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Some movies try to say it all. And some drive their makers mad.

Stop-motion animation master Phil Tippett, responsible for key stop-motion sequences in classics like THE EMPIRE STRIKES BACK, INDIANA JONES & THE TEMPLE OF DOOM, ROBOCOP spent thirty years to bring his dialogue-less nightmare vision MAD GOD to completion.

CHICKEN RUN this ain't. 

He finally did in 2021 but had a total breakdown…

Joanna Hogg's THE SOUVENIR: PART II complicates THE SOUVENIR: PART I. Often for the good, but not always.

If THE SOUVENIR PART I triumphs because it is a brutal and humane look at a love affair plagued by one partner's drug addiction, THE SOUVENIR PART II continues the story of the partner who survives and must carry on.

But this may not be getting to the heart of it. Both THE SOUVENIR PARTS I & II are …

Joanna Hogg's THE SOUVENIR is a beautiful film for the very reasons that it may turn off some.

This semi-autobiograpical story charts the doomed love between affluent British student filmmaker Julie (a beautifully calibrated Honor Swinton Byrne) and self-destructive Anthony (Tom Burke in commendable Bronte protagonist form), an arrogant yet soulful foreign service staffer with a heroin addiction.

Julie's loving if traditionalist mother Rosalind (Byrne's real life mother and international actor supreme Tilda Swinton) observes from afar.

The frustrations of the movie are its triumphs. Hogg …

Documentary movies are elusive things. Docs about music festivals maybe even more so.

A doc like D.A. Pennebaker's MONTEREY POP captures amazing performances at the 1967 Monterey Pop festival from 1960's luminaries like The Mamas & the Papas, Jimi Hendrix, The Who, Janis Joplin, Jefferson Airplane, Ravi Shankar and others. And you do, in its most transcendent moments, feel like you are experiencing it as the audience experienced it.

At the same time…

Holy sh*t. 

Writer/director Zach Cregger comes out of comedy. And it's this skill set that may have made him uniquely able to make one of the most terrifying horror movies of the last ten years.

Although we have no intention of spoiling the MANY surprises this movie has in store for you, we may have to tread lightly around and hint at a few. So if you just want to go into this movie cold, stop here. It's worth it. 

If you're review proof, let's tread into the darkness down this tunnel a bit further...

Jacques Audiard's musical-transgender drug cartel boss-nearly all female focused movie is audacious. Which is to be expected from Audiard who has defined his career since 2009's UN PROPHETE with movies of wild ambition, different genres, great risks.

And while this writer watched the movie, slapping his forehead numerous times at the crazy choices, EMILIA PEREZ does pass the simple (and most important) question:

Does it work…

This movie is an amazing A CHRISTMAS CAROL variation for New Year's Eve with some pretty heavy, intense themes.

Family dysfunction, alcoholism, infidelity, narcissism, total selfishness. Leave it to the Swedes to make Ebeneezer Scrooge look like Abraham Lincoln compared to David Holm (played the movie's director (!!) Victor Sjostrom).

The premise is genius high concept…

Not sure how this movie got a PG-13 if internet research is to be trusted. To this audience member, I SAW THE TV GLOW is straight up R: horrific, intense, and great. Hell, the main character cuts open their own chest in close up at one point. 

A nightmare factory, the movie operates in the subterranean maze of the subconscious and the psychological.

In many ways, Jane Schoernbrun's I SAW THE TV GLOW may be one of THE discovery movies of 2024. It …

Clint Eastwood's most recent JUROR #2 is a strange movie at war with itself. And that's mostly a good thing.

The premise is a bit ridiculous then underplayed to maintain the tone. And yet, it is still a well-directed, well-acted, effective work about the horrible horrible gray area of the law, justice, conscience, facts.

Ultimately, it's about one of the toughest of all human conundrums: what is the right thing to do?

The movie follows …

German born emigre director Ernst Lubitsch is rightly considered one of the brightest stars in the classic Hollywood filmmaking firmament.

He had such an innate sense of the intrinsic qualities of cinema that he became Paramount's head of production in the mid 1930's WHILE still directing movies (though he was fired a year later because he couldn't delegate). Lubitsch was a wunderkind like Irving Thalberg or Steven Spielberg or Alfred Hitchcock or Stanley Kubrick. A savant of cinema.

One of his proteges, world class moviemaker Billy Wilder…

In some strange way, the question of relevancy in pop culture has been rendered irrelevant.

We live in beyond the looking glass times where concerted efforts appear to be made to make us all discouraged, confused, disheartened, disoriented in the surrealism of the current moment.

But, as always, even those factors have to …