Harold and Kumar Go to White Castle.

It’s two hours of drug jokes, fart jokes, boob jokes, gay jokes, and generally tiresome bad behavior. On the other hand, it’s Asians engaging in this bad behavior.

Sin City.

This movie may mark the first time in years that Bruce Willis has played a character that’s anywhere near his actual age.


There’s nothing like an overdose of saccharine kitsch to knock a guy out of a too-good mood.

My Own Private Portland.

The Portland of My Own Private Idaho is the PDX of fifteen years ago.


Steamboy isn’t really about narrative, it’s about technology. (Or perhaps “SCIENCE!”; shout it in your best Thomas Dolby voice.)


I don’t know why it took me so long, but I finally figured out why I find Alfred Hitchcock’s movies so off-putting: they kinda suck.

The Last Tycoon.

What The Last Tycoon shows you is not just how Hollywood works as an industry, but how cinema works as a form.

Shrek 2: Darmok and Jalad at Tenagra?

For every allusion that signifies, there’s one that makes no sense at all.

Million Dollar Baby.

Million Dollar Baby’s achievement is less in avoiding cliches and more in the way it executes them.


Over many, many bottles of product-placed wine, these four mis-connect, connect, disconnect, and reconnect.