Senior News Editor @slashfilm. Co-host @TrekkingTimePod. GM @ShelbyvilleRPG. LGBTQ. Trying real hard. He/Him.
Austin, Texas
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It's increasingly clear that @htranbui and I are going to be on this journey for literally years. So we could use your help to keep the wheels greased. Join us on Patreon, won't you?
Big news! We've been so grateful for all your support on our #StarTrek and #DoctorWho journey thus far and we want to offer even more: We have launched a Patreon! Bonus episodes! Special guests! Early access! It's almost as good as time travel. patreon.com/trekkingthrought…
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MEN IN BLACK is 98 minutes long. Its universe feels vast and infinite. Nearly every joke lands. Every character works. Vincent D’Onofrio gives one of the most inspired performances of all time. And, once again, 98 goddamn minutes long.
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I know everyone likes to dunk on Jeremy Strong, but Kendall Roy is one of the most vividly realized characters of 20th century entertainment and if he walked through the screen and into reality, I wouldn’t blink. Everyone on SUCCESSION is great, but Kendall is landmark work.
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Started thinking about Luke’s final choices in THE LAST JEDI and how Old Man Luke is my favorite STAR WARS character and how his arc is one of most staggering, emotional and brave things in a franchise that could have easily side-stepped bravery at this point.
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CASINO ROYALE has no right to be good as it is. No film franchise has the right to peak 43 years in. No actor should have the ability to redefine an iconic character to the degree Daniel Craig did. Nearly 15 years later, this thing just blows my socks off every single time.
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Let’s just take a moment to acknowledge the greatness of Emily Blunt, who has quietly become one of the most versatile and welcome screen presences in modern Hollywood.
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It is extremely funny that Ridley Scott heard about the most famous myth associated with this battle and said “Fuck it, that’s cool, it’s going in the movie” and then sprinted downhill with double middle fingers raised to every historian in existence.
A look at the Battle of Austerlitz from Ridley Scott’s #Napoleon. See this scene and more in Premium Large Formats, Screen X, 70mm and IMAX November 22. Get tickets now. napoleon.movie/
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BABYLON is made for about 12 people: obsessive film nerds who have read too many books about classic Hollywood and love a tone that fluctuates between ANIMANIACS and that Alfred Molina scene in BOOGIE NIGHTS. I am one of those 12 people, sorry.
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Adam Driver has worked with Rian Johnson, JJ Abrams, Martin Scorsese, Terry Gilliam, Jim Jarmusch, the Coens, Steven Soderbergh, Noah Baumbach, Jeff Nichols, Steven Spielberg, Clint Eastwood, and Spike Lee. He is 34 years old.
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Rewatching THE LAST JEDI again and the Canto Bight stuff rules so hard and fandom has never been so wrong about anything in the history of the internet.
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Only a handful of 2022 movie scenes match OJ muttering “nope” and locking his truck door in NOPE.
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OPPENHEIMER trusts the viewer to be an adult and understand that it’s designed to be a troubling film about subject matter that should get under your skin, about people whose contradictions should upset you.
(This is my polite way of wishing more people would act like adults.)
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In 20 years, we're all going to agree that STAR WARS: THE LAST JEDI is the best of the series. It's the first STAR WARS movie since 1977 to be about something beyond being a STAR WARS movie. And Rian Johnson is the strongest filmmaker to ever work on one of these things.
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Sony kicking Feige out of Spider-Man is how we get bad Spider-Man movies again. The leadership at that company is nothing short of moronic.
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Was initially embarrassed I waited until my mid-30s to watch the films of Studio Ghibli/Miyazaki, and then I realized that discovering inspiring, amazing stuff after your formative years is the best way to fend off cynicism. Never be ashamed of having not seen a masterpiece.
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One thing that I find utterly fascinating about KNIVES OUT and GLASS ONION is that they’re movies so deeply entrenched in modern conflict and ideas that they can’t help but feel like period pieces from the future, featuring exacting recreations of 2019 and 2020.
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DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS is a chaotic mess, but it’s also two hours of Sam Raimi’s slapstick heavy metal madness slapping the MCU upside the chin. People are going to hate it. I liked it.
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I’m trying really hard to not shit on anyone enjoying THE RISE OF SKYWALKER, but I’m seeing way too much “just turn off your brain and enjoy it” considering that this is a series that has never asked the audience to do that before.
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An absent Anthony Hopkins winning over Chadwick Boseman during a ceremony built to end around a Boseman win while Joaquin Phoenix awkwardly stumbles through it all is...wow. Chaos!
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Just interviewed Sam Raimi. When I told him SPIDER-MAN 3 is Actually Good and there are people out there who like it, he was blunt: “I’ll believe it when I see it.”
Full interview, which covers DOCTOR STRANGE 2, EVIL DEAD RISE, and more, runs soon.
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After really not liking BLACK WIDOW, I was wondering if I was over Marvel movies. Nah. SHANG-CHI rules. The best, wildest stuff was kept out of the trailers. It’s a full-blown martial arts fantasy movie filled with delightful actors and a terrific, smoldering Tony Leung.
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THE TRAGEDY OF MACBETH: It’s one thing to say “Hey, I’m going to adapt one of the most famous plays ever written as a black and white German Expressionist nightmare,” and another thing to to actually do it and do it this well. Hot damn.
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Remember when they made BLADE RUNNER 2049 and everyone kinda assumed it would go a little more accessible and straightforward, but they actually went and made the most BLADE RUNNER-ass BLADE RUNNER movie possible?
Well, EVIL DEAD RISE…
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The bravest thing a person can do is fall down, admit it was their fault they tripped, and stand up to keep the next person from falling. Luke, Poe, and Finn all do this in THE LAST JEDI. We grow because we heal. Then we're strong enough to kill space Nazis.
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Dave Bautista 1). Understands what's *really* at stake over James Gunn's firing and 2). isn't going to be quiet about it. Rockstar. slashfilm.com/guardians-of-t…
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About one third of CHERNOBYL's final episode is Jared Harris explaining how nuclear reactors work in an extended monologue and it. Is. Riveting. This show is many things, but it should be taught in writing classes for how it makes exposition thrilling.
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Round 2 w/ SPIDER-MAN: INTO THE SPIDER-VERSE and yeah, this is the most formally daring movie of 2018. Belongs in the same breath as SPEED RACER and MAD MAX: FURY ROAD, movies that took a pile of studio money and delivered a grand work of experimental pop art. Perfect film.
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Rey has to "ok boomer" her way off Jedi Island so she can save the galaxy torn apart by previous generations and being reclaimed by young Nazis. What a fucking great motion picture.
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Jessica Walter was the funniest part of one of the funniest shows ever made. Damn fine actress. Legend. RIP.
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This is not me disparaging the show. THE BOYS wields its satire like Paul Verhoeven in his prime. Brutally, and without mercy.
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BOOKSMART could’ve been a $100 million grosser if Annapurna knew a damn thing about movie marketing. Put it on the “instant classic high school movie I wish I had when I was younger and should’ve been a hit” list with EDGE OF SEVENTEEN.
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I’m firmly on team “it’s not Quentin Tarantino’s fault that ONCE UPON A TIME IN HOLLYWOOD asks you to be at least vaguely familiar with one of the most infamous moments in 20th century American history.”
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I just muted that entire STAR WARS conversation. Feel free to keep yelling, but I won’t hear it.
I’ll just double down: THE LAST JEDI is the most challenging, thoughtful, artfully constructed movie to bear the STAR WARS name. It makes the whole series better by merely existing.
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The thing about CLUE is that every major cast member is one of the funniest people who ever lived at the peak of their powers. I’m drunk on margaritas and watching it for the 100th time. What a masterpiece. Truly.
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When I interviewed Rian Johnson for KNIVES OUT (which also ruuules), I asked him about the way he interrogates and dissects the things he loves. He was not content to do "karaoke," he told me. THE LAST JEDI isn't just a STAR WARS movie. It's a conversation about STAR WARS.
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I’m the last person in my profession to see THE MATRIX RESURRECTIONS so I guess I get the final word. This angry, hilarious, earnest, romantic as fuck cinematic middle finger ruuuules.
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Took a SXSW break to hit up my regular used bookstores and made out with a serious haul. I asked the clerk why they had so much amazing stuff in stock and all he said was “Marie Kondo, man.”
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I’m choosing to look on the bright side of the current tempest in the pop culture teapot: a Sam Raimi movie is scaring kids around the world, and those kids now have a chance of growing up to be cooler.
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I guess I'm not done yet. One of the most brutal moments I think any young person can experience is learning that a hero, a parent, someone of great importance, fucked up. That they can't or won't be there for them. That you have to make your own choices and own your life.
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BARBARIAN wins the MALIGNANT award for horror movie most dedicated to constantly one-upping itself in the most deranged way imaginable. I was cackling as I realized the extent of its nerve. Go in knowing as little as possible. Trailer spoils nothing.
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Lots of rightful praise for OPPENHEIMER’s technical elements, but I keep thinking about the screenplay. This is an outstanding adaption of AMERICAN PROMETHEUS, capturing dozens of subplots, countless characters, and 700 pages of nuance without ever feeling bloated or confusing.
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THE LAST JEDI looks at these young new characters, Rey specifically, and asks "What if they learn this lesson we all know, one that bruised each and every one of us, via a character who matters more to audiences than most real people?"
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I put on JURASSIC PARK and now I’m watching all of JURASSIC PARK and this movie is perfect in ways that are unfair to pretty much every other movie ever made.
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Two things are true.
1. ZACK SNYDER'S JUSTICE LEAGUE is an improvement over the theatrical cut in every possible way.
2. In its current four-hour cut, it is formless and without pace, lumbering from one scene to another like an assembly cut with finished VFX.
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KILLERS OF THE FLOWER MOON makes an unsettling companion piece to WOLF OF WALL STREET. The American dream at the expense of the easiest victim. And in this case, the business is genocide. Chilling stuff, and Scorsese wisely tones down any theatrics and goes as stark as possible.
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DOCTOR SLEEP: The boldest choice here is that Mike Flanagan doesn't even try to do Kubrick. He makes a Mike Flanagan movie: spooky, emotional, ultimately optimistic. Not only a sequel to THE SHINING, but a response to it, an attempt to reconcile King and Kubrick. Loved it.
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MIDSOMMAR: Like with HEREDITARY, Ari Aster uses overwhelming grief as a gateway into a slowly escalating tunnel of nightmares. Not a visceral scare-fest, but something so much more unpleasant, darkly funny and yes, totally fucked.
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Not a historian, just an avid history reader. Why I don’t care:
1. Napoleon’s military genius was staggering, but uncinematic. Logistics, corp organization, reading a landscape. You need *dynamite* to show a movie audience that this guy got shit done.
2. It’s cool.
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JOHN WICK: CHAPTER 4 is going to make every action filmmaker not named Chris McQuarrie lose sleep. I have no idea how they pulled off the final hour. If you liked the first three (and of course you did), you’ll have a blast. Keanu forever.
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I left THE LAST JEDI off my top 10 of the year when it was released. I will not make that mistake for our best of the decade coverage.
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(FWIW, as someone who has interviewed many disinterested actors, I’ve always found Strong’s peculiarities and passions pretty damn interesting. I wish more people loudly and proudly cared about their craft.)
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OPPENHEIMER is one of the best historical dramas ever made because it exists so uncomfortably, so disquietly, in shades of grey. Nolan paces it like a runaway freight train powered by doom. Murphy does all-timer work — it’s impossible to imagine the film working without him.
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I expect/hope to love THE RISE OF SKYWALKER. JJ Abrams is a killer filmmaker. He makes slick entertainment that goes straight to the heart. He knows how to deliver instant pleasure. He's wizard. But will I be thinking about it, tearing up over it, two years later? I dunno, man.
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MALIGNANT: So James Wan used his AQUAMAN blank check to make a delirious horror fetish object ripped from an alternate, VHS trash-fueled 1981. Spectacular. Nonsensical. Hilarious. A dizzying gift for genre fans who speak a certain cinematic language.
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THE LIGHTHOUSE: Here’s to sea shanties and bad booze and bodily fluids and visions of madness and Willem Dafoe doing a pirate voice and evil seagulls and aquatic horror and very bad roommates. One of my favorite movies of the year.
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I’ve heard countless filmmakers talk about trying to capture the feeling of an old Spielberg or Amblin movie. I think NOPE is one of the few movies to actually do that, and it does it with zero nostalgia-baiting. It feels playful and scary in all the right ways.
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STAR WARS: THE RISE OF SKYWALKER: I haven’t been this disappointed by a movie since STAR TREK INTO DARKNESS.
I sense a pattern.
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I thought SPIDER-MAN: ACROSS THE SPIDER-VERSE was astonishing, and evidence that folks have only begun to tap what’s possible with animation. Feels as monumental as SNOW WHITE and TOY STORY.
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THE FRENCH DISPATCH: Too much talk about Wes Anderson once again doing his Wes Anderson thing, not enough talk about how that Wes Anderson thing continues to be so funny, strange, tragic, moving, and filled with enough detail to fuel a dozen rewatches.
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I'm not even joking or exaggerating when I say that Brian Henson locating the negatives for "When Love is Gone" so it can be edited back into the 4K release of THE MUPPET CHRISTMAS CAROL is my favorite movie news in a long time. bbc.com/news/entertainment-a…
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Anyway, here's that Rian Johnson interview. I think it's a good one. We even talk about THE SPY WHO LOVED ME at one point. slashfilm.com/rian-johnson-i…
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I feel bad for anyone who enjoys THE BOYS because it’s sharp and funny and oddly sincere and then tries to read the comic series it’s based on and finds that it is anything but. I’ve never seen an adaptation improve something to this extent.
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Damien Chazelle is going to straight into director jail, because yes, this is the most irresponsible use of money to make a movie since CLOUD ATLAS. But I wish more movies were swings as big as BABYLON and CLOUD ATLAS. There’s about six movies worth of movie in these three hours.
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THE FORCE AWAKENS cares deeply about what *you* think about STAR WARS. THE LAST JEDI doesn't give a shit. It wipes the board clean and reinvents the game. (I really like TFA, but the difference is astonishing.)
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POSSESSOR, a film about how working remotely can be a literally dehumanizing experience, may be *the* movie of 2020.
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Marvel’s WEREWOLF BY NIGHT is a B-movie flavored monster mash that’s clearly made with love and passion by total horror nerds. As a Marvel fan and a horror fan, I hope they explore more of this corner of the universe. And I hope Michael Giacchino is given the reins.
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Geez, you folks weren’t kidding about KIKI’S DELIVERY SERVICE hitting especially hard if you happen to be in a position where your only passions have also become your means of income and how that weighs heavily on the soul.
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The rumors are true: the #SnyderCut is premiering at Comic-Con! It’s a secret venue, though. All you have to do is go to the pier and walk straight off it.
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THE CONJURING: THE DEVIL MADE ME DO IT is never as scary as the first two films, but there are infinite pleasures in watching Patrick Wilson and Vera Farmiga X-FILES their way through a sprawling occult mystery.
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FIVE NIGHTS AT FREDDY’S is some real R.L. Stine-flavored nonsense, but it’s going to make a whole bunch of 8-year old kids feel brave enough to become horror fans and therefore exists firmly on my good side. The Henson Shop creatures are honestly pretty magnificent.
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DUNE: Haven’t felt so many minutes fly by so quickly since FELLOWSHIP OF THE RING. The hottest people on the hottest planet, wrapped up in the coolest science fiction world onscreen in a long, long time. Loved it, loved it, loved it.
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And Benicio del Toro’s character is such a pointed critique of lazy, nihilistic “both sides” centrism. I can’t imagine the movie without these elements.
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So many white faces on stage for GREEN BOOK, a movie about how a white guy was nice to a black guy and fixed racism. Boo.
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And I'm done. If you enjoyed this thread, go read Slash Film Dot Com. @slashfilm
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I wrote about how THE LAST JEDI is a great STAR WARS movie because it doesn't care what *you* think about STAR WARS. slashfilm.com/the-last-jedi-…
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There’s apparently an entire contingent of horror fans who are angry that the PURGE movies “suddenly” got political and my goodness, I have no idea what to even say about that.
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It's been six months and I still think about THE LAST JEDI. I keep revisiting it. I keep being inspired and moved by it. It's just about perfect and should have made my top 10 of 2017.
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MIDNIGHT MASS belongs in the canon of Actually Good faith-based cinema. Flanagan wants to grapple with this stuff like Scorsese and Malick. None of that spoon-fed evangelical bullshit. As a non-believer, I’d welcome more like this.
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No one asked, but here you go:
1. Casino Royale
2. On Her Majesty’s Secret Service
3. From Russia With Love
4. GoldenEye
5. The Living Daylights
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Absurd how good Jordan Peele is at making movies. Absurd what a good actor Daniel Kaluuya is.
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People keep asking me to describe RRR and the most efficient way to do so is “It’s the thing Vin Diesel always thinks he’s making when he does press for a FAST & FURIOUS movie.”
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If HEREDITARY is about the dark family skeletons hidden away in the shadows, MIDSOMMAR is about the skeletons we proudly hang on the wall. Their visual styles reflect this.
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The fact that KNIVES OUT and GLASS ONION avoid trying to be timeless and just devote themselves to their “period” somehow makes them feel instantly timeless? And the audience like a time traveler, watching the equivalent of a Christie adaptation set in the ‘20s?
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Worst moment of Comic-Con was when a guy at the Q&A for HOUSE OF THE DRAGON declared “It’s Morbin’ time” to a thoroughly unamused Matt Smith.
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I’m gonna talk about that Tobey Maguire sequence on /Film Daily. Absolute lunacy. Imagining the execs who greenlit what felt like a down the road Oscar picture watching these dailies, jaws agape, heads in hands. This is a burn-it-all-down passion project. I’ll see it again.
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Here is a thread where Rian Johnson showcases more grace than all of the people yelling at him deserve.
For me TLJ 100% distills what the spirit & heart of SW has been in my life. But yes it is personal, it’s a certain pov, and it has to be - originals were personal for GL, that’s why they’re alive. SW films will truly betray the heart & spirit of the originals if they lose that,
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Is it controversial to think BIRDS OF PREY is terrific? Because it’s terrific, and if James Gunn had made the same movie, everyone would’ve completely embraced it.
(No slight against Gunn. Just think we’re undervaluing Cathy Yan here.)
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*whispers*
Maybe I should write a daily column where I break down every damn scene in THE LAST JEDI. Would anyone read that? Am I a lunatic?
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Growing up, James Bond was my thing to an obsessive, stupid degree. I still know all of those movies inside and out, backwards and forwards. I’ve seen the bad ones a dozen times minimum.
CASINO ROYALE is the best.
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Kids these days will never understand the joy of the Regal Cinemas roller coaster intro, and how the big popcorn kernel exploding always made one guy shout “Whoa!” every time you saw a major movie in a packed theater.
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Bong Joon-ho turning his acceptance speech into a tribute to Martin Scorsese and Quentin Tarantino is an all-time Oscar moment.
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US: Jordan Peele doesn’t just avoid the sophomore slump, he blows it up with a load of dynamite. GET OUT was no fluke and this terrifying, wild, and hilarious film solidifies him as the smartest, craftiest horror director working. Oh, and what a killer score.
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At the risk of turning Film Twitter into an angry mob...
CALL ME BY YOUR NAME and LA LA LAND are thematic cousins, linked through a shared understanding that you don't always end up with the most important person in your life.
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Between A QUIET PLACE and HEREDITARY, 2018 horror is making a strong case for never having children.
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Hey! I’m auto-blocking anyone who says I’m not a “real fan.” Bullshit response. I’ve loved these movies for literally my entire life. Disagree if you care to, but I don’t have time for that in my mentions.
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/Film is looking for two people:
1. A writer who is extremely well-versed in the Marvel Cinematic Universe.
2. A writer who is extremely well-versed in every corner of the STAR WARS universe.
This applies to folks who've written for us before and newcomers alike. DMs are open.
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