I so vividly recall the first time seeing Mulholland Drive. It was four of us in Josh’s frat house room, and I don’t know if I’d ever even heard of David Lynch prior. When it ended, I just being a bit speechless, but baffled at how one person in the room simply refused to accept that it was anything other than terrible and incoherent. After winding down with some conversation of praise and positive bewilderment, I went to my room…

I often try to remain on the cheerier side of life. Is it a defense mechanism? By forcing myself to think of just one good thing that happened on a particular day, it makes the thought of an impending end a bit easier to stomach. Some days are harder than others to come up with one of those thoughts. One of those distractions. Perhaps that's why I pour so much of myself into cinema. Into books. Into video games and…

Enjoyed this film very much, as well as all the performances the first time around, but really tapped into the extraordinary work Ayo Edibiri is putting in here. The overplayed humor and sheer ridiculousness of the entire film is obviously rooted in the heightened emotions we feel during coming of age. But it’s Edibiri’s ability to flip all the comedy on its head for something dramatically raw and genuine that makes it hit all the harder. Behind all the silliness,…

At times some of these segments can feel entirely flat and never really leave much of an impact, but I’d argue the fastballs in here are absolute smash hits. I’m thinking of ones like the touching Natalie Portman segment, the baller Cuarón segment, the Elijah Wood silent horror segment, the Coen Brothers partially silent comedy, the incredibly heartbreaking Gus van Sant romance or the poetic Juliette Binoche drama. The beauty of the Payne short perfectly embodying the overall sentiment of…