#225. Like Mike (2002)

 

 

Prior Viewings: 1

 

Saw this one with my cousins back when it was new, and the only stuff I really held on to was the fantastical premise, the scarring scene where Crispin Glover burns a photo of Jonathan Lipnicki's mom in order to get information, and that godforsaken theme song, which has played in my head every single time I've seen a basketball (or should I say, bas-ket-ball) court ever since.

 

Literally nothing about the central relationship between Calvin and Tracy left an impression (in fact, I had no memory of the Tracy character in general), which is funny because, as an adult, this was the aspect I liked most. It's a simple and predictable little arc, but it's also a sound and resonant one, and Lil' Bow Wow and Morris Chestnut have enough chemistry with one another that you completely buy the relationship.

 

Otherwise, the movie's basically what you'd expect: a cute little children's power fantasy. And even if the sugary energy and schmaltzy tone can feel a bit juvenile to an adult viewer, there's still enough in the way of humour, innocence, and fun appearances (the cameos in this one frankly blow Space Jam out of the water) that I don't regret not leaving it in the past.

 

Grade: B

 

#224. The Gentlemen (2019)

 

 

When it comes to the gangster stuff, Guy Ritchie tends to be pretty divisive. And I do get it. Like, if you aren't into the kinds of movies where everyone's a witty, gun-slinging badass, the shtick probably gets old extremely fast. But, as someone who will never tire of post-Tarantino bloodbaths, I have to admit that this speed, tone, and personality is right up my alley.

 

And, sure, you could argue that Ritchie's playing it safe here by revisiting familiar territory, but I find it hard to care when, one, the result is this entertaining, and two, there's enough dignified polish to separate it from the likes of Two Smoking Barrels and Snatch. This change might erase some of the indie grittiness that he's known for, but it makes up for that with some faux-refinement, which juxtaposes the similar subject matter really well.

 

More than anything, though, I just love his sense of style: the cute structuring (I was beginning to worry that there was too much setup going on, but it arguably makes the payoff all the more satisfying), the fluid storytelling, the colourful dialogue, the playful accents, the distinct characters, the fast action, and the winning mix of tension and humour. I don't know what it all adds up to, but I know it's fun as hell.

 

Grade: A

 

P.S. Unless you count Glass Onion, this is actually my first Hugh Grant movie. And my god, what an introduction. Just hearing him say Raymond's name in that cheeky cockney voice delighted me to no end.

 

#223. Prom Night (1980)

 

 

I'm a ridiculously easy mark when it comes to slasher-whodunits. Even in the case of something like Prom Night, which isn't especially creative (it's basically Friday the 13th in a Carrie costume), doesn't have as many suspects as I'd like, and is pretty tepid as far as violence goes, I was nevertheless absolutely absorbed by the mounting tension, intriguing mystery, and killer dance moves.

 

I think it helps that the movie doesn't mind taking its time. Sure, it results in an extremely dry opening hour, with maybe a few too many scenes centered around blah characters and dynamics, but it also keeps the slow burn suspense simmering for as long as possible, which draws things out in such a well-paced way that the eventual chase scenes actually have some weight and urgency to them. 

 

Beyond that, I liked the school setting, the warm, glowing, almost dreamlike cinematography, the faint echo of the dance music in some of the scarier sequences, the two main casting choices (while Leslie Nielsen doesn't have a big part, it's always a treat to see him in a serious role), and the clumsy action, which only adds to the overall believability. I guess I can understand why this movie doesn't have a stellar reputation, but I'd be lying if I said that I didn't have a lot of fun with it.

 

Grade: A-

 

#222. Law Abiding Citizen (2009)

 

 

Okay, can someone please explain to me why so many action movies from around this time (The Dark Knight, Skyfall, The Avengers, Star Trek Into Darkness) included a reveal that the villain getting caught was actually part of the plan? I'm sorry, but that's far too specific a trend for it to have simply been a coincidence.

 

Anyway, Law Abiding Citizen isn't as good or memorable as most of those other examples, but the premise is strong enough that I was mostly engaged by the cat-and-mouse antics. There's a decent sense of stakes here, the conflict ramps up in a way that builds some adequate momentum, and the tone's so playful and energetic that it mostly manages to pull off both the depraved (you can tell we're also at the tail end of the torture porn era here) and over-the-top elements of the script.

 

It's just a shame that pretty much everything else has a slight "going through the motions" feel to it. As entertaining as this movie generally is, Jamie Foxx's uninspired performance, the dreary presentation, the script's reliance on outdated cliches, and the ending being a total copout (a "fuck the system" theme is only satisfying if you're willing to go all the way with it) keep my reaction from being more enthusiastic.

 

Grade: B

#221. Husbands (1970)

 

 

Prior Viewings: 1

 

In theory, I can appreciate what Husbands is going for. By presenting its themes (middle age, aimlessness, toxic camaraderie) in the ugliest and most obnoxious manner possible, the movie makes a pretty compelling case for the values of normal adulthood simply by removing them. It's a clever and poignant approach, with a ton of potential for interesting drama.

 

In practice, though, I just kinda find the whole thing tedious, irritating, and uncomfortable. Every scene seemingly goes on forever (especially the early one at the bar, where we spend upwards of ten minutes listening to these guys berate a woman for not singing well enough), the dialogue has that improv feel to it that causes most of the words to feel empty, and the characters are so insufferable that it quickly becomes difficult to care about them. 

And, yeah, I know this stuff's all probably intentional, but that doesn't make it any easier to sit through, frankly. I like the gritty cinematography, the chemistry between the three leads, and the occasional moments of introspection, but everything else continues to do very little for me.

 

Grade: C+

 

#220. Mulholland Falls (1996)

 

 

More than any other subgenre, I'm willing to forgive a little artificial silliness when it comes to neo-noirs. I don't know if that's because I find these movies a bit artificial and silly to begin with, or because it allows the presentation to be flashy and over-the-top in a way that appeals to me, but when I watch modern actors wear old-timey costumes, smoke cigarettes, and beat people up, I can't help but smile at the excess.

 

It's not always a seamless fit, though, and I'm wondering if that's the case here. Mulholland Falls has a fairly intriguing mystery, a palpable atmosphere, an appealingly grey collection of characters, and an impressive cast, but the story/tone only somewhat works for me, and I think that's because this sheen of indulgent self-awareness may not mesh super well with bleaker and more sincere subject matter. Or maybe I just found the pacing a bit too slow.

 

Whatever the case, I'd still say this one's worth seeing if you're generally a fan of L.A. crime dramas, even if it doesn't reach the level of its influences (though I suppose that's true of basically any movie that borrows from Chinatown, save Roger Rabbit), nor L.A. Confidential, which blew it out of the water and into obscurity the following year.

 

Grade: B

 

P.S. It must suck to act opposite Nick Nolte. Dude spits like a camel.

#219. The Vikings (1958)

 

 

The problem I tend to have with historical epics from the '50s and '60s is that they're usually devoid of personality, so The Vikings has an automatic leg up on the competition merely by being charismatic and boisterous and kind of pulpy. The presentation's still a little on the dry and earnest side for my liking, but there's enough exuberance and energy throughout that I was honestly surprised by how invested I was.

 

You can also really feel the communal effort with this one. The writing's got some morally compelling character dynamics, the cast (particularly Kirk Douglas and Ernest Borgnine) brings a lot of welcome flavour and intensity, the cinematography, courtesy of Jack Cardiff, is rich, beautiful, and atmospheric, and Richard Fleischer ties everything together with his textured direction. A lot of people are firing on all cylinders here.

 

So even if a handful of the slower scenes somewhat impair the pacing (the lead-up to that final battle is perhaps the worst example), and the relationship between Jamie Lee Curtis's parents is a total afterthought, the otherwise unique interplay, exciting bursts of action, and keen mix of opulence and depravity ensure that this is ultimately a higher-tier swashbuckler. 

 

Grade: A-

#218. Tarzan the Ape Man (1932)

 

 

Here's something I didn't expect to say: I think I prefer the opening half hour of this movie, before we actually meet Tarzan. Those early expedition scenes have a real sense of adventure and danger to them (in a way that really anticipates King Kong), and I feel like the energy starts to flag a bit once the title character shows up.

 

Not overly so, though. While the second act is often little more than a series of unrelated nature vignettes, it's all still gripping and exotic enough that I'm mostly fine with the change. Helps that there's a new animal in just about every scene (which goes a lot further with me than I'd like to admit), and that Tarzan and Jane have such compellingly primal chemistry with one another.

 

Of course, most of the other character/story elements are lacking at best (we never really delve into Tarzan's backstory, and the interpersonal conflicts are generally quite tepid), but I guess that stuff doesn't really matter. At least, not compared to the exotic scenery, the clever technical effects, and the spectacular stunts - like seeing Johnny Weissmuller wrestle a fucking lion.

 

Grade: B+

 

#217. The League of Extraordinary Gentlemen (2003)

 

 

Prior Viewings: 3-4

 

Whenever I find myself thinking that the whole Avengers phenomenon might've been a bit overblown, I have to stop and remind myself that, when I was a kid, crossovers were only ever found in sitcoms, children's cartoons, and this haphazard curiosity.

 

That probably explains why I circled back to it more than once. I mean, it's not as though I was all that enamoured by the story or the action. Hell, even a handful of the characters went directly over my head at the time (I didn't know who Allan Quartermain or Dr. Moriarty were until years later). But I guess I simply liked the idea of seeing some literary figures team up to fight bad guys, because my memories of the movie were generally positive.

 

Now that I'm a bit older, its flaws are a lot more apparent to me (the plot never goes anywhere interesting, the character motivations are non-existent, the middle hour is a slog, and the special effects are genuinely terrible), but I still can't bring myself to hate the movie, either. Nostalgia aside, I love a good steampunk aesthetic, I doubt any movie with Sean Connery at its center could ever truly bore me, and there's something small and silly about the whole thing that I find almost refreshing in today's landscape.

 

Grade: B-

#216. Pokémon Detective Pikachu (2019)

 

 

Yeah, I was a Pokémon kid. I collected the cards, watched the show, and played the video games. For a good three or four years there, it was pretty much the center of my entertainment universe. So the prospect of a big-budget live-action Pokémon movie absolutely appeals to the inner child - and, who am I kidding, adult - in me.

 

And, honestly, I thought this one was pretty good. The plot's extremely predictable (especially if you're at all familiar with Ditto), most of the characters are cutouts, and the jokes don't have a great hit rate, but there's a sense of livable, vicarious plausibility to the whole thing that basically renders those elements moot for me. Frankly, when I'm watching these real people interact with Bulbasaurs and Mr. Mimes, I can't pretend to care about depth or nuance or whatever.

 

If you do, though, the movie wisely takes the Roger Rabbit route of attempting to balance the silly cartoon stuff with a grounded, noirish story involving the protagonist's family. Again, it's not as successful as Roger Rabbit, mostly because said story's nowhere near as interesting, but it nevertheless provides a decent amount of heart, a cool neon aesthetic, and some fantastic worldbuilding, all of which I appreciated.

 

What I didn't appreciate, though was the fact that Poliwhirl doesn't make a single appearance. What the hell, guys?

 

Grade: B+

 

P.S. A lot of these Pokémon were much furrier than I was expecting. Like, in my mind, Jigglypuff's always had the texture of one of those squeaky bouncy balls that you'd find in a Toys "R" Us bin.

 

P.P.S. Loved the Angels with Filthy Souls reference, especially because it fits right in with the whole '90s nostalgia thing.

 

#215. The Heartbreak Kid (1972)

 

 

It's a testament to Charles Grodin's abilities as a comedian/actor that Lenny Cantrow isn't the single most despicable character ever put to film. I mean, maybe he still is (the guy's a spineless, inconsiderate, self-centered jerk who never learns a single thing), but Grodin has this subdued, almost endearing awkwardness about him that makes Lenny's desperate insincerity more watchable than it should be.

 

I have to also credit Elaine May, though, for not letting this guy off the hook. In just about every major scene, she locks the camera down, John Cassavetes-style, and lets the drama play out in the most sweaty, uncomfortable, claustrophobic way possible. It's the kind of subtly agonizing presentation that smacks of both emotional intelligence and a creative point of view, and it ultimately makes for an damning depiction of male self-destruction.

 

Still, I'd be lying if I said that I didn't find the conflicts a bit monotonous, and the comedy only mildly funny. But I guess both of those qualms are slightly soothed by the presence of Eddie Albert, whose stern indignation largely balances much the queasiness at play. I especially love his barely-contained rage at the restaurant, as well as his baffled delivery of "There's no deceit in the cauliflower?"

 

Grade: B+

 

P.S. Holy shit, does this movie need a remaster. Every version I could find made me feel like I was watching a 480p YouTube video from 2006.

#214. The Uninvited (1944)

 

 

This has to be one of the most approachable and, ironically, inviting haunted house movies ever made. It has an unusually light and jaunty tone (which, aside from keeping the material fun, is perfect for establishing some investment in the horror elements and dramatic backstories), and a familiar-yet-unearthly presentation that ensures a certain warmth and coziness throughout.

 

Of course, a lot of that also has to do with the dark and elegant beauty of the house itself. When I see this place, with its enormous staircase (I was kinda hoping to see Ray Milland slide down that banister at some point, but I digress), open rooms, and stunning views, I can understand why these characters would take such a risk. And the gorgeous use of light and shadow only adds to its allure.

 

Even zooming out from the setting, though, nearly everything about this movie delighted me. I'm sure a lot of people find it slow and quaint, but I thought it was cute, funny, and spooky in equal measure. My only issue is that it gets a bit plot-heavy down the stretch, but even that doesn't really detract from the bouncy pacing, colourful moods, and adorable effects.

 

Grade: A

#213. Dark City (1998)

 

 

Prior Viewings: 1

 

A few weeks ago, if you had pointed a gun at my head and said that you'd shoot me unless I could tell you a single thing that happens in this movie, I would've been a goner. Literally all I could recall was the nighttime aesthetic, the towering production design, and Kiefer Sutherland being a weird little freak.

 

After a second viewing, I can kinda see why those were the only elements that left much of an impression (the story's a bit muddled and messy, the other main characters are mostly generic, and the noir tropes aren't especially original), but I found Murdoch's conflict to be fairly intriguing and compelling this time, and all the stuff with "tuning" and The Strangers made for more inventive worldbuilding than I'd remembered.

 

So while I still think the exposition could've been doled out a lot better, and some of those plot developments and reveals continue to feel like nonsense to me, the movie is ultimately distinct, ambitious, captivating, and energetic enough that I'd be surprised if it completely left my brain again. But, even if it does, at least I already know that the atmospheric and beautiful (and charming, thanks to some '90s CGI) visuals probably won't.

 

Grade: B+

 

#212. Love & Other Drugs (2010)

 

 

Love & Other Drugs unfortunately suffers from the same problem that I find a lot of romantic comedy dramas have, and that's that it's trying to accomplish far too much at once. The storytelling's kind of jumbled (there's a relationship subplot, a career subplot, and a Parkinson's subplot, and all three are fighting for dominance), as are many of the emotions, which largely results in every element feeling slightly underdeveloped, and therefore a bit surface-level and generic.

 

And it's a shame, because the genre fundamentals are otherwise quite good. Jake Gyllenhaal is a likeable fit for both the lighter and heavier aspects of the script, Anne Hathaway pulls off the tired frustrations of her tricky character fairly well, the two have incredible chemistry with one another (a pair of extremely hot people make for a cute couple; more at eleven), and Josh Gad is used the exact right amount for comedic relief. 

 

This is an agreeable enough watch for the most part, with decent amounts of humour, warmth, and heart. I just think those qualities would've been even more prominent and consistent with the removal, or reduction, of at least one of the storylines (as funny as some of the Viagra stuff was, that's probably the one I'd choose), a less sterile visual palette, and a smoother tonal balance. 

 

Grade: B

 

#211. Project A (1983)

 

 

Okay, I can see that these Hong Kong martial arts movies are going to take some getting used to.

 

Like, obviously I knew better than to expect seamless dubbing, but I wasn't quite as prepared for the borderline-amateur technical aspects (for instance, there are almost zero establishing shots here, so each scene just kind of awkwardly crashes into the next one), bizarre tonal shifts, and weirdly dense plotting. I don't even know if these defects are specific to Project A or if they're simply par for the course with this subgenre, but, either way, it made it really hard for me to get wrapped up in the story, to the point where I was starting to zone out in between all the action.

 

But I guess the action is why we're here, and it doesn't disappoint. Every single fight scene is a striking display of creativity, athleticism, timing, and certifiable recklessness not seen since the days of Buster Keaton, and they consistently took my breath away. In particular, the back-to-back bicycle and clock tower sequences are just spectacular, even if they result in the movie peaking far too early.

 

Now, is the action good (and plentiful) enough to make everything else worth sitting through? It's a pretty close call in my opinion, but I'll go with a tepid "yes". Even when the movie's at its least accessible, you can always tell that Jackie Chan is trying his absolute hardest to entertain, and I admire that level of effort.

 

Grade: B-

 

#210. BUtterfield 8 (1960)

 

 

Another movie from the early '60s that clearly wanted to be riskier than it was actually allowed to be, BUtterfield 8 (that capital U will never not look like a typo to me) is only kept afloat thanks to the Oscar-winning turn from Elizabeth Taylor. This isn't exactly her best work, but she brings a great mix of grace and vulgarity to the role, with enough subtle complexities beneath the surface to keep her character compelling.

 

Otherwise, though, I can't find too many reasons to recommend this one. The presentation's pretty turgid, the dialogue's mostly soapy and artificial, the character dynamics aren't very interesting, the tone is dour in a way that feels tedious and mean-spirited, and the other performances are so unnoteworthy that they all but fade into the background. The production design's visually appealing, I guess, and I enjoyed some of the quieter moments (like the opening scene), but the bulk of it generally left me waiting for something interesting to finally happen.

 

The upside, though, is that it eventually does. Whether or not this direction works is another thing entirely (it certainly doesn't land on an emotional level), but I really have no choice but to respect how audacious it is, especially relative to everything that came before.

 

Grade: C+

 

#209. Thirteen (2003)

 

 

I think the fact that Thirteen was co-written by an actual teenager mostly sums up everything that works about it for me, as well as everything that doesn't.

 

On the positive side, it all certainly has the ring of ugly truth to it. I haven't been thirteen years old in almost two decades, and, even when I was, I spent most of that time playing GameCube. But when I watched this movie, I, too, was taken back to that period of angst, isolation, and conformity (drugs and sex didn't really factor in, but you probably could've guessed that), simply because it's inescapable at that age. And the presentation's so raw that it's easy to see why it hit a nerve with so many people.

 

I'd be lying, though, if I said that I didn't also find the whole thing a bit... much? I dunno, maybe I just feel this way because I'm now in my 30s, but the endless barrage of misery, rebellion, and yelling grew a bit tedious and excessive to me after a while, in a Degrassi kinda way. And the shaky cinematography and gritty filter didn't exactly help matters.

 

Still, I guess that over-the-top messiness is part of the idea. And even if it's not necessarily my thing, I can definitely appreciate the bravery and honesty on display, as well as the powerhouse performances from Holly Hunter (who absolutely deserved her nomination) and Evan Rachel Wood. 

 

Grade: B

 

#208. The Ninth Gate (1999)

 

 

This is one of those instances where the journey is far more interesting than the destination. I was really into the intrigue-heavy opening hour, with its eerie premise, cozy sets and settings (libraries, trains, hotel rooms), patient - often bordering on slow - pacing, and subtle menace. The whole thing's very sinister and atmospheric, and yet it also possesses a loose, almost silly tone that keeps the material light and playful.

 

For the most part, I think the movie balances this strange combination of moods reasonably well. But the same can't quite be said for the third act, which regrettably crosses over into "downright ridiculous" territory. There's admittedly some charm to that (for instance, hearing Frank Langella repeatedly yell "Mumbo Jumbo!" almost makes the entire portion worth it), but the forced theatrics, terrible fire effects, and largely unsatisfying final scene end things on a bit of a sour note for me.

 

Still, the majority of the adventure kept me invested, thanks especially to Johnny Depp's focused performance and Roman Polanski's assured direction. And even if I wasn't entirely satisfied with some of the later results, the ambience, buildup, and ambition ensured that I was always curious to see where it was all heading.

 

Grade: B+

 

P.S. I'm no expert on the matter, but shouldn't dealers wear gloves when handling old books? Or, at the very least, not blow cigarette smoke all over them?

 

#207. An American Werewolf in London (1981)

 

 

Prior Viewings: 2

 

There aren't a ton of horror-comedies that manage to succeed as both horror and comedy, but American Werewolf is one of the few that walks that difficult line nearly perfectly. And I think that's because John Landis never really allows the genres to get in the way of each other. As much the scares tend to come with playful nods to werewolf tropes (lycantropes?), they're also played straight enough that none of the intended intensity is lost.

 

But it's not just the balance of tones that makes this movie great. It's also the murky, fog-shrouded atmospheres, the simple-yet-effective locations (I'm a sucker for a spooky subway station scene), the fantastic music choices (why include just one version of "Blue Moon" when you can have three?), and, of course, those killer makeup effects. We're all aware that the transformation scene is iconic, but I'm also a huge fan of Jack's rotting flesh - particularly that little piece of skin that dangles from his neck.

 

Plus, there's something kind of lax and awkward about the movie that I find mildly endearing. Even if it makes the result a bit imperfect (some of the timing choices, like the ending, still don't fully work for me), it keeps things from getting too smug or clever for its own good, which ensures that the homage/contemporary equilibrium is just as sturdy as the horror/comedy one.

 

Grade: A

 

#206. A Boy and His Dog (1975)

 

 

2024 came and went and we still don't have a means of telepathically communicating with our pets. Why is the future never as cool as we expect it to be?

 

Ah well. At least we're not (yet) living in a post-apocalyptic wasteland. A Boy and His Dog has something of a proto-Mad Max aesthetic, with its desolate settings, ugly ethics, distinct hierarchies, and extremely cynical outlook, but the difference is that this is also a comedy featuring an intelligent, sarcastic dog. It's a bizarre combination of tones, and they don't always completely gel with one another, but I have to respect how bold and offbeat and weirdly charming it all is, in a "What if Disney made really fucked up movies?" kinda way.

 

And while the presentation is generally on the dry and slow side, and the bickering banter between Vic and Blood gets a tad one-note after a while (though the dynamic never stops being unique, or adorable), there's also just enough variety that I wouldn't call the movie bland or tedious, either. A lot of that has to do with the extra-dystopian Downunder stuff in the third act, which includes contrary scenery, whiteface makeup, android enforcers, and an artificial insemination plot. It's still not as dynamic or as unsettling as I'd like, but it shook things up in a way that I appreciated.

 

Grade: B

 

#205. Scarlet Street (1945)

 

 

I know film noirs are generally quite dark by nature, but this one's downright mean-spirited. Fritz Lang takes us to one of the many ugly corners of New York, and populates it with characters that are despicable, irksome, or pathetic (or some combination of the three), which results in one of those seedy little yarns where you're waiting for, and secretly kind of hoping for, everything to go south.

 

These bleaker elements consistently appealed to me (particularly in the final twenty minutes, which get deliciously psychological), but I do think they might've worked even better if the overall movie had a bit less congestion to it. At various points, especially in the second half, we're still being introduced to new subplots and characters, and they tend to detract more than they add, hurting the overall flow of the story for me.

 

But I suppose that kind of bizarre ambition is part of Lang's appeal, right? Like, all this mayhem going on fits pretty well with his heightened styles and tones, so he mostly gets away with it. Plus, it helps that Edward G. Robinson's here to ground everything with his naive, sad sack performance, where he generates just enough sympathy for the arc to sock you in the mouth four or five times.

 

Grade: B+

 

#204. Cleopatra (1934)

 

 

This is another one of those romantic dramas from the '30s that I find works best when it's at its most comedic. Maybe that speaks to the fact that I simply prefer a lighter tone when it comes to older films, but I think it's also because the kinkier, campier qualities are such a perfect match for Cecil B. DeMille's grand spectacle and opulent sets/costumes.

 

It's also a pretty great fit for Claudette Colbert, whose playful assertiveness keeps everything more affable and charming than the script probably deserves. And even if she doesn't have a ton of chemistry with either of the male leads (though that's mainly because both men are going for stoicism, which is so overwrought that it undercuts the possibility of any real sizzle), her strongest moments are typically the ones where she effortlessly toys with them.

 

As for the drama, I'd be lying if I said that it wasn't all a little tonally rigid and structurally abridged for my liking (which results in such uneven pacing that it makes the movie somehow feel both slightly too long and far too short), but the scale is doing enough heavy lifting that you can still generally grasp the intended weight. It's just that these conflicts kinda pale in comparison to, say, a pre-Code sex scene that comes complete with swelling music, opaque curtains, and dancing performers.

 

Grade: B+

 

#203. Sinners (2025)

 

Hey, I actually managed to crank out all ten nominees in time. Kinda came down to the wire there, but still.

 

Anyway, I intentionally saved Sinners for last because it appears to be right up there with One Battle After Another as one of the front-runners for taking home the prize. I personally preferred the latter by a fairly decent margin, but I can certainly still see the broad appeal here. This thing's dripping with sex, style, tension, and atmosphere, and it does a great job of laying a compelling and character-heavy foundation before pulling the rug out from under you.

 

That's not to say that I think the movie's flawless, though. I wasn't blown away by the action and horror elements, the structuring gets extremely messy at times (particularly in the last twenty minutes, which are rushed and disorganized in a way that I didn't care for), and the metaphors are so on-the-nose that they're practically similes. But I'm sure these complaints are largely a product of the hype; after all, they're relatively minor compared to the powerful imagery, charismatic characters, electrifying music, and amusing combination of genres.

 

Plus, that one-take scene where we see all the different musical eras of multiple cultures through one song is the kind of ambitious creativity that can turn a pretty good movie into an instant classic.

 

Grade: A-

 

P.S. And now, my ranking of the nominees:

 

10. Hamnet

9. Train Dreams

8. F1

7. Frankenstein

6. Sinners

5. The Secret Agent

4. Bugonia

3. Sentimental Value

2. Marty Supreme

1. One Battle After Another

 

Honestly, though, this is a really strong group from top to bottom. I don't think there's a single entrant that's not at least somewhat worthy of recognition.

#202. Best of Enemies (2015)

 

 

Prior Viewings: 1

 

I despise televised debates, especially the ones centered around politics. They accomplish nothing, they never change anyone's opinion, and they always devolve into shouting contests where the loudest, most disruptive voice "wins". Frankly, just thinking about them irritates me, and I doubt I'll ever be able to forgive Gore Vidal and William F. Buckley Jr. (though the latter can forever fuck himself for many other reasons) for getting that particular ball rolling.

 

But while I have negative interest in watching two rich, entitled assholes pointlessly bicker with one another for an extended period of time (at least outside of a reality TV setting), this documentary does a pretty great job of presenting the subject matter in a way that's entertaining and easily digestible. It's snappy, it's fairly moderate, it includes a lot of enthusiastic talking heads, and it contextualizes the relevance of these men, both then and now, in a way that doesn't feel disingenuous or overblown.

 

Plus, I'm always a sucker for a historic doc that builds to a legitimate climax. So for someone like me, who knew practically nothing about either person or their encounters prior to my initial viewing, that ninth debate really bowled me over the first time, and didn't lose much of its power on a rewatch.

 

Grade: A-

 

#201. Bugonia (2025)

 

 

Ah yes, another totally normal movie from Yorgos Lanthimos.

 

Bugonia is a nasty little satire, one that scrutinizes some of latter-day humanity's darkest flaws - corporate greed, conspiracy poisoning, the class divide, confirmation bias, exploited vulnerability, etc. - and features two opposing yet similarly insufferable protagonists (played to disquieting perfection by Emma Stone and Jesse Plemons) to make a strong case for the extinction of our species. Fun stuff, right?

 

Actually, yeah, it is pretty fun, and that's because Lanthimos continues to be such a strange and creative storyteller. He has this way of combining black humour, unsettling tension, and mean-spirited horror in a way that's both refreshing and unpredictable, and the result here is one of those situations where you constantly find yourself laughing in spite of (or, in many cases, because of) all the heinous shit going on.

 

It's a wild ride, and while I'm not totally convinced that it sticks the landing (those last ten minutes are either gonna make or break the entire thing on a rewatch), this journey is so maddening, bonkers, and one-of-a-kind that I also wonder if it's possible for any conclusion to feel out of place.

 

Grade: A-

 

#200. Peggy Sue Got Married (1986)

 

 

Couldn't get into this one, unfortunately. As much as I enjoyed the fantastical premise, the cute setting, and the quirky performances from our two leads (overwhelming lack of chemistry notwithstanding), the movie as a whole just didn't click for me. 

 

I don't know if that's because the script rarely bothers to play around with its time travel concept, or because I couldn't quite grasp the intended tone (I found the comedy pretty weak, and I could never tell how sincere the attempts at sentimentality were), or because the storylines were kinda draggy, or because I'm simply getting tired of boomer nostalgia, but, whatever the reason, I was mostly checked out by the hour mark.

 

The one element that kept me on course, though, was Nic Cage. You can say he's the worst part of this movie, and you certainly wouldn't be wrong to hold that opinion (the dude looks out of place every single time he shows up), but his absurd voice and terrible hair and inexplicable vampire energy made things a lot more fun and endearing for me. If every other element was similarly excessive and silly, I might have come out with a better understanding of why this thing has so many fans.

 

Grade: C+

 

P.S. It feels wrong seeing young Cage share the screen with young Jim Carrey. That's simply too much unbridled crazy for one frame.

 

#199. Train Dreams (2025)

 

 

I think what I like most about Train Dreams is that it knows how to convey the beauty and tactility of its environment. You can practically feel the crunching of the leaves, the chirping of the birds, the breeze in the air, and the chopping of the trees, and it's all captured via breathtaking shots, pristine compositions, and poignant imagery.

 

Sure, a lot of these visuals look like something you'd see in a maudlin commercial for soap or deodorant, and, yeah, they're in service of a simple, meditative story that only occasionally comes to life, but they also help to quietly anchor the themes of loneliness and grief, which makes our protagonist's arc that much more impactful (even if a lot of the structural beats are pretty familiar), and ultimately gives the movie its depth and resonance.

 

Granted, it doesn't always make for especially dynamic viewing, and I'll admit that I found the middle chunk a bit dry and draggy at times (plus, despite Will Patton having the perfect voice for this material, I wasn't always especially crazy about the heavy use of voice-over narration), so it's likely gonna land closer to the bottom of my Best Picture ranking, but the tranquil locations, delicate emotions, and contemplative exchanges still make it a worthy and rewarding watch in my eyes.

Grade: B+

 

#198. Freeway (1996)

 

 

Matthew Bright read "Little Red Riding Hood" and thought to himself, "You know what this needs? Prostitution and pedophilia."

 

In fairness, though, I guess Freeway isn't that tonally out of line compared to a lot of older fairy tales. It just feels that way because it's a million times sleazier and trashier. The writing is edgy and in-your-face in the most '90s way imaginable, the high-contrast cinematography ensures that the subject matter remains disgustingly believable, and the performances are so heightened that the characters might as well be cartoons.

 

It all makes for a pretty fresh and fun take on a classic story, and even if the entertainment levels aren't always as consistent as I'd prefer (I think the movie loses some of its juice one we shift from the highway portion to the courtroom/prison stuff), the interesting range of exploitation subgenres keeps things playfully energetic, while also ensuring that the formulaic structure is at least somewhat upended.

 

More than anything, though, I think Reese Witherspoon is what makes the movie so messily enjoyable. I couldn't get enough of her spirited attitude and exaggerated accent, and I kinda wish we got to see this side of her more often.

 

Grade: B+

 

#197. Frankenstein (2025)

 

I'm starting to worry that Guillermo del Toro might be on something of a Tim Burton trajectory (though not nearly as severe) in that he's continuing to pick projects that feel a bit... obvious? Expected? Like, you hear "Guillermo del Toro's Frankenstein", and the images you picture in your mind aren't far off from the real thing.

 

Fortunately, unlike Burton, del Toro hasn't gotten noticeably lazy yet, so this movie's about as striking, gorgeous, and tangible as anything else he's made (even if the visuals are occasionally marred by dark lighting, unconvincing CGI, and excessively slick digital cinematography). And while he sometimes takes a few bizarre and frustratingly literal liberties with the source material, his perpetual enthusiasm ensures that the tones, textures, and emotions are appropriately operatic.

 

Plus, I love his sense of scale. We can discuss whether the world needed another Frankenstein movie in 2025, but the fact that this version has such a consistent vision, while also being more ambitious and over-the-top than any of the prior adaptations I've seen (even the Branagh one), not only justifies its existence in my eyes, but it gives the experience a certain maximalist conclusivity. Whoever tries to tackle Mary Shelley's story next will have a difficult bar to clear as far as ambition is concerned.

 

Grade: A-

 

#196. Singin' in the Rain (1952)

 

Prior Viewings: 3-4

 

I usually feel a slight sense of trepidation when it comes to tackling the more popular and acclaimed movies, but not so much here. And I think that's because Singin' in the Rain is so pleasant and likeable and beautiful and entertaining that the positives basically speak for themselves.

 

Like, where to start? The gorgeous Technicolor? The catchy songs? The athletic choreography? The breathtaking pastel sets? The funny dialogue? The sharp industry satire? It's all so marvelously composed and effortlessly executed (despite the fact that these numbers are clearly exhausting) that you can't help but smile through the entire thing.

 

And unlike a lot of musicals from the time (or any time), there's not a single dull moment throughout. The title sequence, "Make 'Em Laugh", and "Good Morning" are all rightfully immortalized, but then you've also got the lovely "You Were Meant for Me", the energetic "Moses Supposes", and the show-stopping "Broadway Melody", as well as a fun showbiz plot and a cute romance in between all the winning numbers. It's about as joyous and perfect as Old Hollywood gets.

 

Case in point: the movie has appeared on pretty much every significant film list there is (including a top ten placement from both the American Film Institute and Sight & Sound), and you almost never hear any objections.

 

Grade: A+

 

#195. Hamnet (2025)

 

 

This is the first nominee of 2025 that I didn't quite take to, but it still has enough obvious positives that the nod makes sense to me. Like, even when you put aside the fact that the subject matter and tone fall right in line with what the Academy's always looking for, the meticulous staging is visually appealing, the atmosphere has an eeriness about it (especially in those quiet woodland scenes) that elevates the drama, and the vague approach gives the potentially tired premise some necessary rejuvenation. 

 

And yet, there's something slightly distant and detached about the movie that mostly left me cold. I don't know if that's due to the bland colour palette, the odd structuring, the underbaked character dynamics, the strained performances (Jessie Buckley and Paul Mescal are clearly giving this thing their all, but it gets a bit showy at times), or just the general lack of vitality, but I didn't find the majority of the plot developments all that moving.

 

Fortunately, the third act play started to bring things back around for me. Sure, it's a pretty forced and corny conclusion, but it's also the first time that I felt fully invested in both the story and the characters. Honestly, if the whole movie leaned into that kind of emotional shamelessness, I might've connected with it more, especially with the non-dramatic elements generally being as sturdy and potent as they are. 

 

Grade: B

#194. Bon Voyage! (1962)

 

 

Over the last few weeks, I'd been toying with the idea of watching every single live-action Disney movie (of which there are currently over 300), much in the same way that I'm planning on seeing their entire animated catalogue. But while the latter still seems like a reasonable challenge to me, wading my way through Bon Voyage! has almost single-handedly killed my interest in the former.

 

Like, did this seriously pass as children's entertainment back in the '60s? Was the landscape really so barren for kids at the time that they were willing to endure 130 minutes of empty hijinks and forced family values? 'Cause I truly can't imagine a single person, young or old, watching this movie for the first time today and not being at least somewhat bored. It's aimless, it's tedious, it's overlong, it's full of frustrating conflicts, and it's tepid at best on a comedy level.

 

Granted, the travelogue element is pretty pleasant, and I guess I should give Fred MacMurray credit for trying to liven the material up a bit (even if his performance isn't all that funny or dynamic), but I found nearly everything else to be a chore. And I can't say that it's left me especially eager to get to The Shaggy Dog or The Absent-Minded Professor any time soon.

 

Grade: C