Thoughts

As a self-proclaimed “film nerd”, how is it that I hadn’t seen the masterpiece that is La La Land (2016)? This is rhetorical, of course, as I would only have the true answer, and now having finally seen it, I can say that confidently: I am an asshole. I’m a big Damien Chazelle fan, especially after Whiplash (2014), and this being his sophomore project that almost won best picture, what the hell, man?

You’d think with all the glazing I’ve been doing of the man with the recent release of his generational masterpiece One Battle After Another (2025) that I would’ve seen this already. Uh, apparently not. There is so much I could say about this film that it deserves its own dedicated breakdown, when I have the time or energy. But until then, let me first say that this has some of the greatest dramatic performances of all time.

I have mentioned this film a number of times in my journeys, primarily because of the stranglehold the concept of it has had on me. Needless to say, I finally got around to it (so I can get a good grade). I was not only mesmerized and unable to peel my eyes off the screen, but my expectations as a whole were completely shattered, in the best way possible. The Holy Mountain follows a thief, cleverly dressed as Jesus Christ, venturing through a heightened reality filled with re

Now, allow me to guide you through my descent of horror over the past week or so. I truly didn’t expect myself to go as deep as I went, as fast as I went, but hey, here we are. I started off easy, with my yearly rewatch of the Wes Craven classic, Scream (1996). Every year I make an effort to sit down and watch this one, especially with it being one of my best pals’ most favorites of all time for the holiday.

We lost Gene Hackman this past year, the legendary actor and star of The French Connection (1971), directed by William Friedkin. This film is dark and gritty, and exactly the kind of realistic action/thriller I live for experiencing. Hackman portrays Popeye Doyle, a tough-as-rocks narcotics agent on the tail of a big international heroin score.

More complexly put, it delicately walks the tightrope of being commentary on our sociopolitical landscape and simultaneously being a laugh-out-loud satirical comedy. Oh, and it’s an action film. PTA pulled out all the stops for this one, not only assembling an ensemble cast led by Leonardo DiCaprio, Benicio Del Toro, Teyana Taylor, Regina Hall, Sean Penn, and newcomer Chase Infiniti...

The performances by Denzel Washington and Jeffrey Wright steal the show. Fantastic comedic and tense moments are offset by a majority of cringeworthy dialogue and the most awkward scoring choices I’ve ever heard. It felt like watching a soap opera at more than a handful of moments. Going off of that, the police dialogue had to be some of the worst I’ve ever seen. The redeeming moments are within the tense action scenes, led by the direction of Lee with Denzel on the move.

I have seen almost all of the Coen Brothers’ films, but Barton Fink (1991) continued to slip under the radar. And how? This is easily their most creative and inventive story! It follows John Turturro as the titular character, a neurotic young man who writes plays for the theater in the 1920s.

In Eddington, Mr. Aster takes the thrilling components of his horror efforts and reshapes them into a contemporary Western black comedy. A wild departure thematically from his other work, but it utilizes a lot of the tropes that he’s become famous for. The story surrounds the small town of Eddington, New Mexico, where a liberal mayor and a conservative sheriff go toe-to-toe over the political strife of the COVID-19 pandemic.

The story has been adapted to the screen at least twice, most famously by Spielberg in 2005. This time, they took the overdone “everything is on the computer screen” approach and stuck Ice Cube front and center to put on a show. But he does anything other than put on a show, he practically sounds like he's reading the script for the very first time with his finger dragging across the lines as he reads.

Since Whiplash (2014), Damien Chazelle has been at the top of my list when it comes to watching new releases. So, when it came out that he was making a three-hour epic about the pre-sound era of Hollywood, I was more than sold on the experience. That was until I actually got around to watching it and got to that fateful opening scene with the elephant. If you haven’t seen the film, I won’t spoil it here, but just know there is fecal matter involved.

All this to say, I did start the week off strong with a viewing of each of Gregg Araki’s entries in his Teen Apocalypse Trilogy from the mid-to-late 90s. The trilogy includes Totally F***ed Up (1993), The Doom Generation(1995), and the conclusion to the saga, Nowhere (1997). The films are loosely connected by themes of queer alienation, rage against the establishment, and an inherent nihilistic perspective on life and the future.

The story follows Luke Wilson as a quite literal average Joe who gets roped into an army science experiment to be frozen, which, of course, goes wrong. He wakes up five hundred years later, as everyone has become insanely dumb through generations of inbreeding and bad traits passing down, he is the smartest man in the world.

This is a notorious, or rather infamous, film for a number of reasons I’m about to get into. But I’ll start with this: Paul Thomas Anderson accomplished what this film wanted to be with his late 90s hit Boogie Nights (1997). PTA skillfully, and more importantly, tastefully weaves pornographic story elements with clever cinematography. Caligula is not that.

Hazy recollection of the recent week’s days. It was a full and long week of work, and I was really feeling the monotony this time around. You know you’re cooked when you show up to work and immediately start creating checkpoints for yourself. “Okay, we just gotta make it to nine o'clock”… Then, “Now, ten”…

The story follows Kyle MacLachlan as a young man back from school in his small, idyllic American suburb when he stumbles across a severed human ear in a field. After taking it into the local police station, his curiosity gets the better of him as he sets off into the secret underworld of a town once thought to be innocent.

With themes reminiscent of Aronofsky’s Requiem for a Dream (2000), this film takes a comic approach to the horrors of drug abuse and addiction. It follows four friends united by opium addiction and a life of robbery and crime overall to sustain the habit. Ewan McGregor leads the cast as Renton, a soul grappling with the harsh realities of his present and (lack of) future as he fights to find a way out of the vicious cycle.

The film follows Jordan, portraying twin brothers, gangsters who have been holding out in Chicago, and are now returning home to the South to open a juke joint. The story takes its time getting us acquainted with not only the twin brothers, Smoke and Stack, but their friends and family who unite under the roof of their new bar for the turning point of the film, when the vampires come out…

Nathan goes above and beyond this season in analyzing the issues behind cockpit communication between pilots and their first officers. He opens the season incredibly honestly, not making jokes or trying even to make something overtly funny at all, instead, establishing the key problems he has been studying from plane crashes around the world.

In the twilight years of his career, Mr. Kurosawa blessed us with his legendary retelling of William Shakespeare’s King Lear; Ran (1985) is a war epic surrounding a medieval Japanese warlord as he desperately seeks to retire, all by giving away his vast empire to his three sons.