Joshua Lee

When you realize 'Everything Everywhere All at Once' is essentially an analogy for the internet, the whole absurdity the film presents makes a lot more sense. But it's also a super emotional and heartfelt family drama that tugged way too many of my heartstrings.

One of the best films this year, do not let the runtime or the 60% French dialogue discourage you from watching one of the best performances of the decade.

Insufferably, insufferably unremarkable in its aggressive sanitization of prejudice. But not only does it butcher its thematics—Morgan Freeman is the movie’s only saving grace, and even that doesn’t save the film from its formulaic whitewashing, a pat-on-the-back for unchallenged—it’s visually uninspiring, as well. Something a distribution company would chug out like it’s a factory product, only this happened to have won Best Picture.

A slow burn by every measure, but it has at least half-a-dozen scenes that I can't get out of my head. It'll, nonetheless, demand a rewatch—the streaming service I used has an awful bitrate, resulting in a pixelated frame every 5-minutes, so I deferred to my phone for the final stretch—but the discomfort I experienced didn't spoil Le Bon's immense control of the camera and transfixing cinematography. Every tracking shot of Bastien and Chloé biking is ingrained in my memory, and every visual cue holds some significance, one way or another. It's, at heart, a somewhat cautionary coming-of-age tale, but the supernatural, horror-inspired elements bring everything to life. Imagery that, from the film's first shot, conditions the audience into distrusting anything and everything that seems semi-conspicuous. The film is periodically held back by the inherent immaturity of adolescence—behavior that you'd expect from a 14-year-old, which reminds me of the not-so-pleasant aspects of my younger self—but if you're on the fence about Falcon Lake's ability to trigger something inside of you, patiently wait for the closing minutes. It's impossible to articulate the ending, or its meaning, without reaching spoiler territory, but that's where the tagline, “First love will haunt you,” truly holds its own.

Michael Mann's best film. Neon noir MASTERCLASS.

Maybe the funniest movie of the 2010s, or at least it's very high up there.

'90s Britpop encapsulated in one movie about heroin addicts ruining their lives.

Probably the most quotable Wong Kar-wai film to date, which is saying a lot because he also made Fallen Angels. The man's an absolute god at using narration to enhance the experience of a movie.

It's just an average Marvel film, what do you expect? Only this time, it decides to rip-off some elements of Denis Villeneuve's Dune, and it miserably fails at it. Awful CGI, practical effects, everything except Jonathan Majors. He's like Daniel Day-Lewis next to everyone else involved in this project.

COCAINE BEAR SWEEP. COCAINE BEAR SWEEP. COCAINE BEAR SWEEP.