Dillan Black

An utterly brilliant comedy from the minds of Edgar Wright and Simon Pegg. It's hard to believe that not only is this film as great as it is, but this is not even my favorite film in the trilogy. The writing is crisp and clever. The cinematography and editing is slick and keeps the film moving at a quick pace. The characters are memorable and easy to rrot for... even Ed! I have no negatives for this movie. It's one of the finest comedies ever made. It's beloved for a reason. Everything that can be said about Shaun of the Dead has been.

Quadrophenia stands at the pinnacle of album adaptations as the finest among it's peers. It makes the rare decision to just adapt it's album accurately. It seems so simple, but many don't... for some reason or another. This film was adapted from from The Who's masterpiece album of the same name. This film had a lot to live up to. Thankfully, Quadrophenia had a passionate and talented cast and crew behind it to make sure that Quadrophenia became the best film it could be.

The final feature film by David Lynch is by far his most bizarre and self-indulgent work. It's no shock that the reviews are split between ones and fives. This movie was practically made to divide audiences. On one hand, I wish David would have ended his feature length filmography on a more easily celebrated movie. Yet, I also adore that he ended on a movie that feels like a true peek into the mind of one of the most creative artists of our time. I must admit that initially, my thoughts were hard to gather. But in retrospect, I have grown to really enjoy his final offering. It's non-linear, surreal, striking, and unique in all the ways you would want a Lynch film to be. Lynch was never willing to allow his audience to settle into a place of complacency. There's no such thing as a David Lynch movie that you can throw on in the background. He always thew everything and the kitchen sink at you and expected you to catch. Whether you did or not is on you. And frankly, we all miss... a lot. But that's what's so beautiful about a movie. There's always another viewing. There's always someone who loves and appreciates the movie enough to give their perspective and maybe even influence yours. For many reasons, this is his most challenging movie. "Inland Empire" is an abstract movie that feels like one of Lynch's paintings. It's almost beyond interpretation; made fully for himself. But he thought somebody might get something out of it. Whether you feel like this three hour odyssey into confusion is a valuable use of your time is up to you. People who hate it are no more correct or incorrect than people who love it. This isn't a movie that you "get", like some people say. It's an experience that you either value, or you don't. But I think that sums up any movie, especially a David Lynch movie.

A feast for the senses! Visually, sonically, and creatively rich! It's one of the finest Best Picture winners I've seen! The plot is unique, the characters are defined and entertaining. It is so easy to tackle subject matter like this and be a stick in the mud but Amadeus chooses to have fun with it's material much in the way Mozart would have. It's visually staggering! The orchestration of the music by Sir Neville Mariner and the Academy of St. Martin in the Fields is world class. The performances are stellar and multilayered. A joy to watch! I couldn't recommend this film more!

Barry Lyndon is a grand achievement not just in the history of Kubrick's filmography, but in the history of film, itself. "Every frame, a painting" really does best describe this film's cinematography. This is the most beautifully shot film I can think of. The performances are immaculate. Ryan O'Neal gets some grief for his work in other movies, but rest assured, his work in this movie is impeccable. The characters and plot are Kubrickian perfection. The set design is excellent and historically rich. The runtime is well-utilized with not a minute wasted. The film simply flies by. Barry Lyndon is one of those few movies that I recommend to anyone, no matter who they are, or what their tastes are. I believe that Barry Lyndon can effectively appeal to anyone. It's just that good.

Shaolin Soccer was a pleasant surprise! I like to consider myself an unbiased party when it comes to films. But I have my hang-ups. I have never cared for sports movies. They have to really be special for me to enjoy my time with them. This movie is a constantly chugging engine of unfettered energy from its first frame to it's last. Shaolin Soccer refuses to waste a minute of the audience's time. It moves at a speed which would make Clark Griswald's sled look like a Peel P50. The performances are more solid than a movie like this requires. It's characters are entertaining. The plot is derivative but does it in such a unique way, that the movie now stands alone; incomparable to it's peers. Just a great time for all.

Brazil is one of those few jack of all trade movies that masters every style it attempts. It perfectly balances it's comedy, it's drama, it's horror, and it's action. It's a hodgepodge that should not work under any circumstances on paper, but Terry Gilliam makes it cohesive and compelling. The acting, direction, cinematography, score, and plot perfectly complement each other. It's a masterclass in all it tries and succeeds to do. A lot of directors, writers, actors, etc., could learn from "Brazil".

"What're ya gonna do fucknuts?!"

Logan is one of the most striking and original visions I've seen as far as superhero movies are concerned. I've never found Logan to be a very compelling character but his character gets a much needed revamp in this movie. Logan gains a humanity and range of emotions that the original X-men trilogy never explored. The cast surrounding him is compelling and well-defined. The characterization of Charles Xavier is a stand out; a vision of a great mind in deterioration. His relationship with Logan is equally as heartwarming as it is heartbreaking. Our cast is put through one of the most gut-wrenching and depressing plots I've seen in recent memory, but the film never falls into a state of hopelessness that sours the movie. The direction by James Mangold is impeccable. Every shot is intentional. Every line, every pause in dialogue leaves you with something to chew on. The movie is dripping with style, yet is somehow understated. The style he brings both harkens back to a bygone era of crime dramas, yet paves a way for a future generation of superhero films. I've never been a huge fan of Marco Beltrami's work, but he elevates every scene with this soft, underspoken score that both exacerbates the dread and sorrow this movie leaves you in, and just as effectively lifts you from this emotional gutter. I'm personally not a fan of the integration of the "X-men" comics into the plot, but it admittedly could have been much more jarring and egregious. Finally, the acting really shines. Every cast member is allowed to showcase their range, especially returning cast members, who are finally allowed to personify the characters they've played for so long in a fresh and mature way. I personally adore what this movie shot for and achieved with flying colors. I will admit, I am hard to please when it comes to comic book and superhero films, but I was more than satisfied with what this movie left me with. The more I've thought about it, the more my adoration for "Logan" grows. This is a film that transcends the notion of comic book and superhero movies. It is something more. "Logan" is something more.

The Perfection makes the mistake of believing that the pitch they sold to some Netflix execs is enough to make a compelling movie, damn all the other labor. This movie fires on all cylinders when it comes to its imagery. However the script is first draft at best, feeling more like the pitch of the movie, rather than a completed work. Just like Mozart's "Requiem", it is incomplete; however Mozart was at the very least, kind enough not to waste my time. These "characters" lack humanity which is both the fault of the actors and the stilted dialogue. Subtlety is in very short supply in many movies along this vein, but it is entirely extinct here. At one moment in this film, one of our characters equates the actions of another to rape. This is the one scene which feels honest seeing as how it continues the cycle of abuse onto its audience. A miserable dredge of a movie, not one of its ninety minutes was earned. The Perfection is both self-agrandizing and self-defeating. In its own sad way, it's very unique in this field. However, damn you.