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Black Bag 2025
This review may contain spoilers. I can handle the truth.
In Steven Soderbergh and David Koepp’s Black Bag, John Le Carre meets Agatha Christie for 21st century tastes. It is the type of spy thriller that yearns to be called ‘sleek and smart’ by presenting a veneer of nostalgic film-making. Heavy on dialogue and light on action, it is nostalgic insofar that its $60 million budget, original story, and adult-leaning appeal have long been out of fashion for the now IP-obsessed Hollywood. That it succeeds in being entertaining and mostly…
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Mickey 17 2025
This review may contain spoilers. I can handle the truth.
In Mickey 17, writer-director Bong Joon-Ho goes for more. Fresh off the international success of Parasite and sitting on a fat, no-strings-attached cash pile thanks to Warner Bros.’ invigorating but financially hopeless auteur-first strategy, Joon-Ho decides to double down on the elements of his prior success. This means more social commentary, more acerbic satire, more Robert Pattinsons. This dystopian, sci-fi, clone film is filled with volume rather than density, and while thoroughly entertaining has the tendency to trip over its…
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The Brutalist 2024
This review may contain spoilers. I can handle the truth.
At one point in The Brutalist, our protagonist Lazlo Toth (Adrien Brody) stares incredulously as he is told the requirements of his next building. It is to be a civic center, a library, and a chapel, three different buildings in one. Toth himself is an immigrant, a Jew, and an artist, and this one movie takes on the challenge of speaking on his struggles with all three. Filmed in glorious VistaVision and sitting at a run time of 3.5 hours,…
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Manhunter 1986
This review may contain spoilers. I can handle the truth.
Michael Mann’s third major directorial venture Manhunter is filled with the vestiges of his later, greater known work - entire scenes drenched in dark blue, obsessive Byronic heroes chasing their character foil antagonists, and Miami (despite whatever the location card might say). Released in 1986, the film is awash in the synth and neon of the 80s heydays, likely pieced together with sights and sounds on the cutting room floor of his two defining TV police procedurals, Miami Vice and…
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