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  • Spider-Man: Into the Spider-Verse

    Spider-Man: Into the Spider-Verse

    ★★★½

    REPORT:

    (Viewed in 2D, as is my own personal preference, though admittedly this could perhaps be the only film I know that is genuinely enhanced by a 3D experience. TBD.)

    Stunning in its innovation, the film flawlessly coordinates the animation (e.g. varying frame rates, motion smearing, foreground/background interplay) with traditional comic book design elements (halftones; Ben-Day dots; hatching; Kirby dots; motion lines; and onomatopeia), even inventing a new technique they named 'misprint style' that works to substitute for blurred fields…

  • Star Wars: The Rise of Skywalker

    Star Wars: The Rise of Skywalker

    ★½

    REPORT:

    "I am the Spy."

    You don't say.

    Rise of Skywalker is exactly what I'd expect from the likes of J.J. Abrams, whose myopic preoccupation with a grandiose visual aesthetic consistently impairs the potential for rounded-out character development. It makes me shudder to think what the writing room conversations must have been like. I wouldn't be surprised if J.J.'s secret ambition is to challenge Michael Bay's crown as Hollywood's high-pimp of pure spectacle. But then at least Bay is true…

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  • Apocalypse Now

    Apocalypse Now

    ★★★½

    FILM REPORT:

    Though my overall opinion hasn't changed much since I first saw the original cut of the film years ago, I stand by Coppola's assertion that THE FINAL CUT is the definitive version, having cut the excess fat off the redux while retaining some of the added steps necessary for a less clunky and more organic journey into the heart of darkness.

    There are sequences in this film that are monumental in scope, spectacular in their construction. The premise…