Thoughts

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.

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.

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”…

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.

Requiem for a Dream earns every ounce of respect and infamy it has earned over the years. This is not for the faint of heart whatsoever. The story follows an interconnected group of diverse characters in the slums of New York City in the 90s as they struggle through progressively worse addiction. Jared Leto leads the cast as a young son and boyfriend who comes across a “great idea” to start slinging the drugs he and his friends are so hopelessly addicted to.

This one I hold close to my heart just due to the immense weight of its emotion and how it digs its claws into your soul and carefully dissects it by the time the credits are rolling. The story follows Charlie, a young high schooler who doesn’t have any friends and is simultaneously dealing with some harsh personal trauma. What strikes me about this film is the direction by Chbosky, who clearly had a vision for this novel coming to life prior to his making it.

This is Spike Lee at the absolute top of his game, weaving cinematic spectacle with hard-hitting rhetorical questions about the consequences of America’s greatest sin. The opening scenes are almost a celebration of many films before it, before quickly devolving into the horrors Malcolm would experience, leading to the tumultuous and eventually life-taking journey of religious and spiritual, and moreover, societal acceptance.

Hess’s semi-live-action film adaptation of the famous game is not a letdown. It is a recurring event of corporate greed dominating creativity. Which is pretty ironic given the game’s structure. As of writing this, the movie has raked in close to seven and a half million dollars worldwide.

I started with the brand-new release on MAX that is Companion (2025), starring Sophie Thatcher and Jack Quaid in the lead roles. This is a black comedy, horror, thriller film that delves into the world of artificial intelligence and how our relationship with it is likely to evolve.

While hilarious in many regards, what makes this a standout film to me is the rapid switch into serious drama between the characters, where life and death are considered. The first two-thirds of the film or so are a straightforward hangout comedy, with an ensemble cast of characters messing with one another as they go about their daily lives. The final act completely subverts the audience’s expectations...

“So, what? No fuckin’ tariffs?” – Anthony Soprano Jr., probably. I'm kidding around, But I can’t help but give a quick perspective on the absurdity of the Trump administration over the last few weeks as the American markets have plummeted and then shot back up and ducked again.

Last week, we were blessed with the trailer for the new Paul Thomas Anderson film called Once Battle After Another this September.

Breaking Hollywood news! And some fantastic news as such! Variety has confirmed over the past few days that...

There is something special about hiding indoors amidst the cold. Trying to remain positive here.

“…Because I’m champagne, and you’re shit. Until the day you die.” One of the final lines uttered by Jon Lovitz’s character...