“Despite the film’s chipper cadence, it’s disheartening to watch cookie capitalism consume what should just be a fun summer hobby.”

“Late Fame is the type of myopic dreck that fuels the general audiences stereotype of pretentious indie cinema.”

“The Samurai and the Prisoner’s density will reward those patient enough to appreciate Kiyoshi Kurosawa’s careful, stageplay-esque approach.”

“Brand New Day is the first live action Spider-Man film since the end of Sam Raimi’s trilogy to not take its audience for granted…It is the first MCU film in years to inspire genuine childlike glee in me.”

“Araki visualizes I Want Your Sex with the vibrance and color he brought to Smiley Face and Nowhere. It mirrors the blissful serotonin boost that Elliot receives through playful subjugation.”

“Motor City is a perfectly fine popcorn flick if you’re willing to overlook and be less nitpicky about its obvious issues. It has solid action, a good cast, and some pretty well done editing that brings it all together.”

“Refn has always been one to interrogate sexuality in an uncomfortably incestuous way, with Her Private Hell angling towards anxieties of his daughter entering an unknowably artificial world of sexuality, vapidity, and violence. It’s a horror film for Refn and Refn alone; therapy by way of cinematic catharsis.”

“‘They Fight’ picks up and drops plotlines with a speedy indifference only a director could love.”

“Alongside Interstellar and Oppenheimer, The Odyssey is one of Nolan’s most personal films to date, and maybe his most pragmatic. A juggernaut in both scale and sentiment, The Odyssey is simply the real deal.”

“…it gave me as good a time as a nice pickleball match: low stakes, great players.”