After two Fleming-faithful Terence Young helmed pictures, director Guy Hamilton took over for 1964’s Goldfinger; which is perhaps the most acclaimed, and certainly the most influential, 007 film of all-time. With a substantially larger budget and director change, Goldfinger shaved away some of the harder thriller elements of Young’s films in favor of blockbuster spectacle, and under Hamilton’s […]

The year is 2029. The world is in a state of decay and decline. The X-Men are long gone. It’s telling that the film is set primarily in a desert, with Logan himself living in a self-imposed exile south of the border, in a shelter harboring two of the remaining known mutants (“Professor X” and […]

Although some considerable time has passed since my initial viewings of these movies, preventing me from confidently writing an individual post for each, I wanted to take at least a little time to highlight just what makes three of last year’s best films so great. MOONLIGHT (2016) Like all great poetry, Moonlight finds its universal impact and […]

Probably the most explosive, high-energy film ever made about something as seemingly pedestrian and banal as the newspaper. Samuel Fuller’s passion-project (he was a journalist himself before becoming a filmmaker) clocks in at just over 80-minutes – not a single frame is wasted. Gene Evans’ Mitchell forms his own newspaper, The Globe, and quickly comes into […]

The magical and the mundane: right from the (brilliant) opening shot, in which the camera glides past a row of cars in a traffic jam, each emitting the drone of a news station or bumping a hip-hop song, writer/director Damien Chazelle both juxtaposes and intertwines the two. The opening changes from a low, slow camera […]

Iconic Hoth Battle set piece notwithstanding, the Star Wars saga has often given less thought to its title than one might expect. Gareth Edwards (director of 2014’s Godzilla) has arrived to remedy that with Rogue One, the latest installment in the ever expanding franchise and the first to find its way in between existing entries. It exists solely […]

One of the year’s most beautiful movies, to be sure, and the “novel” sections of the film are pure pulped-up thriller, but I’m not sure what else is really here. Reminded me a bit of The Neon Demon meets Hell or High Water (especially in the way Ford elevates cinematic trash, similarly to Refn, through […]