Discovering good movies, one bad movie at a time

The grand-scale spectacular biopic Elvis (the fourth narrative treatment of the life of Elvis Presley in any filmed medium to go by that precise title, and at 159 minutes, somehow, also the shortest*) is the first feature directed by Baz Luhrmann in the nine years since The Great Gatsby. It’s been considerably longer since his […]

Insofar as we should always sit up and take notice when a major film director produces an obviously intimate and personal work, then yes, we should absolute bow in the direction of Licorice Pizza. The ninth feature directed by Paul Thomas Anderson – who is, by any measure, a major director – isn’t a work […]

The Tragedy of Macbeth comes burdened with a simply relentless amount of baggage, as much as any motion picture released in 2021. First, there’s the matter of the material itself: why in God’s name do we need another film of Macbeth? It is perhaps the Shakespeare play to have been the best-served by the movies: […]

“These two unrelated movies constitute a trend” is not by any stretch of the imagine my favorite bad habit in film criticism. Yet it seems awfully hard not to notice that December 2021 has borne witness to two different movies made by A-list Oscar-winning directors that are both technically new adaptations of non-movie media, but […]

The French Dispatch isn’t the “best” Wes Anderson movie, and it’s maybe not even the “most” Wes Anderson movie. But I do think it might well be the most “fuck you” Wes Anderson movie, the one where you are either going to follow modern American cinema’s fussiest and most aesthetically controlling director where he is […]

The 1984 adaptation of Frank Herbert’s 1965 science fiction novel Dune offers one of the most interesting of all wrinkles to auteur theory, as it is generally understood. The film was the third feature directed by David Lynch, and the last before he became “David Lynch” as we now understand that phrase with 1986’s Blue […]

Author’s note, March 2024: I’m leaving my original rating intact, but in retrospect, I was hedging against the fear that Dune: Part Two, if and when it was made, would let this film down. As such a thing did not end up happening, consider this to be a 4-star review in all but name. When […]

Intermittently throughout the summer, we’ll be taking an historical tour of the Hollywood blockbuster by examining an older film that is in some way a spiritual precursor to a major new release. This week: after 25 years, Space Jam: A New Legacy returns the classic animated figures of the Looney Tunes & Merrie Melodies series […]

Three stars gets absolutely nowhere close to my actual feelings about The Mitchells vs. the Machines, the new film by Sony Pictures Animation that has, after pandemic-related delays, settled into a home on Netflix. There are, in fact, three entirely different films happening here, and I would give three stars to none of them; but […]

Probably the simplest way to start explaining what the living hell we have in front of us with The Twentieth Century, the first feature-length film by avant-garde director Matthew Rankin (who had some fairly substantial attention, by the standards of such things, with the shorts Mynarski Death Plummet in 2014 and The Tesla World Light […]

We could run through a decent list of the things about the (for now) newest cinematic adaptation of Carlo Collodi’s 1883 children’s novel The Adventures of Pinocchio that sound like they should be interesting, but are in fact not actually very interesting. This is different than saying the film is “bad”: it is on the […]

“Lunatic visionary cult director Sono Sion makes his English-language debut with a post-apocalyptic samurai Western starring Nicolas Cage” is a collection of words that feels like it was lab-created to end up with a kind of heavily self-aware “Weird”-in-square-quotes example of something too knowing and calculated in its what-the-fuck wildness to be authentic. And arguably, […]