Mother Mary: Anne Hathaway vs. the Nope Alien

★★★—A movie that asks, after an hour of nonsense, what if Taylor Swift was possessed by the Nope alien, except red.   

Solid but confusing as shit. About a popstar of the Gaga/Swift persuasion who is losing her humanity, so she goes back to the last person she was able to relate to as a normal person, her old dressmaker, whom she has had a falling out with. This is all if you are looking at it as metaphor. I don’t see the world like that, I’m way too literal, but I try to look for it. This one, I really struggled with. So this red ghost/demon/alien/ribbon is the popstar chick’s humanity? But it is possessing her? And that is a bad thing? What is happening? 

It’s also like the 5th popstar horror movie I’ve seen in the last couple years. Not sure it knows what it wants to be. A few minutes in I start thinking it’s not horror. Then we get some Suspiria Markos Dance Academy shit. Maybe it is horror. Then it veers toward queer relationship movie, but pulls back. And then goes back to horror again, I think.    

Whole movie henges on three actors—Anne Hathaway, Michaela Coel, and Hunter Schafer. Coel was in one of the Black Panther movies, a Star Wars flick, and some Black Mirror. Schafer is the young lady from Cuckoo. Hathaway needs no introduction. She always bringing it. Plus, she has looked 30 for the last 25 years. Hasn’t noticeably aged at all since the Dark Knight Rises. They pull it off.    

Overall, some things to like. Music is surprisingly solid. Great performances. Feels like a play. Highly stylized. Exceptionally beautiful…. Not a single line uttered by a man, which is interesting. But nothing happens. One hell of a swing. But it goes foul. Trying too hard. Plot was not my cup of tea. Got bored more than once. Took a long time to get going. 

Louis Theroux: Inside the Manosphere

 

★★★—Eh, it was fine. Following around a bunch of boring douchebags who constantly do and say outrageous/stupid things gets old super quick. The doc doesn’t really take these losers desperate for attention to task in a way that’s worth watch. I think this could have been done better. It gives these guys too much of a platform, doesn’t go at them hard enough. For the most part it implies people who give these dudes the time must be really lost… what they touch on briefly at the end is that the people that watch, and are being influenced, are children. So, yeah, fuck these guys. We get a glimpse of this disturbing, dangerous world, but it could have been more. 

The Bride: I Prefer Not To

★★—The Bride? More like The Ex. Am-I-right? I sort of liked this, at first. It seems that it is universally hated, but I thought it was sweet, though incredibly unfocused. I think it would be more accurate to say I wanted to like it… But the more I think about it, the worse I feel about it. 

 

Recent Oscar winner Jessie Buckley is Jean Harlow is Marla Singer… with some shit on her face. She’s also inexplicably possessed by Mary Shelley some of the time. Quotes Melville a lot, ye olde “I prefer not to.”

 

Some Gyllenhaal-on-Gyllenhaal action. Maggie directs what I assume will be her last film for a while. Jake plays a Fred Astaire type that Frankenstein is really into. Speaking of weird siblings, this super niche Swedish electronica band, the Knife, showed up playing not period music. The band is made up of Karin and Olof Dreijer. You can’t miss them. Karin looked more like a zombie than Frankenstein. 

 

Like Christian Bale in everything. This was no different, though it was no Big Short. People are constantly trying to fuck with him. Kids, if you are listening, picking a fight with a large man that looks like that is ill-advised. Then again, he passes as a waiter at one point. Am I sure I liked this movie? 

 

Takes place in the mid-1930s, roughly around the time Bride of Frankenstein came out. Love a period piece, usually. Way more dancing than I was expecting. Lot of film references. Ones I recognized, in addition to Bride of Frankenstein, include Bonnie and Clyde, Natural Born Killers, Moulin Rouge, Poor Things, Young Frankenstein. 

 

Overall. Too long. Too referential. Too little substance. Plot is insane, but not in a good way. Everything with Peter Sarsgaard and Penelope Cruz was unnecessary. 

Soul Power: The Legend of the American Basketball Association

★★★★--Loved this well-done documentary about the American Basketball Association, an NBA rival with a different style of play that merged in the mid-1970s. There are many extremely engaging first‑hand accounts from figures like Julius Erving (aka Dr. J), George Gervin, Larry Brown, Artis Gilmore, St. Louis Spirits owner Daniel Silna, Dan Issel, Spencer Haywood, and Bob Costas, all of whom got their starts working for ABA franchises. Common, whose dad played in the league, narrates. Even if you know nothing about professional basketball, it's still a solid watch. 
 
Most interesting part is the business aspect, going through the successes and mistakes along the way that helped them survive and die out. A big win was that they acquired the second best player on the planet at the time, Julius Erving. He was the face of the league from 1971 to 1976. He is pretty universally considered one of the coolest people ever and was something of a proto-Michael Jordan, both on and off the court. They also nearly got the best, Kareem, but the league commissioner, George Mikan, a former pro and Republican politician, low-balled him, costing Mikan his job and probably ultimately killing the league. 
 

Erving was definitely the star of the doc, just as he was the star of the league. Dude is cool and charismatic as hell. A pretty safe choice as your marquee player, he was a black icon, but didn’t venture into racial politics, which I find disappointing but white dudes of that time were already well into that “shut up and dribble” mindset. 
 
It’s wild that the NBA still shits on this league that gave it the slam dunk contest and the three-pointer. The end talks about how the players from that league got screwed out their pensions until recently even though that was part of the agreement when the merger happened. Also, the NBA doesn’t count ABA stats, basically still arguing the league was inferior. It was not, and they even played about the same number of games each season, which makes things easy.
 
Just a couple little complaints. Something I hadn’t really noticed was the way some ABA teams made an effort to draft local college guys to boost ticket sales since people from the area were already fans of many of these guys since high school. I wish they had gone into this, but it isn’t even mentioned. It was something I noticed and then did some half-assed internet research to confirm it. There were several Indiana guys that played for the Pacers those years, guys from Notre Dame, IU, and Purdue, one from University of Evansville, and some regional players from various Michigan and Ohio schools. 
 

Another guy that stayed in the state where he was a college legend was Hall of Famer Dan Issel, who was one of the players that gets a lot of recognition in the documentary, and is still University of Kentucky’s all-time leading scorer. His three years on varsity (this was when freshmen weren’t eligible, which is stupid, this being 1967-70 were a pretty exciting time for college basketball even though those Kentucky teams always underperformed, losing in the round of 32 each of the three years he played at UK. This was during UCLA’s dominance with Kareem Abdul-Jabbar (Lew Alcindor at the time) winning national player of the year in 68 and 69. Regardless, the SEC was still the conference to be in with Issel and Pete Maravich of LSU as the top two players. Maravich in just three years is still the NCAA’s all-time leading scorer with at a more-or-less untouchable 3,667 points. He averaged and incredible 44.2 per game and his pickup style game was practically made for the ABA. He was another of the league’s prime targets (which isn’t mentioned) but stayed in the NBA. 
 

Interestingly, Kentucky didn’t integrate until the year after Issel graduated. It wasn’t until he played in the ABA that he ever played with a black person. The racial aspect of the film, while interesting, was maybe a little overplayed, calling it “the first integrated workplace in the United States.” It’s not like racism wasn’t rampant then or now. 
 
The only other thing that disappointed me besides trying to keep local college players with nearby teams wasn’t a fault of the documentary. It was that more footage hasn’t survived, especially from the early years.
 
Lastly, loved that my beloved Indiana Pacers were featured. There was a great local PBS documentary about those championship teams that came out in the early 90s. My uncle played ball with two of the guys in the doc, Billy Keller (my uncle was on JV when Keller was the man there) and George McGinnis, both Indiana Mr. Basketball winners. My uncle, Bob Jones, career was sandwiched between the 1965 Washington championship led by Keller and the 1969 championship led by McGinnis. They drafted a third Washington guy in 73, a guy named Steve Downing who played at IU, but he ended up going to the NBA. Again, wished they would have focused on the local guys aspect a little more.

Scream 7 is trash

Stu, you know, this guy.

★★--Oof. This film was all-nonsense. Kevin Williamson really fell off. Here are some of the things that really stuck out as stupid from this movie… 

 

The panic room that makes no sense, they leave, and you can access through the wall. Why even have a panic room? Also, why don’t you have more guns? And why can’t you shoot for shit? Also, Joel McHale, Sidney’s husband, is the town’s sherriff, you’d think maybe he’d have the cops he works with protect his family since Ghostface is actively trying to kill them. And it has long been heavily implied that Sidney’s husband was Detective Mark Kincaid from the third movie. In maybe Scream 4 we are told that he is named Mark, but now it’s this other Mark. I guess that name isn’t off the table for ole Sid, which sort of implies that they never had a serious thing going on. Ok. 

 

Ger.

Speaking of dumb retcons, spoilers below, Matthew Lillard is back as Stu Macher, sort of. He is pretty funny and obviously having a good time. Is that a positive though? Overall, the characters in this film are bad and include all the stereotypes except athlete. Have the boyfriend. The weird boy They are played by Asa Germann and Sam Rechner and are interchangeable. The black BFF. The gay guy. The theater chick, who was the only one of them I recognized. Played Mckenna Grace from the post-covid Ghostbuster films and who was just in that Regretting You movie. And the survivor girl. They all barely have names.  

Woman that plays Sid’s daughter, Isabel May, at least looks super cute. She does look 30 though. Is 25. Her face is kind of an amalgamation of Juliet Lewis, that Linda Cardellini woman from ER and Freaks and Geeks, Alison Lohman from the aughts, Maria Bello, and some Jennifer Lawrence. 

 

Gail is still a bitch. Though now she’s traumatized. You feel sorry for her. Courteney Cox looks pretty good compared to the other last few movies. She’s crazy as fuck though and she moves like an old lady. Neve Campbell is back as Sidney nee Prescott. Everything about her character and performance were lame. And Jimmy Tatro who I still think of as the alleged dick-drawer in American Vandal is there as the dumb guy half of the standard opening kill. 

 

Camp, who seems like a real C U Next Tuesdee, talked a bunch of shit on social, saying “The boycott didn’t work. The critics hate didn’t work. The pathetic leaks didn’t work. What worked was audiences coming out and making the film a success.” I’d wait to see how long you stay in that top spot before doing a victory lap, but that’s just me though. 

 

Which brings me to the two main legacy characters from 5 and 6 that aren’t there and are never mentioned, which is super weird, while Randy’s niece, played by Jasmin Savoy Brown, and nephew, Mason Gooding, are there for reasons that make no sense. Mason is Cuba Gooding Jr.‘s kid. Jesus, he is extremely handsome, even by nepo-baby standards. He is a legit future STAR, in my opinion. I’ve been holding onto his stock since Scream 5… But it hasn’t paid out quite as much as I would have expected at this point. Maybe Heart Eyes and this will change that. Two franchises ain’t bad. Also, Hollywood isn’t forcing him on us like Austin Butler. He seems to be coming up surprisingly organically. 

Ger.

Anyway, so I guess Gooding and Brown will carry the franchise on going forward since they conveniently survived. That Melissa Barrera girl got fired because she told the truth about Israel engaging in state sanctioned terrorism. This resulted in the previously mentioned boycotts. Yeah, fuck that Camp lady. I guess Jenna Ortega is too big.

Some more shit is that when the first sort of red herring Ghostface guy gets dispatched in record time, they sure do take their time on masking the guy. When they finally do, you can see why. It was just some crazy guy.

 

They introduce AI into the plot, like someone has made an app or whatever where users can change into legacy characters. Just cheesy as shit. I briefly suspected it was Joel using the program because of their similar heights and looks and weight and what not. Not long after Stu shows back up, we get a story from a crazy guy working at the local mental hospital. I recognized him from all kinds of things from the 90s, including Dutch and Can’t Hardly Wait. He tells Sidney that Stu is alive and has amnesia. Yeah, things t’s getting crazy. But, you know, recognize that guy. So obviously he’s the killer. Or one of them. At one point, in regard to Stu possibly being alive, Randy’s niece starts talking about the rules. “Ridiculous retcon by any franchise standards,”she says. Her brother then says something like “we’re not doing the rules anymore.”

 

Lastly, the killer has unexplained super strength. Ghostface lifts some guy by the head, puts his head through a pointy tap, and then beers starts coming out of his mouth. I guess that was cool.

There is one good thing, a 15-minute stretch that is as tense as anything in the franchise. Things got a little rowdy in my theater on opening night during that run. But it didn’t last, and afterwards I heard everyone universally talking shit, even people that didn’t look like cinephiles, if you know what I mean. 

Immediately upon leaving the movie, I had it second to last. VI I had lower. But after writing about this a little bit, I now think this seventh film is the nadir. My ranking is Scream, 4, 2, the fifth one just titled Scream (2022), 3, VI, and 7. The original is a five-star movie. 4 and 2, four stars. 5 three stars. 3, VI, and 7, two stars. If it weren’t for that tense 15 minutes, this would be a one-star movie. On a related note, I’m done with this franchise. Unless the next one has insane buzz, I’m not falling for this again.

How to Make a Killing: More like How to Make a Shitty Movie

★★--Yeah, not good. In fact, bad. Cast was good. Story was dumb. Directing wasn’t great. But fine. Nothing I haven’t seen before. Based on some book from 1907 apparently. There have been like 10 adaptions or so. It’s like the Dracula/A Star is Born of whatever the fuck genre this is. 

 

Glen Powell stars as Becket Redfellow, a dude last in line for an obscene amount of family wealth. He’s basically his Chad Radwell character from Scream Queens without the support of his billionaire family. Hollywood really wants him to be a star. Sounds like George Clooney. Looks like a forgettable Hemsworth. Him and Austin Butler are the biggest Hollywood plants there are. I don’t think either one of them are real A-Listers. No Timothée Chalamet for example. This is our new dude? His stick is thin. Basically charming douchebag that wears a lot of disguises. How many fucking times can I see this and a year or so. This is the third time I’ve seen this in a year. Female lead is Margaret Qualley, who is indeed hella fine. She plays the rich bitch Becket pines over. She’s ok.

 

I used to like Ed Harris, who plays Powell’s asshole scion grandfather. I’m confident I haven’t liked him in anything in the last 20 years. Jessica Henwick, sort of recognize her from Glass Onion: A Knives Out Mystery, plays the normal hot girl, as opposed to Qualley’s unattainable hot. Which reminds me, no idea what this movie is trying to say. Ditch the nice girl for the one that is insanely hot and exciting? Well, yeah.

 

Ger.

Rounding out the cast are Zach Woods from Silicon Valley and The Office, and Jude Law’s kid Raff. They are cousin fodder in the way of extreme wealth. Their crime was being born rich and being douchebags. Woods isn’t a deathworthy douche... Law is, though. Also get a really good two minutes out of Topher Grace. He’s another douche cousin. This one a megachurch pastor. 

 

Had decent hopes going in but was disappointed after the first 20 minutes. Directed by one John Patton Ford. His only other film is Emily the Criminal, which was halfway decent. Overall, this film is trash. Felt too long. Also crazy confusing. Not sure who the redhead guy married to Qualley’s character is or supposed to be. Also, spoiler, no idea how Powell was framed for his murder.

 

The most insane thing about the movie though is the passage of time. I was sort of thinking wow he’s really coming up in the world in the month or whatever it’s been since he killed his first cousin. Then in queue shows up for like the third time and it’s like, “remember when I saw you two years ago?” WTF? How much time has passed? Pretty sure this movie legit covers like 45 years.

Good Luck, Have Fun, Don’t Die: Powder does air-guitar

★★★★--I loved this movie, though it was far from perfect. The realest, darkest comedy you’re ever gonna see, yes. But it also has a giant man-eating cat with a giraffe neck made of other living cat heads and a body of a goat that pees glitter. Yeah, when it eats, the little cat heads on the neck sort of puke out glitter. Once you get there, you realize “oh yeah we’re in a Black Mirror episode.” An AI nightmare. 
 
The person I watched this with was physically angered by this development. He said he almost walked out at that point and ultimately wished he had. “It was like a movie about AI written by AI,” he groaned. Personally, saw that as part of a long critique on the dangers of AI and a subverting what has been a cliché my entire life by making it realistic. Because we’ve all seen our fair share of AI crap in the last couple of years, we recognize a “shitty prompt” when we see one. As Michael Peña’s character says, “[AI] is gonna get so much worse,” or something like that. And elsewhere, “You’ve normalized this... You just can’t see how bad it’s gotten.”
 
Speaking of, I hate that guy. The actor. Scientologist, ya know. He was especially irritating in this… But it does have three of the most beautiful women in the world, all of whom start out at this random diner. Though it is in Los Angeles. They are Haley Lu Richardson (she’s the Florence Pugh looking young woman in the second season of White Lotus), Zazie Beetz from the second Dead Pool movie, and Juno Temple (she plays the popstar Keeley Jones in Ted Lasso). Sam Rockwell and White Lotus Florence Pugh were both great. Rockwell is on fucking fire as the Man from the Future. And unhinged. 
 

When talking about AI, the future man says shit like “There's some shit that's about to come down that I can't prepare you for. It's going to try to give you everything you ever wanted, but in the end, it will all be a lie.” And “Somewhere inside of you, you know the way things are, the way we're heading, the way people are with each other. You know the world's going to shit.” This is indeed how things feel at present. We all know this. It was nice to hear this in a creative film. Basically saying AI is super bad, but we are already fucked. No putting that genie back in the bottle. It is inevitable. Which is interesting and true, but also kind of where the film falls apart. 
 
For example, at some point it becomes clear that future man is at that diner because there is someone there he knows, which is obvious pretty early in the movie but is shown as a big reveal. However, because he knows her in the future, he doesn’t pick her until this time, the 117^th time he has tried and failed in this missing, wanting to keep her safe. If he wanted to keep her away from harm, why doesn’t he go anywhere else? One of several things that don’t make any fucking sense and make this confusing as hell. 
 

As far as the characters and the, spoiler, failed mission, I think where they made the mistake (assuming they were in reality at any point in the movie, because maybe they weren’t) was when they put the USB in the box. Was glad it was not a happy ending, because society is beyond fucked and AI fucking things up even more is just around the corner. That’s how reality really works. Can’t have a happy ending AI movie. We’ve been warned about it all these years and now it’s here. And it fucking sucks. Who could’ve predicted this? That’s $1 million question and now we’re just sitting back waiting on it to ruin the world more than it is already fucked. 
 
A return to directing for Gore Verbinski, who is one of the most hit or miss directors of all time. He’s been in director jail for the last decade since A Cure for Wellness bombed hard in 2016. The hits include Mouse Hunt, The Ring, the first two Pirates of the Caribbean movies, The Weather Man, and Rango. The rest, all more or less unwatchable, were The Mexican (at one time a guilty pleasure), the third Pirates of the Caribbean movie, and the truly god awful The Lone Ranger with Johnny Depp as fucking Tonto and “100% a cannable” Armie Hammer as the Lone Ranger. Yeesh. Did result in one of the greatest Onion headlines of all time, “Ecstatic American Indians Praise The Lone Ranger: ‘Finally Our Story Is Being Told,’ Tribespeople Say.” 
 

Ye olde finding-the-omnipotent-bald-child routine

Overall, highly recommend. Beautifully done. Fantastic opening. Dialogue is great. Super entertaining. Lot of homages to genres films, especially The Terminator, 12 Monkeys, and The Matrix. Also, Groundhog Day, Her, and Edge of Tomorrow. But won’t be on my top 10 come the end of the year as there are complaints. 
 
It reminded me of one of the worst movies I’ve ever seen, Miracle Mile. I was super into Denise Crosby sexually as a small child and watched everything she was in. This one angered me at the time, a lot to do with the film’s bleak cynicism. Apparently, I’m not the only one who thought this. I remember the film implying a dream out and then being like, no this is real, which I found bullshitty. So obviously not something for the positive column. Though I appreciate Don’t Die’s absurdist cynicism. 
 
Powder doing air guitar is the lamest thing I’ve ever seen. Didn’t need to be two hours and 15 minutes long. But what do you trim? The film’s ending, and probably ours, is The Matrix where humanity thinks they’ve won. Sort of a bullshit ending. Was any of a real type of bullshit that I hate. Thought it was very good up until the last 10 minutes. Again, the beginning was absolutely amazing. The second act was pretty good. Third act was pretty good until it fell apart at the very end. Sort of leaves you disappointed at the end, but that’s OK. Funny but sad as fuck.

The Housemaid: Good for her

★★★★--Love a good bitty-driven erotic thriller. Kind of hot at times. Hard to watch at others. Still glad I saw it, and it’s still out in theaters, which seems like a good sign. 

Amanda Seyfried Is pretty amazing. Sydney Sweeney and her “good jeans” are smokin’. Directed by Paul Feig who does a lot of random TV, created Freaks and Geeks (which I love), and directed Bridesmaids (one of the most hilarious movies of the 2010s). He’s competent. Don’t think I really care for the male lead, one Brandon Sklenar. He’s 0-for-2 in the last couple months with another wooden performance in last year’s Drop.
 
Has some Single White Female/Hand That Rocks the Cradle vibes. It’s a lot of fun though predictable and not everything makes a whole lot of sense. One of those good-for-them flicks.

Send Help: Raimi's still got it

★★★★★--Super early yet, but this is my favorite film of 2026 thus far. Sam Raimi makes one hell of a horror movie. No one does splatter and gross-out humor like him. And he keeps you guessing. This movie was fun as shit. Go in knowing just what you see in the trailer.  
 
Caught Raimi's three common easter eggs in all of his movies ("The Classic," the Evil Dead necklace, and Bruce Campbell). Most of the time they are pretty easy to spot. I was sort of surprised I saw all of them in this flick as I'm not very observant and these were somewhat well hidden.  My favorite of the three was the Bruce Campbell portrait in the son's office. 
 
Anyway, yes, this is the ultimate "good-for-her" flick. No character is a true hero or villain in any Raimi movie, even the superhero ones. Such is the case here to the extreme. For example, the male lead, the POS CEO played by Dylan O'Brien (he is mostly thought of as the guy in those Maze Runner movies) is comically unlikable. Every time you think he is actually alright, then he comes back extra douchey, practically screaming "fuck you for thinking I'd change!" But you understand why he is that way and sort of feel for him in the end. 
 
Rachel McAdams is always fantastic, but is all-time here. Surprisingly does a pretty good job of making her kind of gross early on, but she's smoking by the time she is on the island. Doesn't surpass Regina George, but the woman has range. I'm sure this will go down as one of her most memorable performances.

Push: Evading a supernatural killer while having a baby is what Republicans think abortion is

★★★--Tense home-invasion having a baby while evading a killer movie. Really ups the ante here. Some memorable shit goes down, which the flick definitely has going for it. There are some good, scary scenes, most notably one featuring an elevator. 

 

Directed by David Charbonier and Justin Powell (they directed The Djinn together a few years back), and starring Alicia Sanz and Raúl Castillo (never seen either of them before but they were solid). It was alright. 

 

I was crazy about it until the third act. Becomes a real bummer of a movie at that point, and maybe goes supernatural. The end also implies that the survivor girl and her baby actually die and the killer is out on the loose. Then it all could have been a dream. Pretty obnoxious.

Presence: Soderbergh offers fresh take on the haunted house genre

★★★★--Told from the point of view of an unseen spirit, the film was really interesting and fresh. Takes the familiar haunted-house setup and gives the audience this intimate experience. We are inhabiting the ghost’s perspective as it observes a family unraveling. Good stuff. 

 

Lucy Liu is the only real star. She is still great and looks as good as she ever has. Julia Fox, the woman from Uncut Gems with hella ass, makes a brief appearance. Chris Sullivan, who plays the dad, I’ve seen around. He also delivers a strong performance. I see he and I are the same age… The kids, Callina Liang and Eddy Maday, are better than fine. 

 

Steven Soderbergh is so good with restraint. Turns the new family home into a space of tense, unspoken trauma. This meditative, unsettling thriller that lingers. Even made me pretty emotional. So many bangers from that guy. For whatever reason I don’t think he gets talked about a whole lot, but dude always brings it and is crazy prolific. I will see any movie he makes as long as he is making them. 

Neighborhood Watch: How much Jack Quaid can you handle?

 

★★★★--Jesus, how many movies was Jack Quaid in last year? This one was pretty fun. Low budget regular Shmo‘s thrown into an investigative situation. My kind of flick. has some flaws. Gets a little off track at some point. But rights the ship in the end. Reunites Jeffrey Dean Morgan and Malin Ackerman from Watchmen. Sort of funny because of Quaid and The Boys. I really like all three of those actors. Directed by one Duncan Skiles. I’ve seen and liked two of his three feature-lengths, the other being The Clovehitch Killer. Not a bad flick.

Top 10 of 2025: 2. Sinners

★★★★★--One of three movies I watched this year where a single actor played twins. Most years this would have been my favorite film. There is a polarizing scene where past and present come together and time gets transcended. I thought this was genius. However, I could hear people laughing and mocking this in the theater on opening night. WTF? I’ve talked to people that felt both ways. Regardless, amazing music and story and an abrupt needle drop that flips the genre from a musical drama to horror. If it stuck with one genre, I still would have loved it.  Michael B. Jordan is incredible, as are Miles Caton, Hailee Steinfeld, Wunmi Mosaku, and Delroy Lindo. The guy that looks like Popeye Jones is pretty solid, too. Incredible flick. 

Top 10 of 2025: 3. Eddington

★★★★★--Another film that I absolutely adored that I suspect will be in my top 10 for the decade. A Covid movie about mask mandates, political divisions, and unwillingness to compromise, even when it means death. 

Shares some DNA with Needful Things, except the thing that they all want is a speck of power.  We basically see a man whose desperate grasps for authority results in further loss of power/control, a guy that can’t get out of his own way. He’s not the only one, of course, as everyone lives in their own separate reality. Everyone realizes there is something wrong, but what that is and who they blame is different, even though in the end, they all have the same enemy. 

Great performances from a great cast—Joaquin Phoenix, Deirdre O’Connell, Emma Stone, Pedro Pascal, Austin Butler, and others—another Ari Aster home run. His fourth film—Hereditary, Midsommar, and Beau Is Afraid—he hasn’t made a bad movie in my book. For me, this and Midsommar are my favs. 

Top 10 of 2025: 4. Good Boy

★★★★★--Oh my god. I cannot even write about this movie without crying. Yet another example of how we don’t deserve dogs. This is an awesome take on animals being able to see into the spirit realm. I don’t think any film has made me cry more. Love that Indy, the dog star of the film, is raking in awards. He is really the best boy. I LOVED this film. 

Top 10 of 2025: 5. If I Had Legs I’d Kick You

★★★★★--Ever feel like you’re on the edge? Well this is the movie for you! It’s also about massive holes, both real and metaphorical.  One of two really solid mothers under extreme stress movies this year (the other is Die My Love). In this one Rose Byrne stars as a woman that is worse off than being alone. All the men in her life (her neighbor played by A$op Rocky, her absentee husband played by Christian Slater), hell, pretty much everyone in her life (example: the hotel manager played by Ivy Wolf), is actively working against her. 
 
No one listens to what she needs, offering what they think is best, things that are not at all helpful, never giving her any answers about what she can do to help her child and herself. “Why won’t you listen to me! I just want someone to tell me what to do,” she tells her psychiatrist, played by Conan O’Brien. This while people like her child’s doctor, played by director Mary Bronstein, tells her “I’m on your side here.” But she’s not. Setting unrealistic goals for the child’s progress. “You set us up to fail,” Byrne says. The only person that seems to understand is a patient of hers, Caroline, played by Danielle Macdonald, who is contemplating murdering her child. She at one point abandons the infant with Byrne, saying “you know” in a way that acknowledges the horror at the center of the movie. 
 
Just Bronstein’s second movie. Her first since Yeast from 2008, which starred herself, Greta Gerwig, and Benny Safdie. Gerwig seems to have been in roughly 100 movies from 2008-2012. This one is great and should be required viewing by shitty dads. 

Top 10 of 2025: 6. Dead Mail

★★★★★--This was a movie my friends and I were watching trailers for movie night, noncommittal on what we wanted to watch when we came across this. Everyone was instantly enthralled. Goes back to the 1980s Peoria, Illinois to tell a story with high creep factor (actor John Fleck is always unsettling) and loads of suspense involving physical mail and one of the effortlessly coolest characters I’ve ever seen, Jasper, played by Tomas Boykin. Co-directed Joe DeBoer and Kyle McConaghy, if you have some nostalgia for video store finds from childhood, genre fans so of course you are, this is the perfect Saturday night flick with other cinephiles.

Top 10 of 2025: 7. Jay Kelly

★★★★★--Movie about looking back after a lifetime of success and realizing you fucked up. Watched this the day before my sister’s wedding. A wedding I was officiating. Seemed like the best movie possible going into the occasion. 

George Clooney plays title character Jay Kelly, who is a famous actor much like George Clooney who also starred in all the same roles the real George Clooney starred in. Things get pretty meta. He is always wonderful, this maybe especially so. Noah Baumbach directs. Wrote it with Emily Mortimer who plays Jay Kelly’s hairstylist.

 

Rest of the cast is star-studded. Adam Sandler knocks it out of the park as Jay’s manager Ron. He has a wife back home, played by director Greta Gerwig (who is Baumbach’s real life wife), but he also has unresolved history with Jay's publicist Liz, played by the ageless Laura Dern. Billy Crudup is an actor/former friend of Jay’s that he screwed over to get his big break. Elvis’s granddaughter Riley Keough is Jessica Kelly, Jay's elder daughter, while Grace Edwards is Daisy Kelly, Jay's younger daughter who he did a little bit better of a job raising. Stacy Keach plays Jay’s dad. And Patrick Wilson plays actor Ben Alcock who is also an A-lister managed by Ron but is not quite on Jay’s level of stardom.

 

While I loved it, it kind of lost me in the last 30 minutes before correcting course to stick the landing. This wonderful meditation on aging, legacy, power, perception, family, stardom, celebrity, celebrity worship, friendship, brotherhood, betrayal, and guilt. Yeah, it’s pretty great.

Top 10 of 2025: 8. Freaky Tales

★★★★--This technically came out in 2024, but you couldn’t see it anywhere until 2025. So I’m including here.
 
God, I’m a sucker for whacky, blood soaked anthology movies. Throw in the summer of any random year from my childhood. And set it in the Bay area. And toss out some obscure 1980s NBA. Goddamn. 
 
This wild, nostalgic ride blends punk, hip-hop, crime, the supernatural, and basketball into a four-part anthology that’s is pure chaotic energy. Solid, fun ensemble cast led by Pedro Pascal (who absolutely kills it), Ben Mendelsohn, Jay Ellis (the best part of the movie), Normani, Dominique Thorne, Jack Champion, Tom Hanks (who is amazing), Too Short, that Angus Cloud kid that died a couple years ago that I keep seeing in movie, and Marshawn Lynch. It is a crazy good time and ends on the highest of notes. 

Top 10 of 2025: 9. F1

★★★★--Any time Brad Pitt is in a movie, it is probably gonna end up on my list at the end of the year. Kind of a commercial for a sport no one in the United States care about, but I’m glad I saw it on the big screen. This was so bad ass. Crazy visuals and sound. There were times when I was stunned. Only happens every so often. I think the last time before this year (the hill scene in One Battle After Another also got me) was Oppenheimer. Before that, Nope. The race footage is that good. Hell, this was one of my favorite sports movies. Doesn’t hold up to the best of the Rocky/Creed movies, but I’d say it could hang with pretty much anything else. 

 

Directed by one Joseph Kosinski. I sort of hate all his other movies. They include: Tron: Legacy, Oblivion, Only the Brave, Top Gun: Maverick, Spiderhead (which I haven’t seen), and he wrote Twisters. Rounding out the solid cast were Kerry Condon (The Banshees of Inisherin, Train Dreams, Night Swim) whose character is irritatingly named Kate McKenna (not to be confused with the greatest SNL actor of all-time, Kate McKinnon), potential future-star Damson Idris whom I only know from this, and Javier Bardem. And love that Hans Zimmer score.