s sad that Raul Julia kind of gets short shrift here, considering this was the last performance of his that came out while he was still alive, but he does get that great monologue at the police station, so at least there’s that. Also, Nathan Lane, Cynthia Nixon AND Christine Baranski, what is this, The Gilded Age!?!


Ah, the 90s, where the main studio note was “can we put an awful mashup of the Addams Fsmily Theme and ‘Whoop There It Is’ for the end credits?”

Seriously though guys, Ricci and Krumholtz are both still successful working actors. I don’t care if it’s a legasequel or some micro budget Tribeca rom-com. Put them in something together again!

I had been under the impression that after Malick made The Tree of Life, what is for all intents and purposes his magnum opus, the work that followed played like a pale imitation of his aesthetic, bordering on self-parody. This is the first film of that period I’ve actually seen for myself and, suffice to say, I was mistaken. 

It’s not a “perfect” film by any means, I think his work really defies those sorts of qualifiers, but there’s a greater sense of feeling and profound spiritual musing behind the expectedly splendid imagery (Chivo!!) than I could have anticipated.

Also, It’s funny that we talk so much about Gone Girl as the perfect Ben Affleck meta-text when this came out before and couldn’t fit the bill more clearly. Playing a man with a fickle relationship to the women in his life, can you IMAGINE!?! That being said, the stuff I liked the most were the interludes with Javier Bardem as a priest undergoing his own mini First Reformed style crisis of faith. Would have been fascinated by a version of the film entirely focused on him, of which I’m sure the requisite amount of footage exists. 

It’s also quite shocking to me that there was never a flimsy class action lawsuit filing complaining about Rachel McAdams being so prominent on the poster, which is a wildly misleading bit of marketing.

This review may contain spoilers.

I thought this was funny enough - I got at least on laugh from each of the primary players, all of whom are very reliable comedic actors - but I didn’t always buy the old friend dynamics (I think Gary’s pitched as just a little too insufferable, even if it’s pointedly so) and when the genre flip finally happens, I found my interest really starting to wane.

Felt like cobbled together bits of other, better sci-fi movies (a few different Carpenter films came to mind) that added up to something that felt nowhere near as distinct as the other Wright/Pegg/Frost entries.

• Little Women
• Parasite
• Uncut Gems
• Midsommar
• Us
• Once Upon a Time... in Hollywood
• The Farewell
• Richard Jewell
• The Lighthouse
• Knives Out

• Nickel Boys
• Anora
• Dune: Part Two
• Sing Sing
• Furiosa: A Mad Max Saga
• Challengers
• La Chimera
• A Different Man
• The Brutalist
• Babygirl

• Oppenheimer
• May December
• The End We Start From
• The Holdovers
• John Wick: Chapter 4
• All of Us Strangers
• Past Lives
• Showing Up
• Killers of the Flower Moon
• Perfect Days

• Inglourious Basterds
• A Serious Man
• Up in the Air
• Fantastic Mr. Fox
• Adventureland
• Bright Star
• Avatar
• Moon
• Up
• An Education

My personal faves for the year in film

• Aftersun
• After Yang
• Everything Everywhere All at Once
• Women Talking
• TÁR
• The Banshees of Inisherin
• Armageddon Time
• Guillermo del Toro's Pinocchio
• Barbarian
• All Quiet on the Western Front

• The Social Network
• 127 Hours
• The Fighter
• True Grit
• Black Swan
• Never Let Me Go
• Exit Through the Gift Shop
• Dogtooth
• The Kids Are All Right
• Animal Kingdom

• Juno
• The Assassination of Jesse James by the Coward Robert Ford
• No Country for Old Men
• Zodiac
• Into the Wild
• Atonement
• Persepolis
• Sunshine
• Ratatouille
• Michael Clayton

• If Beale Street Could Talk
• The Favourite
• Widows
• Annihilation
• A Star Is Born
• Roma
• First Reformed
• Can You Ever Forgive Me?
• BlacKkKlansman
• Eighth Grade