I go the other way. The fact that JJ Abrams has issues with The Last Jedi only confirms my feeling that it’s a masterpiece.

I saw it in theaters two years ago for its 40th anniversary. You are absolutely correct. In fact, sit in the middle of the front row.

The Last of Sheila is SO great. I caught it on a retro channel a while back and I was surprised how great that film is. 

Oh no. I cried during both of those movies, so presumably I’ll just die during this one.

psssst! here’s a secret: all star wars is for children. 

Yes, we all know a movie with subtle character moments and well written dialog, that subverts broad archetypes instead of lazily falling back on them, could never be considered good Star Wars movie.

David Mitchell, author of Cloud Atlas and The Bone Clocks, is one of the co-writers!

Which is a shame, since it’s a better take! 

Fallen Kingdom was pretty stupid, but I actually had way more fun with it than I did the first Jurassic World which was just a slog to get through.

There are movie moments, and then there are movie moments.

Did you read the profile on him in the New Yorker recently? It got me STOKED for the Dark Star trilogy

He was fantastic in Looper as well. 

Any top films of 2018 list that doesn’t include Mission Impossible: Fallout can be promptly ignored and forgotten.

Tampopo. I know it’s a Criterion Collection film that will likely be available on their new service next spring, but this is a good weekend to watch a food movie, and Tampopo is the best damn food movie ever made.

Also on Filmstruck: Ken Russell’s The Devils (1971), starring a wonderfully bonkers Vanessa Redgrave!

The Wages of Fear is amazing. It’s inspired in so many ways through the years.

Completely disagree that “Catch Me If You Can” didn’t have a stand-out action/suspense sequence. Frank’s escape at the Miami airport is absolute brilliance on par with anything on the list. Most impressive, to me, is how seamlessly the POV moves from Frank, spotting all these little clues that tip him off to what’s…

No part of Phantom Menace worked

Ugh, really? I love your writing generally, but del Toro’s most powerful filmmaking very obviously meditates on the meaning and power of compassion and its ability to overcome toxic masculinity. His movies are composed mainly of visual sumptuousness and a giant helping of heart, and if you don’t see the latter, I’m…

Coco is a goddamned masterpiece and I’m amazed that more critics aren’t acknowledging it as such.