Opus

Movie Name: Opus
Year of Release: 2025
Director: Mark Anthony Green
Starring: Ayo Edebiri, John Malkovich, Juliette Lewis, Murray Bartlett, Melissa Chambers, Tony Hale, Stephanie Suganami, Mark Sivertsen, Amber Midthunder, Tatanka Means, Aspen Martinez, Peter Diseth, Tamera Tomakili, Jasper Keen, Young Mazino
Score out of ten (whole numbers only): 5
Watch it on HBO Max

Synopsis and Review

"Opus" premiered at the Sundance Film Festival of 2025, and it's Mark Anthony Green's feature directorial debut. The narrative focuses on Ariel Ecton, a 27 year old writer who has worked for a magazine for 3 years without making much advancement in her career. Her mentor/friend tells her that is challenging to take her opinion as something with merit when she hasn't experienced anything in her life. She, alongside her editor Stan, are unexpectedly invited by reclusive pop/rock icon Alfred Moretti to his compound in Utah, as he's about to release his 18th album, after years of living off the grid. Ariel and Stan, alongside 4 other specially selected guests, Clara, Bianca, Emily, and Bill, arrive at the sprawling estate, where they're asked to surrender their cell phones and laptops. They're each assigned an assistant who follows their every step, and all the individuals in the compound are part of a cult knows as Levelists. Ariel is uneasy about the atmosphere of the place, whereas her peers are exhilarated by the presence of Alfred and his charisma. Bill decides to get a massage and is attacked while on the massage table. Ariel finds herself a target of a forceful do-over, which crosses a line into her personal body integrity, which she realizes has also been extended to her peers. While discussing her extreme unease with Stan he is shot with an arrow and has to get medical attention. In the interim, Emily also disappears, all the while Alfred and the Levelists keep coming up with random excuses as to why they're not present with the rest of the group. Ariel eventually manages to elude her assistant, and discovers that their personal phones have all been rendered useless. She quickly packs and is intent on leaving, much to the surprise of Stan and the others. Alfred tries to appease her, and they reach a compromise where she watches a puppet show from the children until the bus arrives to take her back to the plane. However while the performance is taking place, things take a dark turn. 

"Opus" is an interesting film that tries to be many things at once, simultaneously a satire at the cult of personality that exists in society, but also a dig at all cults that prey on people's weaknesses. The writer/director provides meager context on the central character Ariel, and even less on all the other guests of the compound, the same going for the iconic Alfred Moretti. All these characters lack authenticity, particularly Moretti who comes across more like a mature version of a regular villain John Malkovich as previously played, as opposed to an iconic and universally celebrated musician who has been away from audiences for years. There's a distinct lack of color and nuance to these characters, all of whom could be ripe with details based on their past interactions with Moretti, but who as it turns out, have very little to do or say about the whole endeavor. Mr. Green decides instead to rely on the cult side of the narrative to keep the momentum going, and while that aspect is well achieved (it's a darker version of the cult Carol White from Todd Haynes' "Safe" ends up living in) courtesy of an unsettling atmosphere that is created, it's simply too evident and sadly is also very bluntly illustrated (there's no subtlety with the characters that are part of the cult). By the time the third chapter comes around, the outcome is expected, as is the ending. The film overall is not poorly conceived, and there's much to admire about its ambition: it simply needs more room to expand its topics and characters. The cast is solid, even if they don't have much to do: Ayo Edebiri creates a strong central character, whereas John Malkovich is poorly cast in the pop star role (Colin Firth would have been a better choice). Juliette Lewis and Murray Bartlett both of whom are so great in everything they do (and have great chemistry together), end up underutilized. The production team is solid, including Tommy Maddox-Upshaw's cinematography, Nile Rodgers and The-Dream's songs, Robert Pyzocha's production design, and Shirley Kurata's costume design. It's not as terrible as some reviews may have portrayed it, but it certainly could have been better. 

Zombieland: Double Tap

Movie Name: Zombieland: Double Tap
Year of Release: 2019
Director: Ruben Fleischer
Starring: Woody Harrelson, Jesse Eisenberg, Emma Stone, Zoey Deutch, Rosario Dawson, Abigail Breslin, Luke Wilson, Avan Jogia, Thomas Middleditch, Victor Rivera, Victoria Hall
Score out of ten (whole numbers only): 5
Watch it on Amazon

Synopsis and Review

After making a splash with his feature directorial debut, the original "Zombieland" in 2009, director Ruben Fleischer fired off in all directions, with most of them actually ending up being misfires of a certain dimension. He has managed to balance his big screen misfires on films such as "Gangster Squad" and "Venom", with work on TV Shows that have been quite successful, including "Santa Clarita Diet", "Superstore", and "The Good Doctor". The narrative picks up ten years later after the events of the first film, with the group of Tallahassee, Columbus, Wichita, and Little Rock now living in the White House, and having a semblance of a normal domestic life, or as much it can be had in the middle of a zombie outbreak, where the zombies themselves have learnt to adapt (and evolve). Little Rock has grown up and is now a young adult, who is constantly bickering with the father figure embodied by Tallahassee. In the meantime, Columbus and Wichita's romantic relationship has continued, and he has decided to propose. Wichita and Little Rock decide to take off, the former avoiding having to give a response to Columbus and the latter tired of the fathering from Tallahassee, and her desire to find someone her own age, and possibly even have a boyfriend. Columbus and Tallahassee are surprised, but in the meantime connect with another survivor, a young woman by the name of Madison who has survived by hiding inside a Pinkberry store. Madison and Columbus have a fling, and shortly after Wichita reappears looking for weapons, letting them know her sister has taken off with a quasi-hippie guy she has met (named Berkeley). They all decide to go in search of Little Rock, firstly in the direction of Elvis' Graceland. Upon arrival the group realizes Graceland is a wreck, but they meet another survivor by the name of Nevada, who lets them know Little Rock took off in the direction of Babylon, a sanctuary of sorts for survivors, with her new friend Berkeley. The group is then joined by what seems to be a clone of Tallahassee and Columbus, who both turn out to have more than a wicked personality hidden up their sleeves. 

"Zombieland" turned out to be quite a success, since it managed to deftly combine dark humor, with action, and enough pop culture references to make it a film that resonated with the audiences upon its release. After 10 years and multiple attempts at making the sequel, this continuation of the story tries its best to recapture the chemistry between all the lead actors, which is for the most part still intact. However one of the main issues with the film turns out to be the script: for all its good intentions, the characters are not given much to do in this follow up. These characters never had much in terms of dimension, beyond the archetypes they played around with, which included the iconic hillbilly, the verbose intellectual, the resourceful and beautiful grifter, and her adoringly precocious little sister. While some of these traits remain in this sequel, they stall since they don't have much to do beyond what they've already covered in the original feature, which is why the film introduces the hilarious Madison, played to perfection by the talented Zoey Deutch (who actually steals all the scenes she's in), and Nevada played by Rosario Dawson (which is just a slightly different version of the character she played in "Sin City"). The script tries to keep its ironic and self deprecating angle by poking fun at itself, introducing the quasi clones to Woody Harrelson and Jesse Eisenberg's characters, but that episode extends itself, and sadly doesn't really propel the narrative forward. Ultimately for all the noise the film creates, and it does create quite a bit of it, it is undermined by a script that doesn't know where to take these characters, and that doesn't know how to introduce more complexity to this universe (as if introducing it would dilute the branding and style of the franchise). The cast is solid, but the new additions, particularly Zoey Deutch fare particularly better than the veterans of the franchise. The production team is solid, including Chung-hoon Chung's cinematography, David Sardy's score, and Martin Whist's production design (the way he constructed the sets of Babylon is quite inventive). It's a film that treads on fresher material from the prior film, and feels less original as a result. But it's still watchable largely due to a spirited cast. 

Verdens Verste Menneske/The Worst Person in the World

Movie Name: Verdens Verste Menneske/The Worst Person in the World
Year of Release: 2021
Director: Joachim Trier
Starring: Renate Reinsve, Anders Danielsen Lie, Herbert Nordrum, Hans Olav Brenner, Helene Bjorneby, Maria Grazia Di Meo, Vidar Sandem, Lasse Gretland, Marianne Krogh, Thea Stabell, Karen Roise Kielland
Score out of ten (whole numbers only): 8
Watch it on Tubi

Synopsis and Review

Following the well received "Louder than Bombs" and "Thelma", writer/director Joachim Trier premiered "The Worst Person in the World" at the Cannes Film Festival of 2021, to critical acclaim, winning in the process the award for best actress for Renate Reinsve. The film introduces us to Julie, a twenty-something medical student, whom we witness having a change of heart, and deciding to pursue psychology instead, before settling on photography. Julie starts a relationship with Aksel Willman, an illustrator and comic artist, who is considerably older than her. He has some reservations starting the relationship with her precisely because of their age difference, but is finally won over by Julie's beauty and somewhat carefree spirit. While Julie meshes with Aksel's friends, there's an obvious age difference with the group, which is also obvious in the fact that his friends have families and children. This motivates Aksel to discuss starting a family with Julie, which eventually results in them having a fight. Aksel has a publishing party, and Julie decides to leave earlier. On her way home she crashes a wedding reception taking place and meets Eivind, a barista. They have instant chemistry, and end up spending a night together, sharing stories and intimacies, but refraining from having sex since they're both involved with other people. In the morning they part ways only sharing their first names. Julie writes a short story about feminism that gains some attention and shortly after celebrates her 30th birthday. Her father doesn't show up, making up an excuse for it, which upon Julie and Aksel's visit to his place turns out to be uncovered when her half sister explains what he was doing. Julie who in the meantime has been working in a bookstore, encounters Eivind and his girlfriend browsing around. She eventually decides to break up with Aksel, and shortly after so does Eivind with his girlfriend. 

One of the most interesting aspects of "The Worst Person in the World" is the ability the co-writer/director has of making these characters all feel palpably real. This trifecta of central characters, and in particular Julie, all come across as people trying to find the best path for their lives, uncovering what suits them best, sometimes stumbling into poor decisions, and at times coming to terms with realizations that are right in front of them but that they simply have failed to acknowledge (namely Julie's relationship with an absent father, who simply invests all his time and attention on his new family). It's a film that is observational in the best of senses: it does not judge its characters, it simply allows for the complexity of who they are come to the surface, showcasing what their decision making actually is, and where they eventually find themselves as a result of it. It's easy to state that this microcosms is representative of the millennial generation's anguish towards their lives and how they can't stomach the consequences of their actions, but that is reducing the impact of this narrative. This feature illustrates how the journey of growing up isn't a perfectly balanced one, where all the decisions that one makes are not motivated by the noblest of sentiments: it illustrates that life is a collection of colorful moments, some that are more inspired, and others that are representative of people at their worst. Julie for all her good intentions, and her focus on self discovery, hurts others in that process, even if that is not her intent. Is she a bit self-centered and slightly egocentric? Maybe so, but that's what the film eventually asks us to think about: aren't we all in a way just like Julie, living a life that we think is like a movie, where we're driven by lust, frustration, and pursuit of a fleeting moments of happiness. It's a film that is peppered with such great details, character wise but also visually speaking. The cast is uniformly great, particularly Renate Reinsve, who deservedly got a string of awards for her performance as Julie, with great support from Anders Danielsen Lie and Herbert Nordrum. The production team is equally solid, particularly Kasper Tuxen's cinematography and Ola Flottum's score. It's a finely crafted film worth watching and savoring.

I Don't Understand You

Movie Name: I Don't Understand You
Year of Release: 2024
Director: David Joseph Craig, Brian Crano
Starring: Andrew Rannells, Nick Kroll, Morgan Spector, Eleonora Romandini, Nunzia Schiano, Amanda Seyfried, Paolo Romano, Cecilia Dazzi, Leonardo Verni
Score out of ten (whole numbers only): 4
Watch it on Hulu

Synopsis and Review

"I Don't Understand You" is the feature directorial debut of the directing team of David Joseph Craig and Brian Crano (though Brian Crano has a few directorial endeavors of his own as part of his filmography). The film follows the story of a married couple, Cole and Dom, who live in the Los Angeles area, and who are trying to go through with an adoption process for their first child. They have been previously scammed, so they're going into this next process with some apprehension. They are also on their way to Italy to celebrate their 10 year anniversary. They quickly connect with the birth mother, a woman by the name of Candace, who assures them that their application was the one that touched her the most. While in Italy, they connect with Daniele, an old friend of Dom's father, who has arranged for them to have a wonderful meal with a celebrated and somewhat reclusive restaurant owner. They eventually make their way to the remote locale, getting lost in the process, and eventually meet the elderly Zia Luciana, who is the cook and also used to own the restaurant. While the couple doesn't understand a word she's saying, she invites them to sit, and starts serving them a freshly baked pizza and wine. Cole wants to leave the place as soon as possible, but as they're trying to get their phone in order to secure a way back to the hotel, the power goes out. There's some chaos and Cole accidentally knocks Zia down a flight of stairs. They're horrified when they can't catch a pulse, and even more so when they try CPR on her, and hear bones cracking. They decide to bring Zia upstairs to the dining area, and hide her under the table. Unexpectedly Massimo, Zia's son, arrives with both their rental car, and also an insistent desire for them to stay and eat more with the family.

"I Don't Understand You" is a film that tries to be quite a few different things but that sadly fails to find the right tone and direction in which it wants to go. One of the aspects of the narrative is the quite emotional journey of a gay couple on their path to fatherhood, with their fears and anxieties pertaining to be parents and even more so, avoiding falling into the trap of another expensive scam. The other aspect of the narrative is the dark and bloody comedy that appears midway during the film, one that takes the feature in a very different direction, trying to elicit more comedy due to the over-the-top situation in which the characters find themselves. While the first aspect of the narrative is successful, particularly the relationship between the couple which feels vividly illustrated, the second aspect feels dastardly put together. The writing and directing duo fail to go all in with the dark and macabre tone they introduce, for fear of possibly alienating the audiences from the ground they have built humanizing that lovely gay couple. While the filmmakers don't necessarily need to adopt an Eli Roth approach to the gore and killing that ensues, the film feels rather anemic, and not fully embracing of the premise that they just introduced. The filmmakers commit a cardinal mistake in situations such as these: they don't relish the situation they just created, opting instead to illustrate these morally corrupt individuals as people with good intentions, that have done some terrible things, but that ultimately meant well, and therefore have the right to a happy ending. The narrative should have been far more visceral, committed, and funnier, since this film presents itself as a comedy that doesn't have many laughs. The cast is a bit all over the place, but Nick Kroll and Andrew Rannells have great chemistry. The production team is polished, in particular the cinematography from Lowell A. Meyer. It's not an unwatchable film, it's just not a particularly memorable one. 

Bugonia

Movie Name: Bugonia
Year of Release: 2025
Director: Yorgos Lanthimos 
Starring: Emma Stone, Jesse Plemons, Aidan Delbis, Alicia Silverstone, Stavros Halkias
Score out of ten (whole numbers only): 8
Watch it on Amazon

Synopsis and Review

The prolific writer/producer/director Yorgos Lanthimos is back, following "Poor Things" and "Kinds of Kindness", both of which were showered with accolades and positive audience reactions (the former more so than the latter). "Bugonia" which Will Tracy adapted from the film "Save the Green Planet!" written by Jang Joon-hwan, follows the story of Teddy and Don, two cousins who live together, trying to make ends meet. Teddy works in a fulfillment center, while Don stays home (he is slightly autistic). Teddy's mom is comatose after participating in a clinical trial for a drug named Auxolith which went awry. The cousins live in a rural area, which allows Teddy to develop his apiary right in his backyard. The cousins decide to abduct Michelle Fuller, the CEO of the pharmaceutical company that is behind the Auxolith. Teddy believes she's an alien, an Adromedan, and that her species is in reality killing the Earth's honeybees, and generally enslaving humans. They imprison her in their basement, and shave her head to prevent her from communicating/sending signals to her species. They also cover her body in antihistamine with the same purpose. Teddy's plan is to negotiate a meeting with the Andromedan emperor before an upcoming lunar eclipse. Michelle is shocked to realize the situation she finds herself in, and tries to reason with the cousins as much as possible. Her incredulity increases as Teddy reinforces his plans, leading her to reason with him that her company acted poorly towards his mother, and that they should have been more generous with their settlement. After torturing her with electricity, the cousins move her upstairs for dinner, but that eventually descends to a physical fight that is only interrupted by the appearance of the local law enforcement. Teddy quickly shifts his tactic as he knows the agent quite well from his childhood. 

Much like the best films on his filmography, "Bugonia" is ripe with both an irreverence but also surreality, all the white still addressing problems that are very much pertinent, and of our current days. The film smartly moves at a pace where we progressively know more about Teddy, his life, his challenges, leading us the audience to question his sanity - just how much of his grief from witnessing his mother's pain and health challenges has in fact affected his mental health? His close relationship with Don also renders him and his perspective more relatable, as he is supporting Don, logistically and emotionally, as Don does not have any additional family. On the other hand, Michelle is described and introduced as more of a generic cypher, someone who is a successful businesswoman, a quasi Theranos figure, who is horrified to find herself kidnapped, but also under the extraordinary accusations from Teddy (and Don). Sadly her character doesn't have quite as much depth as Teddy, but she does introduce the bewilderment/astonishment from her point of view, of a reasonable person being accused of being an alien, by a man who is clearly distraught, someone who has been pushed to a breaking point due to emotional distress. Yorgos Lanthimos illustrates this set up perfectly, bringing authenticity to both Teddy and Michelle's universe, which helps materialize who these figures are. It's a film where the tone, the performances, the universe that is created, is perfectly illustrated. As the third chapter unfolds, the film continues to surprise with unexpected choices from the director, but all these very much synced with what has been illustrated thus far. The cast is uniformly great, particularly Jesse Plemons who has one of the best roles so far from his career: Teddy is an amalgamation of so much trauma, pain, but also hope, which makes him such an interesting character to witness. He gets solid support from the always great Emma Stone, Aidan Delbis, and Stavros Halkias. The production team is also impeccable, including Robbie Ryan's cinematography, Jerskin Fendrix's score, James Price production design, and Jennifer Johnson's costume design. It's a solid film from a great storyteller, one that is worth watching and appreciating. 

Shiva Baby

Movie Name: Shiva Baby
Year of Release: 2020
Director: Emma Seligman
Starring: Rachel Sennott, Danny Deferrari, Molly Gordon, Fred Melamed, Polly Draper, Dianna Agron, Jackie Hoffman, Glynis Bell, Rita Gardner, Sondra James
Score out of ten (whole numbers only): 5
Watch it on Amazon

Synopsis and Review

Before the successful "Bottoms" came along, writer/director Emma Seligman collaborated with Rachel Sennott on "Shiva Baby", her low budget directorial debut which effectively launched her career. The film follows the story of Danielle, a college senior whom we first encounter in an illicit post coital situation with Max. She's running late to a shiva which she is meant to go to with her parents, Joel and Debbie. While at the Shiva Danielle runs into her former girlfriend Maya, who is about to go to law school. Max also shows up at the Shiva, since he is a former colleague of Joel's. Danielle and Maya catch up and flirt, while Debbie is trying to find Danielle a job at any chance she gets. Max's wife, Kim,  shows up with their baby, as she was unable to find a baby-sitter, and Danielle eventually realizes that the one financially sustaining Max's life is actually Kim. As discussions arise about Danielle possibly baby-sitting Max and Kim's baby, the latter also suspects something is going on when she realizes Danielle has a bracelet similar to her own. The tension between these different threads eventually snaps as Max and Danielle have an awkward tryst in the bathroom, whereas Maya eventually also realizes what Danielle has been doing.

There's something quite Woody Allen inspired in this directorial debut from Emma Seligman. That particularly comes across in the way the environment in the Shiva is portrayed and characterized, and how the relationships between these characters starts coming to life. It's reminiscent of "Hannah and Her Sisters" somehow, without the polish nor the smartly interwoven relationships, but nonetheless the ability to amalgamate all these familial and sexual relationships draws parallels to that classic film from the 1980s. Emma Seligman smartly confines most of the film to a single space, creating a claustrophobic environment for this young woman who is coming to terms with her past and current choices, all of which suddenly catch up with her. The growing tension also comes from her secrets and the double life she chooses to disclose to her parents, who are intent in "solving her life". None of these threads are particularly new, but the writer/director does manage to bring authenticity and a pulse to these situations, even if some of them feel a bit forced. The film does falter a bit particularly when it comes to making the past relationship between Danielle and Maya believable: they mostly feel like high school colleagues, less so than past romantic partners. And while Rachel Sennott has become a talented performer/actress, here in particular she feels incapable of demonstrating the fractured reality in which Danielle seems to exist, though she does excel at capturing the pressure and demands her overbearing parents put on her. The film stretches itself on a rather thin premise, and the script could have expanded on the supporting characters quite a bit more, but it's still able to hold the attention based on that central portrayal of a young woman on a verge of a nervous breakdown. The supporting cast is solid, particularly Fred Melamed and Polly Draper, though Molly Gordon and Jackie Hoffman are also well cast in their roles. The production team is rather generic and not particularly memorable. It's a watchable debut for a director who has already produced and released a far more promising sophomore directorial endeavor.

Red Rocket

Movie Name: Red Rocket
Year of Release: 2021
Director: Sean Baker
Starring: Simon Rex, Bree Elrod, Suzanna Son, Brenda Deiss, Judy Hill, Brittney Rodriguez, Ethan Darbone, Shih-Ching Tsou, David Maxwell
Score out of ten (whole numbers only): 7
Watch it on Amazon

Synopsis and Review

Following the critically acclaimed "The Florida Project", editor/writer/director Sean Baker returned with "Red Rocket" which had its premiere at the Cannes Film Festival of 2021. The film follows the story of Mikey "Saber" Davies, whom we first encounter on a city bus, being dropped off in Texas City (his original hometown). He walks to a modest home where he reconnects with a woman who has no desire to interact with him, and that we soon find out is his wife. Lexi is living with her mom and makes ends meet by doing sex work. As it turns out, Mikey is a former pornstar, the same going for Lexi. He eventually convinces her to stay, provided he helps with the expenses and doing some work around the house. While he interviews with a variety of places, his colorful background turns out to be problematic for potential employers. Desperate to find some income, he resorts to Leondria and her daughter June, who supply marijuana around the area (Leondria used to employ him when he was in school for the same type of job). Mikey as it turns out starts making some money, and goes around the area riding his wife's old bicycle. He and Lexi also restart a sexual connection. Mikey manages to save enough to give Lexi's mom a month's rent in advance and takes them to the local donut shop to celebrate. While there he meets Raylee, a young woman working the counter, who is 17 and about to graduate high school. He becomes enamored of her and finds out she goes by Strawberry. As their relationship deepens, Mikey envisions persuading Strawberry to get into the adult business and then making their way back to LA.  

Sean Baker has made a career for himself by focusing his attention on characters that can be considered marginalized by society. That was the case with "Tangerine", which continued with "The Florida Project", and also "Red Rocket". It's not exactly misery porn, but he definitely finds something fascinating about the lives of those who exist in the fringes of the acceptable or what can be deemed conventional. And for the most part that has served him quite well. His films have the distinct power of feeling authentic and honest, demonstrating that no matter what circumstances people find themselves in, some aspects and challenges are universal. His characters may live on the fringes of what is deemed "correct", but their aspirations, dreams, and obstacles, are very real, and very similar to any other individual. "Red Rocket" operates under the same guise, with Mikey being a self deluded man who simply refuses to grow up, who still lives under the assumption and expectation that his porn glory will return or be recaptured. He is aware of the challenges he lives under, but he is also unwilling to compromise or find a different direction for himself. While he may off that world, he longs to be back in it, since he believes that's where his success lies, and where he can be somewhat protected from the rest of the world. That subset of reality is both his downfall, but also his security blanket. Sean Baker manages to capture this central character perfectly, with a fantastic central performance from Simon Rex. Mikey is unashamed, but also cowardly moving through life, hoping for the next big moment to be his comeback to a life that seems to be the only one meaningful for him. He leaves a trail of messiness on his path, but his charisma manage to get him out of tough situations. The film perfectly captures this barely there living for people with very few expectations and dreams, and does so in a way that feels very genuine and lived in. The cast is great, particularly the wonderful Simon Rex who is both charming and repulsive, a far cry from the goofy George he played for David Zucker in "Scary Movie 3". He gets great support from Bree Elrod and Suzanna Son, though the supporting characters could have benefited from some additional color/development. The production team is equally solid, including Drew Daniels' cinematography and Stephonik's production design. It may be a low budget endeavor, but it's a film that is finely crafted, with solid performances, and a nicely drawn central character. 

Music with an Impact - 2025

2025 had some solid music releases, but I also ended up buying and listening to albums from artists I've been a fan of for some time, but albums they had released in prior years. Some of these releases were brand new discoveries, such as Salami Rose Joe Louis and her great album "Lorings", while others such as Chuck Johnson's were albums who had been out for a bit, but that I had never heard before. It was an all around interesting year for music, even if this year in particular most of my favorites came from albums released in other years. The links for each of these releases and artists are included below.

Ocean Moon - Ways to the Deep Meadow
Donato Dozzy - Magda
Salami Rose Joe Louis - Lorings
Geotic - Realms
Hekla - Turnar
Steve Hauschildt - S/H
Four Tet - Morning / Evening
Barker - Stochastic Drift
Golden Retriever & Chuck Johnson - Rain Shadow
Djrum - Meaning's Edge
Rival Consoles - Night Melody
Blanck Mass - World Eater

Best Films of 2024

2024 had a meager qualitative output in my humble opinion. However, some of the releases were impactful and memorable. Here's my list of favorite films for 2024. 

Challengers

Director: Luca Guadagnino

Dune Part II

Director: Denis Villeneuve

Ainda Estou Aqui/I'm Still Here

Director: Walter Salles

Longlegs

Director: Osgood Perkins

Love Lies Bleeding

Director: Rose Glass

Maria

Director: Pablo Larrain

The Outrun

Director: Nora Fingscheidt

The Room Next Door

Director: Pedro Almodovar

The Substance

Director: Coralie Fargeat

Favorite Performance of the Year: Demi Moore ("The Substance") (with other highlights for the year going to Angelina Jolie for "Maria", Tilda Swinton for "The Room Next Door", and Saoirse Ronan for "The Outrun").

Favorite Supporting Performance of the Year: Alicia Witt ("Longlegs") (with a strong highlight for Julianne Moore for "The Room Next Door", Rebecca Ferguson for "Dune Part II", and Selton Mello for "Ainda Estou Aqui/I'm Still Here")

Favorite Cinematography: Sayombhu Mukdeeprom ("Challengers")

Favorite Score of the Year: Trent Reznor & Atticus Ross ("Challengers")

Favorite Production Design of the Year: Patrice Vermette ("Dune Part II")

Favorite Costume Design of the Year: Jacqueline West ("Dune Part II")

Favorite Director of the Year: Coralie Fargeat ("The Substance") (with a strong highlight for Pedro Almodovar for "The Room Next Door" and Denis Villeneuve for "Dune Part II")

The Aviator

Movie Name: The Aviator
Year of Release: 2004
Director: Martin Scorsese
Starring: Leonardo DiCaprio, Cate Blanchett, Kate Beckinsale, John C. Reilly, Adam Baldwin, Alan Alda, Ian Holm, Danny Huston, Gwen Stefani, Jude Law, Adam Scott, Matt Ross, Kelli Garner, Frances Conroy, Brent Spinner, Edward Herrmann, Willem Dafoe, Kenneth Welsh, Josie Maran, J.C. MacKenzie
Score out of ten (whole numbers only): 7
Watch it on Amazon

Synopsis and Review

The story of Howard Hughes is a magnet for storytellers and actors wanting to showcase their ability to play larger than life characters, particularly ones that marry glamour with obsessive compulsive and self destructive behaviors. Howard Hughes is well known for his role in the world of aviation, but also in the movie industry, since he was a film producer and director, responsible for the launch of certain movie star careers, namely Jane Russell. The film's narrative focuses on the life of Howard Hughes around the time of the release of "The Jazz Singer" (which became known for being the first "talkie"), when Hughes was in his early 20s. He decides to direct his film "Hell's Angels" with more realism, increasing the level of danger of the production. At the same time he delegates the operational aspect of his business empire to Noah Dietrich, one of his trustworthy team members. Already displaying some concerning behaviors regarding his OCD, Hughes starts a romantic entanglement with the charismatic Katherine Hepburn, herself a well known star in Hollywood. In parallel with his focus in the entertainment industry, Howard continues to be very involved in the aeronautics world, particularly with his desire to break speed (and world) records, which he eventually does by flying around the world in 4 days. His involvement in the airline TWA creates a seething rivalry with the chairman of Pan Am. While his workaholism eventually alienates Katherine Hepburn, who moves on to another relationship, his affection for her never dissipates, even if he has flings with other women, including Ava Gardner. His involvement with aviation increases in the 1940s, when he gets contracts with the Army Air Forces. While doing a test flight, he suffers a serious crash, from which he eventually recovers, but subsequently heightens his OCD which progressively leads to his isolation. Old rivalries resurface which forces him to present himself for Senate hearings.

"The Aviator" was originally a project to be directed by Michael Mann, who in the meantime went on to direct "Collateral" which also premiered in 2004. Martin Scorsese was coming off from his first collaboration with Leonardo DiCaprio in "Gangs of New York", which was a long shoot, and had its fair share of issues during the post-production and release due to the involvement of producer Harvey Weinstein. "The Aviator" is in a way a glossy love letter from Martin Scorsese to classic Hollywood and the movie making industry, something he has always loved, even if the industry itself is a backdrop for a tale of a character who is lost to his own demons, fears, and ultimately insecurities. The film has an interesting duality of reconciling the more outwardly and larger than life aspects of Howard Hughes' life (his directorial endeavors, his record breaking feats in aviation), with his more intimate aspects, which includes his approach to personal/romantic relationships, and also how his mental acumen, his OCD, eventually took over his life, preventing him from being able to fully function in life. Because it's a period piece, and one that takes place in Hollywood, it may seem that the glossiness topples the character study which is what the core of this film is all about. The ghosts, the fears pursuing Howard Hughes are probably not given as much prominence as they should, but Martin Scorsese is able to demonstrate how at the time these issues isolated someone who was always fearless, driven, and charismatic. The film could have benefited of giving some of the supporting characters a bit more dimension, as they risk being empty puppets mimicking previously existing individuals, including Errol Flynn, Katherine Hepburn, and Ava Gardner, though thanks to the talented cast they never fall into being a collection of tics and recognizable catchphrases. The cast of the film is impeccable, starting with Leonardo DiCaprio who creates one of his most indelible performances here, channeling his intensity to a character that is simultaneously ebullient, but also self-imploding, with great support from Cate Blanchett, Kate Beckinsale, Alan Alda, Alec Baldwin, Jude Law, Adam Scott, John C. Reilly, and Matt Ross. The production team is peerless, including the score from Howard Shore, cinematography from Robert Richardson, costumes from Sandy Powell, and production design from Dante Ferretti. A solid and entertaining film from a wonderful storyteller. 

Marty Supreme

Movie Name: Marty Supreme
Year of Release: 2025
Director: Josh Safdie
Starring: Timothee Chalamet , Gwyneth Paltrow, Odessa A'zion, Kevin O'Leary, Abel Ferrara, Fran Drescher, Emory Cohen, Sandra Bernhard, Tyler the Creator, Larry 'Ratso' Sloman, Dennis Creaghan, Luke Manley, Fred Hechinger, Penn Jillette, Isaac Mizrahi, Koto Kawaguchi, Isaac Simon
Score out of ten (whole numbers only): 7
View the trailer

Synopsis and Review

Following the trifecta of films he directed with his brother Benny, "Heaven Knows What", "Good Time", and "Uncut Gems", writer/producer/director Josh Safdie has ventured out on his own, collaborating with writer Ronald Bronstein and actor/producer Timothee Chalamet to bring to life the character of Marty Mauser, loosely inspired on the life of Marty Reisman, a Tennis Table player who wrote a book about his craft in the 1970s. The narrative places us in New York in 1952. Marty Mauser is working as a shoe salesman at his uncle's shop, is involved with Rachel Mizler, his married neighbor whom he has known for a long time, but his master plan is to go to the British Open for Table Tennis. He has been doing the sales job in the hopes his uncle pays him $700 for the plane and hotel fare. His mom and his uncle find this focus on table tennis something with no future, and as a last resort Marty takes money from his uncle's vault, as he's taken off without paying him. While in London Marty becomes aware of Kay Stone, an actress currently married to Milton Rockwell, a very wealth businessman (his fortune stems from selling pens). Marty manages to get to the finals but is defeated by the Japanese player, Koto Endo. On top of it his self entitled behavior irritates the organizers of the event. While initially disagreeing with doing Table Tennis has an activity/hobby showcase, he agrees to tour the world showcasing how fun the sport/activity is. Upon returning to the US, he is hit with a variety of issues all at the same time: his uncle is intent on arresting him due to the vault situation, Rachel as it turns out is pregnant, she states the baby is his, and her husband has been violent towards her, and he is also forewarned that he cannot participate in the upcoming World Championship of Table Tennis due to charging extra expenses during his stay in London. As the events keep piling on, Marty's desperation to get the money to go to Tokyo for the Championship drive him to riskier situations.

There's plenty to be said about this great portrait of a character who is so focused on his life goals, but who is also rather unscrupulous about doing what he needs to do in order to achieve his goals. In a lot of ways this film has some similarities with Martin Scorsese's "The Wolf of Wall Street", in the sense that the lead character is very narrowly focused, and eventually starts destroying everything and everyone who comes into his orbit, including family, friends, and loved ones. However whereas Martin Scorsese was able to illustrate an entire ecosystem (the financial world), populating it with an over the top central character, while still giving room for supporting ones to exist, all of this wrapped in a satire, "Marty Supreme" opts instead for a rather darker view of the central character's obsession, peppering the narrative with situations just keep getting more and more convoluted (at times almost borderline unreal, but with the director refraining the situations from going into a surreal scenario at the right moment). The film excels at creating and illustrating Marty's unrelenting life, one where the vision he has set for himself, for his role in Table Tennis, and where that will eventually lead him, has a momentum that is magnetic. However, and part of the problem for this film, is that this momentum becomes monotonous after a while: while Marty's drive is illustrate as all encompassing, the film only illustrates this side of him, this eternal quest for validation, for visibility, never allowing him to be anything else beyond this character who will stop at nothing to achieve his goals. This ends up being the aspect of the film that feels more repetitive, though every chapter is vividly and authentically brought to life, thanks to an incredible strong cast, led by Timothee Chalamet who is fantastic, with strong support from Gwyneth Paltrow, Kevin O'Leary, Emory Cohen (who is another chameleon), Abel Ferrara, and Fran Drescher. The production team is impeccable, including the fantastic score from Daniel Lopatin, the cinematography from Darius Khondji, production design from Jack Fisk, and costume design from Miyako Bellizzi. A solid film worth watching.  

Pecker

Movie Name: Pecker
Year of Release: 1998
Director: John Waters
Starring: Edward Furlong, Christina Ricci, Mary Kay Place, Lili Taylor, Martha Plimpton, Brendan Sexton III, Mark Joy, Jean Schertler, Lauren Hulsey, Mink Stole, Patricia Hearst, Donald Neal, Tim Caggiano, Scott Morgan
Score out of ten (whole numbers only): 7
Watch it on Amazon

Synopsis and Review

The last film directed by John Waters, as of 2025, has been 2004's "A Dirty Shame". And while a recent project was announced, he sadly has been met with difficulties in financing, which illustrates the state of the industry: denying one of its most original voices, the ability to continue a directorial career that sadly hasn't been as prolific as it should have been. "Pecker" came out in 1998, following "Serial Mom", who has gone on to become a cult film, one that is frequently quoted in pop culture jargon. "Pecker" takes place in Baltimore and follows the life of a young man by the name of Pecker, who loves photographing his loved ones, and what he considers interesting about his life and everyone's life in his city. Pecker loves to capture beauty in the unexpected, be it his girlfriend Shelley who owns and runs a laundromat, or his best friend Matt who is a compulsive shoplifter, or the gay club where his oldest sister works. His camera is like a diary, an extension of how he sees the world, even if his photos are at times out of focus or have unexpected angles. Pecker has a mini showing for his photos in the Deli where he works, and catches the attention of Rorey, an art dealer from New York. Pecker's work and his unpretentious demeanor delight Rorey who decides to do a showcase of him in an art gallery in New York. His work is received extremely well, and he suddenly finds himself as the pin-up of the art world, giving him some financial rewards, but taking away some of his anonymity, and making his process for taking photos that much harder. It also puts a strain on his family's life, not to mention his girlfriend's and best friend's. 

While "Pecker" may not be as corrosively funny as "Serial Mom" turned out to be, it's nonetheless an interesting and ironic view at how the art world has a way of being both incestuous and also superficial, constantly tooting the horn for the meaning of art, for the next big artist, all the while failing to truly view the artists and their point of view for what it is. John Waters perfectly captures how the art world creates these hype-cycles around someone whom they don't really know, but that becomes a trend, simply because they can and the timing is right. The film illustrates this dichotomy quite well in how it portrays the more realistic perspective of how Pecker lives in Baltimore, and the contrasting reality of the art world of New York, who considers Pecker and his subjects much like curiosities to be studied (and while the fantastic Cindy Sherman does have a cameo, John Waters doesn't make Pecker's photos to be like Nan Goldin's for instance). What the film ultimately illustrates is how trends and hype are indeed fleeting, but that the unique point of view of an artist, in this case Pecker and his camera, stay with him, even after the focus of attention goes in a different direction. What makes this film successful, much like all of John Waters' features, even if with different levels of success, lies on the universe he illustrates and brings to life, always filled with colorful characters, where everything has a slight different tonality to it. Yes, there are influences from classic Hollywood, including Douglas Sirk, but it's all blended through his lens, one that mixes his sarcasm, irony, politics, sex, and nixes the concepts of gender and labels. "Pecker" features great performances from the always reliable and underrated Mary Kay Place, Christina Ricci, Martha Plimpton, Lili Taylor, and while Edward Furlong may not have been the best choice for the central part, he still makes the character a lovable kid who just wants to keep doing what he loves. The production team is solid including Stewart Copeland's score, Robert M. Stevens' cinematography, and Vincent Peranio's production design (who perfectly captures the art gallery vibe of the late 1990s). It's an entertaining feature, one that is a comforting visit to a universe from an artist who isn't as prolific as he should be. 

Sisu

Movie Name: Sisu
Year of Release: 2022
Director: Jalmari Helander
Starring: Jorma Tommila, Aksel Hennie, Jack Doolan, Mimosa Willamo, Onni Tommila, Tatu Sinisalo, Wilhelm Enckell, Vincent Willestrand, Elina Saarela, Ilkka Koivula, Max Ovaska
Genre: Action
Score out of ten (whole numbers only): 5
Watch it on Amazon

Synopsis and Review

"Sisu" is writer/director Jalmari Helander's third directorial endeavor, following his breakout/debut with "Rare Exports". In the interim he has directed a considerable array of shorts and ventured into directing TV shows such as "Wingman" and "Perfect Commando". "Sisu" takes place in late 1944 and focuses its narrative on a man by the name of Aatami Korpi, who lives a simple life in the company of his horse and dog. He spends his time looking for gold in the Lapland area (in Finland), until he eventually does find a considerable amount of it. He decides to travel towards Rovaniemi, but along the way encounters an SS platoon who are retreating in the direction of Norway, but destroying villages in the process (and have taken quite a few Finnish women with them along the way). While they let him pass, a second unit of soldiers discovers his gold and decides to kill and rob him. Aatami however is swifter, and kills them all and escapes. The first SS group is alerted by the gunfire and discovers what has happened, and some of the nuggets that were left behind. Bruno Helldorf who leads the SS battalion, decides to pursue Aatami in his tank. They soon discover that Aatami is much more than a simple prospector, but they also know Germany has lost the war, and that they need the gold to escape prosecution for war crimes. 

Certain aspects of this film, namely its bloodshed and graphic violence bring to mind the over the top stylings of Michael Davis' "Shoot 'Em Up", a film that came out in 2007, and has become somewhat of a blueprint for many of these post-Death Wish/Rambo B-movie stylings that have been coming out in the last few years. The skeleton of these films is still very similar to the construct of the original B-movies of the 1970s/1980s which started this trend (including the ones from the late Cannon/Yoram Globus/Menahem Golam), however they have since introduced this hyper violent set pieces which have been somewhat legitimized since Quentin Tarantino included them in his own films since the 1990s, which have been labeled homages and a stylistic point of view. "Sisu" brings to mind aspects of Chad Stahelski's "John Wick" series, in the sense that the central character is a stoic, monolithic, and apparently indestructible hero, who goes on a killing spree due to the fact that he's been wronged. While Wick is reeling from the death of his wife, Sisu lives in the aftermath of his own trauma, and the fact that Nazis want to rob him. It's a straightforward premise for a film that never stops, that goes from set piece to the next, much like a video game that takes the user through different difficulty levels. For the most part "Sisu" works quite well, since the motivation for these characters is limited, but also riveting. All these parties do want that loot, for different reasons, and while this isn't a film where we progressively learn more about who these characters are, their limitations don't prevent the film from losing its momentum. It does make the film less impactful, since there isn't much storytelling about these characters and their journey, even if it is an action film. One can always remember John McTiernan's "Die Hard" and Alan Rickman's Hans Gruber character: we never knew much about him, but knew enough to understand that he was intelligent, motivated, had a sense of humor, and was somewhat irreverent. These characters needed a bit more of that, of something that brought them further into the realm of reality, and that is where the film falters the most. The cast is uniformly solid, with highlights going to Jorma Tommila and Aksel Hennie. The production team is solid as well, particularly Otso Linnalaakso's production design and Anna Vilppunen's costumes. It's watchable, but not the most memorable action film. 

Working Girl

Movie Name: Working Girl
Year of Release: 1988
Director: Mike Nichols
Starring: Melanie Griffith, Harrison Ford, Sigourney Weaver, Joan Cusack, Alex Baldwin, Philip Bosco, Olympia Dukakis, Oliver Platt, Kevin Spacey, Nora Dunn, James Lally, Amy Aquino, Jeffrey Nordling
Genre: Comedy, Drama
Score out of ten (whole numbers only): 7
Watch it on Amazon

Synopsis and Review

By the time "Working Girl" premiered at the end of December of 1988, just in time for awards consideration, Mike Nichols was coming off a mild hit with "Biloxi Blues", and a big disappointment, "Heartburn", with his beloved Meryl Streep, which didn't connect with audiences. As it turns out "Working Girl" was a huge hit, sending Melanie Griffith on an upward trajectory which resulted in a series of misfires, whereas Harrison Ford and Sigourney Weaver further cemented their taste level. The film focuses on the story of Tess McGill, an assistant for two stockbrokers in a Manhattan firm, who has dreams and aspirations of being able to work with portfolios of assets as opposed to taking phone calls and doing coffee errands. Despite having a business degree earned from attending evening classes, Tess isn't taken seriously. Her bosses send her on what she thinks to be a networking opportunity only to find out that it's more of a inappropriate hook up situation. After turning the tables on them, she finds herself out of a job, and the job placement office warns her the opportunity available is actually her last (at least with them). As it turns out it's another administrative assistant role, but this time around for a woman named Katherine Parker, a beautiful, patrician, and elegant individual who is handling mergers and acquisitions. While Katherine is condescending, the women manage to establish a working relationship. Tess comes up with a business idea/angle to Katherine who reassures her she'll review it and give her feedback, so Tess can enroll in a program she wants to pursue. In the meantime Katherine goes on a break, has a skiing accident, and turns to Tess to do all chores at her house (while keeping everything afloat at work). While checking Katherine's house and attending to her instructions, Tess accidentally discovers Katherine has decided to move ahead with her business idea, claiming it as her own, without telling her these developments. Tired of being mistreated (including a philandering fiancée), Tess decides to let her ambition be her driver. 

"Working Girl" hit the mark when it premiered in 1988. It represented a different level of professional visibility in the workforce for women, and it came on the heels of Charles Shyer's "Baby Boom" which had also hinted at that reality, though that story went in a very different direction, which was not the case for Kevin Wade's script. "Working Girl" managed to place a female character at the center of the narrative, and much like Charlie Sheen's Bud Fox in Oliver Stone's "Wall Street", Tess was resourceful, intelligent, and ambitious, though unlike Sheen's character not entirely unscrupulous. Even though her actions weren't exactly the most honest ones, she was not taking ownership for anyone's intellectual capacity or ideas, nor was she leveraging any insider trading to get ahead: she just wanted to get a fair shot at being able to pitch her ideas, and be judged on those, and not on her background, or where she hailed from. While this description may come across as a recipe for a potent drama, Kevin Wade and Mike Nichols were able to create a funny observational comedy, mostly leveraging the fish out of water angle, and particularly by relying on both Sigourney Weaver and Joan Cusack to do the heavy lifting in terms of injecting humor during the narrative. Katherine Parker is the perfect satire for the boss who has gotten to where she is because of a combination of nepotism, the right connections, and her looks. She isn't necessarily obtuse, but she has no issues walking over others to self promote and get where she wants to be. She is the right amount of self involved and narcissistic to elicit comedic observations from her cocktail reception, to her ski trip, to her final confrontation with Tess and Jack. Joan Cusack on the other hand had far less screen time, but was able to perfectly capture the Staten Island persona, with the big hair and mild ambitions, who wanted to be a good friend, and just lead a quiet, suburban life. The film is indeed a testament to how society was evolving in the late 1980s, and how these characters, particularly Tess, is more than just a traditional one note central heroine. She does feel slighted, deceived, but she's willing to combat and shape her life to get where she wants to be (without losing sight of herself). The cast is uniformly excellent, with Melanie Griffith having her second best moment yet on film (her best is still Audrey/Lulu in Jonathan Demme's "Something Wild"), with solid support from Harrison Ford, and the aforementioned Sigourney Weaver who ends up stealing most scenes she's in, the same going for Joan Cusack. The production team is brilliant, including the late Michael Ballhaus' cinematography, Carly Simon's score, and Ann Roth's costumes. A classic always worth revisiting. 

Wake Up Dead Man: A Knives Out Mystery

Movie Name: Wake Up Dead Man: A Knives Out Mystery
Year of Release: 2025
Director: Rian Johnson
Starring: Daniel Craig, Josh O'Connor, Glenn Close, Josh Brolin, Mila Kunis, Jeremy Renner, Thomas Haden Church, Cailee Spaeny, Kerry Washington, Andrew Scott, Daryl McCormack, Jeffrey Wright, James Faulkner, Annie Hamilton, Bridget Everett, Noah Segan, Cecilia Blair, 
Genre: Thriller, Drama, Crime
Score out of ten (whole numbers only): 9
Watch it on Netflix

Synopsis and Review

2025 marks the 20th anniversary of Rian Johnson's feature directorial debut, "Brick", which launched him into a stellar career. His latest installment for the "Knives Out" series, may well be the best one yet. The narrative positions the young priest by the name of Jud at the center of the events. He's sent to a parish in upstate New York, following a physical altercation with one of the deacons. His passion for what he does renders him the protection of Bishop Langstrom. He gets sent to the Our Lady of Perpetual Fortitude parish, one that is led by the forceful and iron willed Monsignor Jefferson Wicks. Wicks has a long standing history with the parish, as his grandfather was also a Reverend there. Jefferson's mother, dubbed a "loose woman", had him out of wedlock, and his grandfather forced her to stay in town with the promise of getting his considerable inheritance. Upon his passing, there was nothing to collect and she destroyed the interior of the church. Jud realizes he's going to have a steep battle with Wicks, but soon realizes that the Monsignor alienates most of the parishioners, except for a group of people who come in every week and seem to hang on his every word. As Jud tries to show everyone another side of faith and of the church, he's met with derision, particularly from Martha, who runs the entire church affairs and has known Wicks all her life. Things take a dark turn when Wicks dies in a storage closet near the pulpit, he is in fact murdered there. All eyes land on Jud even though there's no proof of his wrongdoing. Police chief Geraldine Scott asks Benoit Blanc to investigate what is apparent a perfect murder.

One of the most interesting traits of Rian Johnson's accomplished career as a writer and director (and producer) has been how he intelligently peppers his view of the current world, the political, economical, social challenges we all face in a daily manner into his work. That once again appears in this chapter of the "Knives Out" series, a more somber chapter than the previous ones for sure, but also quite possibly the most potent one of the three thus far. Topics like religion, radicalization of populism, lack of principles and ethics, misogyny, amongst many others, are illustrated in this film in a way that is neither preach-full nor self-important. The writer/director is able to embed points of reflection on what is happening in society these days in this format of a quasi Agatha Christie inspired and highly entertaining whodunit. Another remarkable aspect of this film is in fact its pacing: the film flows almost effortlessly between the set pieces, like a perfectly timed clockwork, allowing for all the events to take place without lulls, peppering the narrative with just enough dark humor to keep everything in perspective. The fine cast of this feature also makes it that much more riveting, starting with Josh O'Connor who truly embodies the central character to perfection, leading the film with charisma, energy, and conviction. He gets great support from Daniel Craig, and the wondrous Glenn Close who once again steals the film with her portrayal of a character who has seen everything and knows everything (her characterization is reminiscent of the Férula character she portrayed in Bille August's "The House of the Spirits"). The rest of the cast is solid in their portrayals, though Josh Brolin's characterization, in particular his wig and beard are at times a bit distracting. The production team is as always impeccable, with highlights going to Nathan Johnson's score, Rick Heinrichs' production design, Jenny Eagan's costumes, though Steve Yedlin's cinematography, particularly during daylight shots, feels almost devoid of any dimension (the nighttime shots are far better). It's a superbly well crafted film from a great film maker.