While the meat of this movie certainly owes a lot to FROM DUSK TILL DAWN, THE THING, and ASSAULT ON PRECINCT 13, you can still see Ryan Coogler's blood pulsing through this film's jugular. Sex, laughs, music, gore, and scares, yet somehow this movie finds time to say some pretty profound things. Those complex statements never conceal the straight-up fun this throwback blockbuster is having, though. SINNERS is a sweaty clown car full of fleshed-out people and ideas. A cinematic turducken and the most audacious audio/video onslaught that I've experienced on the big screen since BABYLON. Catharsis was achieved.

40 years after the release of Terry Gilliam's 1985 masterpiece BRAZIL, Bong Joon Ho's MICKEY 17 has captured the same satirical mishmash of dark comedy, romance, science fiction, and expressionistic fantasy. It still has his anti-captialist DNA running through it's veins but like each of the many Mickeys in the film, it feels unique. It's certainly a descendent of SNOWPIERCER and OKJA but somehow feels slightly less cynical. The absurdist world he creates, filled with caricatures of people and cgi monsters, is oddly grounded by moments of humanity that brought me to tears. This will be my most watched movie of 2025.

Watched with a packed house as part of a double feature with THE WARRIORS at the New Beverly in Los Angeles. As the credits appeared on the screen before the film to Carpenter's synth score, the whole theater errupted with each cast reveal. It was like those Avengers teasers but with actual icons.

The setup and finale is so good for this movie but it has always lost me for a short spell in the 2nd act. Still slaps insanely hard.

This is how I feel when trying to leave Yankee stadium after a Subway Series games.

Watched with a packed house as part of a double feature with ESCAPE FROM NEW YORK at the New Beverly in Los Angeles. Quite simply one of the coolest films ever made. Establishes a fully formed, multifaceted universe in 94 minutes that Marvel struggles to do over countless hours of movies and TV shows.

2nd watch. This time in a 70mm Ultra Panavision Presentation at the Vista in Los Angeles. Pretty sure I started levitating at some point.

It's been 20 years since I've seen MAGNOLIA. Its truly a religious experience and some of the most kinetic filmmaking of all time. Anderson is a mad scientist, using humans as atoms interacting with each other to the point of cinematic combustion. When the credits roll, you feel reborn, baptized by the cut to black.