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Watched on Sunday June 8, 2025.

Excellent horror tale that burrowed under my skin early on and stayed there after the credits rolled. Great performances and a wicked tone distinguish this unnerving Irish-language folk horror and create a waking nightmare that slowly eats the protagonist - and the viewer - alive.

Highly recommended for fans of slow-burn, atmospheric horror. Aislinn Clarke is definitely a director to watch.

Watched on Thursday May 22, 2025.

Watched on Sunday May 18, 2025.

Watched on Friday May 16, 2025.

Fierce, hypnotic, and one of my favorites from the eighties. Eric Bogosian is incredible, both on camera and on the page, as he adapts his stage play through the lens of a remarkably restrained Oliver Stone. It's riveting throughout, as Bogosian's razor-sharp performance takes us on a journey of loneliness and disillusionment, staring into the abyss of "entertainment" and "audience" and finding that it has no bottom. Prescient and provocative, this is a movie I frequently find myself recommending. It doesn't get the flowers it deserves.

This 10-part, 18-hour series is, in my opinion, the greatest documentary ever made.

I make a point to try to watch this once a year, an hour or so at a time, broken up over many weeks. It is immersive and thorough, benefitting fully from the hindsight of history as it painstakingly chronicles one of the most tragic follies in American foreign policy.

From the ignored foreshadowing of 's attempted occupation in the century prior, to the dawning realization of numerous American istrations that this endeavor was doomed, Ken Burns and Lynn Novick create a kaleidoscope of personal anecdotes and broader analysis that does not shy away from the labyrinthian complications and devastating ethical nuance of the War in Vietnam.

Impossibly complex and dense, it's an amazing achievement that the viewer emerges from this viewing experience with a slight, fleeting sense of clarity, and a true appreciation for the scale and scope of the subject matter. While any documentary film can only hope to capture the tip of the iceberg, there is a real sense of dawning, partial understanding of the shape underneath the surface.

My highest recommendation. Essential viewing.

Enjoyed it even more the second time. Going for a third when it's re-released in IMAX.

WOW - absolutely loved this. Terrific performances, some truly jaw-dropping music sequences (that first one at the juke t is an all-timer), and the vampires are just a metaphorical wrapper for a story about racial and cultural identity, appropriation, and legacy. I thought the film was very, very good as the credits started to roll, but the mid-credit sequence elevated it to absolute greatness for me, and fully completed the emotional arc of the whole movie. Felt really bad for the people who wandered out too early. Michael B. Jordan is one of the most charismatic and impactful movie stars working today, Ryan Coogler's direction is superb, and Miles Caton, Wunmi Mosaku, Delroy Lindo, Jack O'Connell, Hailey Steinfeld and Tenaj Jackson are all exceptional. Highly recommended.

(Also - I saw this in IMAX and highly recommend you do the same if you're able)

Watched on Saturday April 12, 2025.

Watched on Friday March 21, 2025.

Watched on Thursday March 20, 2025.

Watched on Wednesday March 12, 2025.

Watched on Sunday March 9, 2025.

Watched on Sunday March 9, 2025.

Watched on Friday March 7, 2025.

Watched on Friday March 7, 2025.

Watched on Friday February 28, 2025.

Watched on Thursday February 13, 2025.

Watched on Tuesday February 11, 2025.

Watched on Friday February 7, 2025.

The third film in our Park Chan-wook screening series at the Flanaplex, and the second of his unofficial "Vengeance Trilogy," OLDBOY blew the roof off last night.

I consider the Vengeance Trilogy to be one of the most significant works of art in the medium. There isn't much to be said about OLDBOY that hasn't already been said - it is a harrowing, brilliant, adrenalized entry in Park's extraordinary filmography, and tends to be most people's introduction to the filmmaker.

Whereas SYMPATHY meditated on the idea that an eye for an eye makes the world blind, OLDBOY takes a different approach. In the previous film, we saw how vengeance can cost you everything - but what if you've already lost everything to begin with? What if revenge the only thing keeping you alive?

The protagonist of OLDBOY uses vengeance like rocket fuel. With (seemingly) nothing left to lose, his rage and desire for revenge explode out of him like a supernova, burning with bright fury before he collapses inward into a true black hole. When the stakes are finally revealed, we realize two things: Oh Dae Su still has much, much more to lose than he thought, and we have been watching a tale of extraordinary revenge - we just weren't aware of WHOSE revenge we were seeing.

It is as thrilling and entertaining as it is ultimately harrowing and devastating, and knowing the outcome doesn't at all diminish repeat viewings.

OLDBOY may be Park's most celebrated film, and to no one's surprise, our screening was an adrenalized high point in our series so far.

However, LADY VENGEANCE is my personal favorite of the trilogy, and that is coming up this weekend.

Next up in our screening series:

LADY VENGEANCE
I'M A CYBORG, BUT THAT'S OKAY
THIRST
STOKER
THE HANDMAIDEN
DECISION TO LEAVE

The second film in our Park Chan-wook screening series at the Flanaplex, and the first of his unofficial "Vengeance Trilogy," SYMPATHY FOR MR. VENGEANCE finds the brilliant filmmaker at perhaps his bleakest.

I consider the Vengeance Trilogy to be one of the most significant works of art in the medium, and this movie hits different when considered the first act of a three-part opus.

By itself, it is a ruthlessly efficient morality play that pits its central characters against each other on a collision course of violence, irony, and consequence after a well-intentioned kidnapping goes horribly wrong. It ponders how "an eye for an eye makes the world blind", and how vengeance consumes the humanity of those who start down the path of retribution.

But in context of the trilogy, SYMPATHY explores the futility and tragedy of vengeance, while OLD BOY meditates on the brutality and irony of revenge, and LADY VENGEANCE contemplates justice and whether redemption is at all possible on the other side. To that end, SYMPATHY is an indispensable first volley in a much larger work of art.

It boasts terrific performances by Song Kang-ho and Shin Ha-kyun, who played North Korean soldiers (and friends) in Park's previous J.S.A., and exquisite cinematography. Almost the polar opposite of the kinetic adrenaline of OLD BOY, this is a static and quiet film, with razor-sharp framing and an immersive sound design. It is deliberately paced, patient, and methodical.

Its pace and plotting succeed in infusing both protagonists with enormous sympathy, so that the viewer finds themselves conflicted - both of them deserve their revenge, and we have been devastated by their losses, but the inevitability of the encroaching tragedies find us sitting back, wincing, wishing there could be another outcome but knowing there will not be.

It also features one of my favorite scenes of the trilogy, as a grieving father wakes on the couch to encounter a vision of his daughter. It's a heartbreaking moment, and ambiguous about whether or not it is indeed supernatural.

In our screening, the film was a little polarizing - while everyone acknowledged its technical mastery, several first time viewers found the experience too unpleasant for their taste. I sympathize... it took me a few viewings to really feel like I understood its deeper messages, and this entry foregoes a lot of the visceral thrills of Park's later work in favor of an almost clinical nihilism. Others, though, found themselves entranced, and I personally found that I still have enormous affection and respect for this film.

As the first act in one of the greatest film trilogies of all time, it bears the weight of its ideas with a brutal, terrible elegance.

Next up in our screening series:

OLD BOY
LADY VENGEANCE
I'M A CYBORG, BUT THAT'S OKAY
THIRST
STOKER
THE HANDMAIDEN
DECISION TO LEAVE

Jesse Eisenberg writes, directs and stars in this gentle, lovely slice of life that sees two cousins on a heritage tour of holocaust sites in Poland. Kieran Culkin is excellent, and it feels at times like both Eisenberg and Culkin aren't so much acting as simply mining their authentic selves. These characters and actors blend so seamlessly that I couldn't tell if it was an example of extraordinary acting, or just brilliant casting. It's likely both.

This is a humble movie, but that doesn't mean it lacks depth. Several sequences, including a guided tour of a concentration camp, and a particularly revelatory dinner, reveal the layers of pain, insecurity, guilt, grief. There is a yearning here that feels truly universal, even in such a specific and intimate story.

Eisenberg isn't directing for flash or pizazz - he is methodical, elegant, and gentle in his approach, evoking the indie era of the late 90's and early 00's, where the landscape of a single event in an ordinary life was more than enough to justify a movie. This feels like a callback to that era, and it's a very welcome one at that.

The performances and writing worked beautifully for me, particularly the contemplation of modern life set against the backdrop of history. How is it that we - "the product of thousands of miracles" that brought about our existence - are meant to live? Knowing the trials, sacrifices, and struggles of our ancestors, how are we supposed to feel when we examine the realities of our lives?

Does their suffering make our own personal shortcomings more egregious? Is the bar higher for descendants of those particularly suffered, to feel as though they've "earned" the lives they have now? Are our own struggles - with mental health, with faith, or just with life in general - inherently less worthy because our ancestors struggled more?

Or, is it that we simply have to be aware of the past, and try to carry that awareness into our present relationships? After all, is love any more or less difficult than it was for those who came before us?

This is a film about gentle questions, not answers. Approaching these questions with humility and respect seems to be the clear mission of the filmmaker, but most of that takes a back seat to the simple expression (and undeniable comedy) of what it means for family to love without truly understanding each other.

Most of the movie is spent with the cousins' misalignment, and with both men trying to invite the other to them on a frequency only they can hear. This leads to a fair amount of comedy, especially as Culkin's bluntness collides with Eisenberg's neuroses, and both try to balance their exasperation with a genuine affection for each other.

I found it to be charming, funny, sad, and to touch ideas of uncomfortable depth just long enough, before flinching back and retreating to something more familiar and tolerable. I felt like I'd been on a journey similar to the characters, and felt the whole kaleidoscope of feelings they surely felt. By the end, I felt like I'd brushed up against change, reached toward a connection, and was ultimately glad to be going home, feeling just the tiniest bit wiser for the journey.

Among the best of 2024.

Our next screening series at the Flanaplex is focused on the work of my favorite living filmmaker, Park Chan-wook.

Considered by most (including Park) to be his first real feature (he made two others prior to this that were essentially disowned), J.S.A. tells the story of a shooting at the DMZ outposts between North and South Korea. A neutral investigator is brought in to get to the truth of the incident before it ignites a war, and finds the survivors telling very different versions of what occurred.

Through Park's assured and sophisticated direction (brilliant even this early in his career), what unfolds is a complex and emotionally riveting puzzle that focuses on the artificial division of borders and politics, the tension between duty, loyalty and empathy, and the power of commonalities and friendship. It is a complicated and ultimately devastating tragedy, using the story of four individual men to tell a much broader truth about Korea, and about human civilization as a whole.

The cast is made up of actors who will all go on to make huge impacts in Korean cinema, and in several other Park Chan-wook films.

Lee Byung-hun is haunting as the South Korean soldier who unwittingly incites the incident by literally stepping on a landmine. He will later go on to do excellent work in A BITTERSWEET LIFE, I SAW THE DEVIL, and the new second season of SQUID GAME.

I absolutely love Song Kang-ho, who will of course star in several other Park Chan-wook films (THIRST), but also in some of my favorite Korean films (MEMORIES OF MURDER, THE HOST and PARASITE). Seeing him here with Shin Ha-kyun is particularly fun, given that they are both the stars of Park's next film, the brilliant SYMPATHY FOR MR. VENGEANCE.

Finally, Lee Young-ae plays the investigator, but will later be the title character in Park's LADY VENGEANCE, perhaps my favorite of Park's films. She's terrific in this, but considering what else she is capable of and where she is going, the performance feels like watching an actor in the infancy of her potential. Seeing Park already assembling some of his most important future on-screen collaborators is thrilling for a fan.

This is perhaps his simplest, most restrained and straightforward film, and is still an exceptional piece of work. Most of my friends who attended our kickoff screening had never seen this, and only knew Park from OLD BOY or THE HANDMAIDEN. They were enthralled, and amazed that this had flown under their radars for so long.

The final shot of the film finds its place on my list of all-time best final shots, creating a haunting and profound impact without a single spoken word. While there are some first-feature bumps along the way (some of the English language scenes are a bit awkward, and Park hasn't entirely achieved his God-tier mastery of the camera just yet), J.S.A. is still a stunning first feature. It was the highest grossing film in Korean history upon release, and propelled Park Chan-wook onto the international stage as a cinematic force to be reckoned with.

We will be watching his feature films in order for this screening series. I wish we had time to explore his television work, as his LITTLE DRUMMER GIRL is one of my favorites, but we are in for a real treat regardless. Next up:

SYMPATHY FOR MR. VENGEANCE
OLD BOY
LADY VENGEANCE (Fade to White version)
THIRST
I'M A CYBORG BUT THAT'S OKAY
STOKER
THE HANDMAIDEN
DECISION TO LEAVE

Watched on Sunday January 26, 2025.

Watched on Sunday January 26, 2025.

Watched on Saturday January 25, 2025.

Watched on Tuesday January 21, 2025.

Watched on Monday January 20, 2025.

Watched on Monday January 13, 2025.

Watched on Tuesday January 14, 2025.

One of my absolutely favorites of 2024.

I absolutely loved this movie. Centered on the real-life Rehabilitation Through the Arts program at Sing Sing prison, the movie tells the story of several inmates and the impact that RTA has on them.

Performances by Coleman Domingo and Paul Raci are fantastic, as are those by the ing cast, particularly Clarence "Divine Eye" Maclin and Jon-Adrian "JJ" Velazquez, who are actual alumni of the program. Maclin is spectacular, and the realization of just how many involved with this production have true, personal connections to the RTA is quite powerful.

Ultimately, this movie is a look at the reality of incarceration, the healing and redemptive power of imagination and storytelling, and the human need for creative expression and connection. This is a powerful and aching story that is at the very top of my list for Best of 2024. Highly, highly recommended.

Last night we finished our Sergio Leone screening series with his magnum opus, ONCE UPON A TIME IN AMERICA. Rahul Kohli curated and presented our Leone screenings, which started last summer with A FIST FULL OF DOLLARS, FOR A FEW DOLLARS MORE, THE GOOD THE BAD & THE UGLY, ONCE UPON A TIME IN THE WEST, and ended last night with this film, Leone's final work and - I think - his masterpiece.

The story behind the film is a fascinating one - Leone's 229-minute epic was butchered by its distributor, who cut over 90 minutes from the film without Leone's consent or participation, resulting in a disastrous mess of a movie that ended Leone's career on a note of abject failure. He wouldn't live long enough to see the film restored to its intended length (and celebrated reputation) in 2012... Leone died in 1989, only five years after its release.

This is an epic crime saga that spans decades, and assures us that the world of the gangster is actually one of forfeited morality. It does not romanticize the American gangster, but rather eviscerates it, and fully displays all of the ugliness that comes with it – little boys are taught violence, and become pillagers, murderers, and rapists – rewarded at every turn, growing into old men without remorse or self-reflection - until those very same men begin to shape the country itself.

Leone set out to paint a portrait of the demolition of innocence, the pervasiveness of violence, and the death of the soul hidden under the American dream. In the film, DeNiro's character looks back on his life and has his regrets – but it’s far, far too late. The dead are still dead, the most grotesque impulses of little boys have become the most toxic edicts of powerful men, and America has been made into their image. (Or... is he looking back at all? Is he ing, or is he imagining...)

It is a sweeping vision, a virtuoso piece of filmmaking, but a very challenging watch at times - the protagonist commits acts of horrible violence and sexual assault, and the camera does not flinch from them for a moment. The casual misogyny of the eras depicted can be difficult to stomach, and it is destabilizing to realize that the protagonist of the film is not only a tragic figure, but may also be entirely irredeemable. All of this, I believe though, is the point.

The acting is exceptional across the board, with DeNiro and James Woods delivering some of their best work, and Elizabeth McGovern turning in a heart-breaking performance. Ennio Morricone's score is gorgeous. And I find the final ten minutes to be an exquisite puzzle box - the famously ambiguous and enigmatic ending is haunting and dream-like, and I find the "opium den" theory to be not only incredibly compelling, but likely.

Having watched Leone's work evolve from picture to picture, I am comfortable saying this film is my favorite of his, and rendered with the hand of a master. It may not work for all viewers, both because of its density and content, but having revisited it a few times now, I think it's a magnificent piece of work.

Very cool. Beautiful animation, simple but involving story. Each little vignette offers a subtle message about empathy, cooperation, tenacity, and connection, all accomplished without a spoken word. It's a lovely little poem about adapting to the unexpected struggles of life, and how none of us can do that alone.

And you really get emotionally invested in that cat.

WOW did I love this. Brady Corbet's epic saga of art, struggle, trauma, pain, love, loss, and beauty hit me hard. Adrien Brody's turn as visionary architect Laszlo Toth, a man who flees post-war Europe for America and tries to rebuild his sense of self, purpose, and dignity, is a profound look at the artistic process, and the human spirit (with all of its frailty).

Guy Pearce is absolutely incredible as his employer, Harrison Van Buren, and Felicity Jones is devastating as his wife, separated by the war and struggling to him in the States.

For me, the 3.5-hr runtime soared by, and while I thoroughly ired the cinematography, performances, and storyline throughout, it wasn't until the epilogue that I truly began to comprehend what I'd been watching. The final revelations are seismic, but delivered so quietly and matter-of-fact that the impact feels even greater. In the case of this story, the destination may indeed be everything - but it doesn't make the journey itself any less rewarding.

Absolutely one of the year's best films, and possibly my favorite of 2024.

(Also, I cannot begin to comprehend how this film was made for a budget of 10 million. That fact alone is jaw-dropping. We spent more money making OUIJA: ORIGIN OF EVIL).

We kicked off the new year with a Flanaplex screening of one of my favorites, Phil Alden Robinson's FIELD OF DREAMS.

There were several friends in the theater who'd never seen it, and I found it hard to explain to them what it was about. It's about a farmer who plows under his crop to build a baseball field, but it isn't really about baseball, or farming. It involves the cross-country journey to kidnap a reclusive author, but it isn't about that either. The majority of on-screen characters are literal ghosts, but it isn't really a ghost story.

This film is ultimately about a particular FEELING – a feeling of looking back at what could have been, yearning for a different outcome, and somehow - miraculously - finding one.

This is a story of second chances.

This movie itself is a wish, and it wears that emotion on its sleeve. That degree of earnestness might not work for some, especially with today's more cynical audiences, but that very earnestness is one of the reasons that it hits so hard with certain viewers. I always find myself swept away in an avalanche of emotion in the film’s extraordinary final ten minutes, which crescendo with one of the single greatest compositions of James Horner’s career.

Jones’ soliloquy about baseball isn’t really even about baseball – it’s about a time in each of our lives when we were more pure, and simple, and how that basic goodness and innocence holds an inexplicable gravity over us all, even today. His speech is more an assurance that people will crave and seek out that goodness, despite the sad realities of life. "People will come, Ray" is a prayer of optimism, steeped in an aching nostalgia.

Incidentally, the movie hit me even harder now than it used to. Watching Burt Lancaster disappear into the cornfield always felt bittersweet, but seeing Ray Liotta and James Earl Jones stepping out of the story and into eternity - particularly Jones' childlike giggle as he softly vanishes - hit me right in the heart.

And realizing that the characters of Ray and Annie are former hippies who felt the optimism of the sixties give way to the corruption and devastation of the ensuing decades hit me harder as well. Even the choice to center the story on Joe Jackson, whose involvement in the 1919 White Sox scandal represents a true-life moment of the loss of our national innocence - it hits different somehow now that I'm a decade older than Ray Kinsella is meant to be in the film, and our nation has fallen so far from the innocence of these bygone eras.

Ultimately, I think the movie’s about innocence lost and regained, talent denied and indulged, vocation, purpose, and dreams. In this particular dream, everyone gets their second chance, though not necessarily in the way they’d like – but always in the way that they need. Innocence, joy, and even people are lost to us, taken by time, and choices. Maybe the only place we can revisit them is in our memories, and in our dreams… but if there was a heaven, isn't this what we'd want it to be? A place where the past and present exist simultaneously, all wrongs are forgiven, all regrets set aside, and we play what we loved as children?

As one character says late in the film, heaven is “the place dreams come true.” This movie is a dream, and a wish, of what such a heaven must FEEL like. Jones says that "baseball reminds us of all that once was good, and could be again." As I get older, I find myself hungry for such reminders, and yearning for movies like this one.

Watched on Wednesday January 1, 2025.

Watched on Sunday December 29, 2024.

Watched on Saturday December 28, 2024.

Continuing our Sergio Leone screening series at the Flanaplex (curated and presented by Rahul Kohli), we have reached ONCE UPON A TIME IN THE WEST.

I love this movie - it's a riveting and beautifully composed epic, entangling its four central characters in various collision courses set against the vanishing frontier as a railroad - and the future it represents - pierce the American West with inevitability.

Cast is wonderful. Charles Bronson turns stoic stillness into a captivating art, Jason Robards is a scoundrel with titanic charm. I personally gravitate the most toward Claudia Cardinale and Henry Fonda's work in the film, with the former radiating grace and strength, and the latter making for one of cinema's most fully-formed villains.

Leoene's powers as a cinematic force are fully matured and on grand display, and as always Morricone's score is iconic. The final movements and fates of the characters remain powerful and soaring, particularly the reveal of Bronson and Fonda's shared history (goosebumps every time), and a surprisingly impactful, quiet death in a muddy puddle, played over the distant - and imagined - sounds of the pacific.

There are some things in the movie - particularly in its sexual politics - that haven't aged as well as others, and there were a few awkward winces and cringes in the room here and there, but the overall impact of the film was undiminished.

This has been a really terrific screening series (though a curated one; there simply isn't enough time to include all of Leone's work), and we are ending this screening series with ONCE UPON A TIME IN AMERICA in the New Year.

12/13/24

On Friday the 13th of December, 2024, the Flanaplex was overtaken by one of the most fascinating double features in its history. We watched two films by director Bob Clark: 1974's slasher classic BLACK CHRISTMAS followed immediately by 1983's classic A CHRISTMAS STORY.

It was a fantastic double bill. I don't know that I've ever had the experience of seeing two films by the same filmmaker in such close proximity... that were so damn DIFFERENT.

BLACK CHRISTMAS is among the first "proto-slashers" that helped create and define the genre before John Carpenter's HALLOWEEN. It's still a banger. Exceptional sound design heightens the sense of unease and suspense. This is a wonderful movie, an early slasher whose influence is still felt today. It is haunting, unflinching, and has a twisted, viciously bleak ending that sticks with you.

On the complete other side of the spectrum is Bob Clark's undeniable classic A CHRISTMAS STORY. Based on the autobiographical writing of Jean Shepherd, this simple story of a little boy who wants a BB gun for Christmas is a full-blown classic. As dark as BLACK CHRISTMAS is, CHRISTMAS STORY is light - and full of earnest, honest nostalgia. I've probably seen this movie a hundred times, and I still find delight and joy in its many perfect set pieces.

One of the best double feature bills I can imagine.

12/13/24

On Friday the 13th of December, 2024, the Flanaplex was overtaken by one of the most fascinating double features in its history. We watched two films by director Bob Clark: 1974's slasher classic BLACK CHRISTMAS followed immediately by 1983's classic A CHRISTMAS STORY.

It was a fantastic double bill. I don't know that I've ever had the experience of seeing two films by the same filmmaker in such close proximity... that were so damn DIFFERENT.

BLACK CHRISTMAS is among the first "proto-slashers" that helped create and define the genre before John Carpenter's HALLOWEEN. It's still a banger. Exceptional sound design heightens the sense of unease and suspense. This is a wonderful movie, an early slasher whose influence is still felt today. It is haunting, unflinching, and has a twisted, viciously bleak ending that sticks with you.

On the complete other side of the spectrum is Bob Clark's undeniable classic A CHRISTMAS STORY. Based on the autobiographical writing of Jean Shepherd, this simple story of a little boy who wants a BB gun for Christmas is a full-blown classic. As dark as BLACK CHRISTMAS is, CHRISTMAS STORY is light - and full of earnest, honest nostalgia. I've probably seen this movie a hundred times, and I still find delight and joy in its many perfect set pieces.

One of the best double feature bills I can imagine.

Watched on Wednesday December 11, 2024.

Watched on Thursday December 5, 2024.

Watched on Friday November 29, 2024.

Watched on Thursday November 28, 2024.

This was the third installment in the Sergio Leone screening series that Rahul Kohli has curated for the Flanaplex, and so far the clear crowd favorite.

Leone fully hits his stride as a director here, and after A FISTFUL OF DOLLARS and FOR A FEW DOLLARS MORE, it was really awesome to feel the rubber meet the road and see his voice and vision fully realized in this third entry.

The "American" west (as depicted by an Italian filmmaker, shooting in Spain) feels dreamlike, unmoored, and truly outside of time as Clint Eastwood, Eli Wallach, and Lee Van Cleef circle each other in search of buried treasure. Eastwood is a full-blown icon in this, but Wallach carries an unexpected amount of the weight and infuses it with real humor and heart, while Van Cleef is a perfect, menacing, wicked Man in Black. (As a DARK TOWER fan, this movie is quite an experience - a teenage Stephen King was so enthralled by it at his local theater in Bangor that he ran home to brainstorm THE GUNSLINGER, and that adds an incredible dimension to the viewing experience).

All the touchstones from the previous films reach their zenith here, and as spectacular as the cast is, the real stars are Leone and composer Ennio Morricone, whose score for this film is timeless, seminal, and monolithic. I don't know if any other film score is as immediately recognizable and influential as this one (maybe the GODFATHER, but that score is traditional in a way that this is entirely avant garde), and the spell it casts is undeniable.

As far as personal taste, I am torn between this film and FEW DOLLARS MORE, which packs an emotional punch I wasn't expecting, thanks to Van Cleef's surprising turn. But this movie is PERFECTLY what it is, and as the movie's 3 hr runtime soars by, you can see the decades of legacy in each frame. You can picture a young Stephen King in the dark theater, all of mid-world exploding in his imagination in direct response to this film. You can see a young Quentin Tarantino devouring the visual language on display here, and using it as the foundation of his own.

This was a wonderful screening that won over even those among our group who weren't connecting with the previous entries. A full-blown, proper classic, THE GOOD, THE BAD AND THE UGLY is truly timeless. This movie has endured, and will endure.

Next up: ONCE UPON A TIME IN THE WEST (and please, don't @me about what we "should" or "shouldn't" be watching in this screening series, this is Rahul's show).

A crackling dramatization of the birth of "Saturday Night Live", Jason Reitman's frantic and electric comedy covers the final hours before the first broadcast of Lorne Michaels' revolutionary institution back in 1975.

Hard to imagine how a viewer unfamiliar with the history or impact of SNL will react to this real-time, kaleidoscopic look at a TV show literally being built one brick at a time up until the moment the cameras rolled, but as someone who is a lifelong fan of SNL, I found it to be riveting and delightful.

Acting is terrific across the board, particularly as a talented cast step into the skin of icons like John Belushi, Gilda Radner, George Carlin, and Chevy Chase (Cory Michael Smith is pitch perfect in that role). The movie isn't ultimately about these icons, though; It's a slice of a very specific night in the life of a the writers and comedians who would unleash a seismic cultural phenomenon, but in the moment were simply trying to hold the train together while building the tracks mere inches from engine while it rolled along.

We know how it all turns out, and we get the sense that we're only seeing the tip of so many icebergs as we race by them - there are at least a dozen figures worthy of full-blown biopics who streak across the screen and are gone in a glimpse (this is not a character study, with the possible exception of Lorne Michaels) but as a cinematic dramatization of one very fateful night, it all worked very well for me.

There may not be suspense in the outcome, but the journey is absolutely brimming with wit, humor, ambition, and the fiery confidence of youth, gleefully setting fire to convention and ready to scream into the face of the Institution, whether they survive the night or not.

It did make me hunger for a followup, now that SNL is an Institution of its own, and those fiery young rebels have become the grey-haired suits. This film may just be depicting the cold open of an epic and fascinating larger story that won't be told here, but that doesn't mean it isn't completely compelling in its own right.

Very solid, classic legal drama that appears to be a courtroom thriller, but is actually a moral and ethical puzzle box. Great performances in service of humble, confident direction by Eastwood. Nicholas Hoult plays a juror who realizes he has a very personal connection to the case he's been assigned to, and suddenly finds that two lives hang in the balance - the defendant's, and possibly his own.

It's not a flashy film, and certain plot contrivances have to be accepted in order to earn the moral equation that drives it, but that suspension of disbelief is welcome when the questions are this compelling.

This is a somber, complicated look at the nature of justice, the realities of redemption and recovery, and whether or not we can be better than our worst mistake. As someone who has been sober for 6 years, the idea that we're only as sick as our secrets hit home, and I found the questions about moral responsibility and ethical grey areas to be consistently compelling. Good people can do awful things, bad people can still be innocent; people can indeed change, but that change doesn't eclipse their responsibility... justice isn't simple.

A fine, thoughtful drama for grownups, and the kind of film that used to be celebrated in the days of Sidney Lumet... they don't often make them like this anymore.

A list of my favorite documentaries, sorted by order of release - except for Ken Burns' THE VIETNAM WAR, which belongs at the very top of this list.

• The Vietnam War
• Fire of Love
• Free Solo
• Won't You Be My Neighbor?
• 13th
• O.J.: Made in America
• Blackfish
• The Act of Killing
• Into the Abyss
• Inside Job

...plus 23 more. View the full list on Letterboxd.

Here is an ever-evolving list of my favorite horror films, sorted by release date. I know I've left a LOT out, so bear with me... I'll be updating this list forever.

I'm also keeping a list of independent horror films as well:

letterboxd.telechargertorrent.org/flanaganfilm/list/mikes-likes-independent-horror-movies/

• Sinners
• V/H/S/Beyond
• The Substance
• The First Omen
• Oddity
• Exhuma
• Strange Darling
• Where the Devil Roams
• Late Night with the Devil
• Talk to Me

...plus 251 more. View the full list on Letterboxd.

My favorite films of 2025

• Sinners
• Black Bag

My favorite films of 2024

1. The Brutalist
2. Sing Sing
3. I'm Still Here
4. A Real Pain
5. The Wild Robot
6. Anora
7. Civil War
8. Super/Man: The Christopher Reeve Story
9. Saturday Night
10. Flow

My best stab at a Top 100.

To be clear, these are MY Top 100 Favorites... I'm not arguing that they're the greatest achievements in cinema, just that these are the movies I love the most. Ordering them is impossible, so this is where I gave up.

And before the delightful Letterbros chime in with "you forgot about__________" or "where's__________", yes, there are certainly movies that are more important, more finely crafted, and more academically relevant than some of the ones I've included, but that's not my criteria. These are just the movies I happen to love the most, going back to my childhood.

1. All That Jazz
2. Lawrence of Arabia
3. Casablanca
4. The Shawshank Redemption
5. The Godfather
6. The Human Condition
7. The Tree of Life
8. The Godfather Part II
9. Ikiru
10. Lone Star

...plus 90 more. View the full list on Letterboxd.

Life is tough. The older I get, the more I value finding the rare movie that just lifts me up, and gives me a few hours of pure, unadulterated happiness.

Here is a list of movies that are, above everything else, uncynical. These are movies that make me truly, deeply smile. That doesn't mean that won't make you cry - most of these get me every single time - but ultimately, they create a pure kind of joy. I'm so glad they exist.

And yes, I'm putting my own film on this list, deal with it.

• Sing Street
• Ikiru
• Rudy
• Searching for Bobby Fischer
• Stand by Me
• It's a Wonderful Life
• Flora and Son
• The Life of Chuck
• The Princess Bride
• Singin' in the Rain

...plus 12 more. View the full list on Letterboxd.

These are (some of) my favorite films of all time, sorted alphabetically. Every time I think I'm done with this, though, I ten others I've left out... so I'll be updating this frequently, and forever.

I've capped it at 250, so lots of movies I dearly love have sadly been jettisoned already.

For those saying "why isn't there more horror", this is a list just of my favorite movies... I have another list just of my favorite horror films:

letterboxd.telechargertorrent.org/flanaganfilm/list/mikes-likes-favorite-horror-movies/

• 25th Hour
• The Abyss
• Alien
• Aliens
• All That Jazz
• All the President's Men
• Almost Famous
• Amadeus
• American Movie
• Apocalypse Now

...plus 240 more. View the full list on Letterboxd.

This is a list of some truly awesome independent horror films. Take a chance on something different, and spread the word - movies like these live and die by word of mouth. I'm only including films that did not have any studio involvement through production on this list

I'm also keeping a more comprehensive favorite horror list, inclusive of studio releases:

letterboxd.telechargertorrent.org/flanaganfilm/list/flanagans-favorite-horror-movies/

• V/H/S/Beyond
• Hell House LLC Origins: The Carmichael Manor
• No One Will Save You
• Where the Devil Roams
• You'll Never Find Me
• Late Night with the Devil
• Talk to Me
• Influencer
• Bones and All
• Terrifier 2

...plus 127 more. View the full list on Letterboxd.

My friend Guillermo del Toro says that "filmography is biography", so I guess this is mine (minus The Midnight Club, which is somehow not listed on Letterboxd). I hope you enjoy them.

• The Life of Chuck
• The Fall of the House of Usher
• Midnight Mass
• The Haunting of Bly Manor
• Doctor Sleep
• The Haunting of Hill House
• Gerald's Game
• Ouija: Origin of Evil
• Hush
• Before I Wake

...plus 3 more. View the full list on Letterboxd.

My wife Kate has seen a lot of movies. Since we started dating over a decade ago, I frequently ask her "have you seen this movie?" and she says "oh, definitely!" and we high-five and bond over our mutual love of some of my all-time favorite movies.

But over the years, I began to realize that Kate has not, in fact, seen most of those movies.

She does, though, know me very well, and so her first reaction is to simply say "yep, seen it!" rather than endure the 10-minute monologue I would otherwise launch into about WHY she should see it. It's one of the millions of things I deeply love about her.

Here are the movies from my top 250 that she still hasnt' seen. As she sees them, I will post her reviews.

• 25th Hour
• All the President's Men
• American Movie
• Apocalypse Now
• Army of Darkness
• The Assassination of Jesse James by the Coward Robert Ford
• Blade Runner
• Blow-Up
• Bonnie and Clyde
• The Bridge on the River Kwai

...plus 61 more. View the full list on Letterboxd.

I've been a Stephen King fan since I was a kid. Being a Constant Reader means greeting the news of a new adaptation with a mixture of excitement and trepidation, knowing that when things go well, they can go REALLY well... but when things go wrong...

Here's a list of my personal favorite King adaptations. There are adaptations that perfectly fine that didn't quite make the cut, and there are others here that I'll acknowledge are included very much for nostalgia's sake. This is all about individual taste, so your mileage may vary.

1. The Shawshank Redemption
2. Stand by Me
3. Carrie
4. The Green Mile
5. The Shining
6. Misery
7. Dolores Claiborne
8. The Dead Zone
9. Storm of the Century
10. The Mist

...plus 10 more. View the full list on Letterboxd.

My favorite movies of 2023

1. Society of the Snow
2. Past Lives
3. The Holdovers
4. Perfect Days
5. Beyond Utopia
6. Flora and Son
7. Barbie
8. Kiss the Future
9. The Artifice Girl
10. Oppenheimer

Showdown: Cutter's Way

My top ten films for Best Editing.

letterboxd.telechargertorrent.org/showdown/cutters-way/

1. All That Jazz
2. Lawrence of Arabia
3. JFK
4. Cabaret
5. Jaws
6. Apocalypse Now
7. Boogie Nights
8. The Godfather
9. Pulp Fiction
10. GoodFellas

The showdown assignment was "best movies to watch on a plane" and it turns out I'm a bit of an asshole...

letterboxd.telechargertorrent.org/showdown/flight-plan/

1. Society of the Snow
2. Fearless
3. Cast Away
4. Alive
5. Final Destination
6. The Grey
7. Red Eye
8. Flightplan
9. Twilight Zone: The Movie
10. Snakes on a Plane

OCULUS was my first "real" movie. I was very nervous. I had initially pitched the Lasser Glass to Trevor Macy at Intrepid Pictures as "a portable Overlook Hotel."

I was pulling from a lot of my favorites to try to make it work, not all of them obvious. The in-camera flashback technique that I loved so much in John Sayles' LONE STAR, but repurposed for horror... a chilling final shot from an episode of CARNIVALE...

I hope you enjoy this little trip down memory lane. These were the movies on my mind when I went off to shoot OCULUS, hoping it would finally kickstart my career.

• 1408
• Lone Star
• Silk
• It
• The Shining
• A Tale of Two Sisters
• Prince of Darkness
• Paranormal Activity
• Ju-on: The Curse
• Mirrors

HUSH was a very special project for Kate and I. The movie was born on a dinner date early in our relationship, where we talked about our mutual love for WAIT UNTIL DARK, and my desire to make a movie without dialogue.

We also talked a lot about the "HUSH" episode of BUFFY

• Wait Until Dark
• Halloween
• Die Hard
• Nightmares & Dreamscapes: From the Stories of Stephen King
• When a Stranger Calls
• The Night of the Hunter
• Creep
• Misery
• The Grey
• Gravity

Some of the most fun I ever had making a movie. The bar was frankly pretty low when I signed on for OUIJA 2, and Jason Blum and Universal let me get away with murder. I wanted to make the kind of gateway horror movie that I ed from my childhood, down to the cigarette burns on the reel changes.

Here's a fun Tumblr post about the making of the movie:
www.tumblr.com/flanaganfilm/718620053295316992/hi-mike-i-am-loving-the-long-posts-youve-been?source=share

We looked at a lot of movies to give us the retro feel I wanted, and while OUIJA 2 was never going to change the world, it remains a movie I'm very proud of.

• The Changeling
• The Exorcist
• Witchboard
• The Watcher in the Woods
• Something Wicked This Way Comes
• Poltergeist
• Rear Window
• American Graffiti
• Black Sunday
• Carnival of Souls

...plus 10 more. View the full list on Letterboxd.

I'll always be bummed that Netflix didn't THE MIDNIGHT CLUB, despite strong critical reception and a ionate fanbase. There were a lot of influences that went into Intrepid's one and only YA show, and here are a few of them.

There were a lot of ongoing series that we discussed, but they aren't available on Letterboxd. In the writers room we looked at SUPERNATURAL, EUPHORIA, ARE YOU AFRAID OF THE DARK, and even AMERICAN HORROR STORIES.

• The Breakfast Club
• Me and Earl and the Dying Girl
• The Craft
• Meet Joe Black
• Ghost
• The Terminator
• Tales from the Crypt
• The Fault in Our Stars
• The X-Files
• Ju-on: The Curse

...plus 10 more. View the full list on Letterboxd.

My latest film THE LIFE OF CHUCK is a ways away from being released into the world (we're still in post production), but as this Companion List will show, it's very different from anything I've ever done. Based on Stephen King's gorgeous short story, this movie is something truly special. I'm so excited for you all to see what I mean.

• Ikiru
• Sing Street
• Stand by Me
• It's a Wonderful Life
• Cosmos: A Personal Voyage
• The Shawshank Redemption
• Singin' in the Rain
• Dead Poets Society
• All That Jazz
• Searching for Bobby Fischer

...plus 10 more. View the full list on Letterboxd.

DOCTOR SLEEP was one of the biggest challenges of my career. I lived and breathed Kubrick's THE SHINING for months and months, but I also dove deep into Mick Garris' television adaptation, and a number of other sources of inspiration.

• The Shining
• The Shining
• Room 237
• Logan
• Monsters, Inc.
• Near Dark
• The Dead Zone
• Leaving Las Vegas
• Something Wicked This Way Comes
• Carrie

...plus 10 more. View the full list on Letterboxd.

I very much wanted not to repeat HILL HOUSE... and I knew from the start that I wanted to tell a love story, first and foremost. Here are a few of the titles that inspired THE HAUNTING OF BLY MANOR.

• The Innocents
• The Nightcomers
• Portrait of a Lady on Fire
• The Others
• The Woman in Black
• The Orphanage
• Wuthering Heights
• Ghost
• Atonement
• Ghost Story

...plus 10 more. View the full list on Letterboxd.

Here's a list of some of the influences that we discussed while making THE FALL OF THE HOUSE OF USHER. Hope you enjoy!

• The Crime of the Century
• The Masque of the Red Death
• Suspiria
• Faust
• Network
• Magnolia
• Wall Street
• The Raven
• Enron: The Smartest Guys in the Room
• Fight Club

...plus 10 more. View the full list on Letterboxd.

MIDNIGHT MASS is a deeply personal project for me. Each of the titles here had some impact on the formation of the story, and helped shape the series.

• Salem's Lot
• Silence
• Storm of the Century
• Jonestown: The Life and Death of Peoples Temple
• Thirst
• The Apostle
• Cosmos: A Personal Voyage
• Nosferatu the Vampyre
• Paradise Lost: The Child Murders at Robin Hood Hills
• Let the Right One In

...plus 10 more. View the full list on Letterboxd.

When I was making THE HAUNTING OF HILL HOUSE, there were more than a few influences that really shaped the series.

One of the biggest influences - SIX FEET UNDER - is not listed on Letterboxd, but I highly recommend it if you haven't seen it. It's a gorgeous series, and I'd argue that it has the best series finale of all time.

Some of these titles were overtly influential as we shaped the show, others were more subtle, but all of these brought something to the table. Hope you enjoy!

• The Haunting
• Lake Mungo
• Oculus
• A Tale of Two Sisters
• It
• A River Runs Through It
• Ghost Story
• The Changeling
• 1408
• Pulse

...plus 10 more. View the full list on Letterboxd.

The Found Footage sub-genre has seen waves of innovation and reinvention in the years since Shirley Clark's THE CONNECTION first utilized the technique, and Ruggero Deodato's CANNIBAL HOLOCAUST weaponized it for horror.

Some of these titles straddle the line, tilting more mockumentary or blending traditional narrative elements, but these represent my personal favorite entries in a sub-genre continues to endure, no matter how many times people declare that it's run its course.

Presented in order of release

• Hell House LLC Origins: The Carmichael Manor
• V/H/S/85
• V/H/S/99
• Incantation
• The Outwaters
• V/H/S/94
• Host
• Hell House LLC II: The Abaddon Hotel
• Butterfly Kisses
• Gonjiam: Haunted Asylum

...plus 36 more. View the full list on Letterboxd.

Most times, a ghost is a wish.

This is a list of my favorite ghost stories. Some of them are scary, some of them are tragic, some are sweet. A ghost can be a lot of things, and there's nothing quite like a good ghost story.

• Talk to Me
• Deadstream
• The Black Phone
• Host
• His House
• Extra Ordinary
• Gonjiam: Haunted Asylum
• I Am the Pretty Thing That Lives in the House
• Crimson Peak
• We Are Still Here

...plus 47 more. View the full list on Letterboxd.

Here's a list of my favorite zombie movies, sorted by release date. A few of these may be straddling the subgenre a bit, but worth including I think.

• #Alive
• The Night Eats the World
• One Cut of the Dead
• Cargo
• The Cured
• The Girl with All the Gifts
• Train to Busan
• Contracted
• Warm Bodies
• The Crazies

...plus 25 more. View the full list on Letterboxd.

My top 10 favorite films of 2022

1. Everything Everywhere All at Once
2. RRR
3. Decision to Leave
4. Triangle of Sadness
5. Navalny
6. Guillermo del Toro's Pinocchio
7. TÁR
8. Nope
9. Something in the Dirt
10. You Won't Be Alone

Every now and then I put on a movie to try to distract my kids, and by the halfway point I'm shushing them and trying to watch while they bounce around the room. And then I revisit the movie when the kids aren't around so I can enjoy it in peace.

Here's a list of so-called "kids' movies" that I can't get enough of, even if my kids don't quite appreciate them yet. Sorted by order of release date

• Spider-Man: Across the Spider-Verse
• Toy Story 4
• Spider-Man: Into the Spider-Verse
• Paddington 2
• Coco
• Inside Out
• The Boxtrolls
• The Lego Movie
• Toy Story 3
• How to Train Your Dragon

...plus 32 more. View the full list on Letterboxd.

The vampire first appeared on screen in 1922. These are some of my favorite vampire films, sorted by release date

• Jakob's Wife
• Dracula
• A Girl Walks Home Alone at Night
• What We Do in the Shadows
• Only Lovers Left Alive
• Byzantium
• Fright Night
• Daybreakers
• Thirst
• Let the Right One In

...plus 33 more. View the full list on Letterboxd.

• Casablanca

  "Louis, I think this is the beginning of a beautiful friendship."

• Before Sunset

  "Baby, you are gonna miss that plane."
  "... I know."

• Before Midnight

  "Well... it must have been one hell of a night we're about to have."

• The Lives of Others

  "No. It's for me."

• Se7en

  "Ernest Hemingway once wrote, ‘The world is a fine place and worth fighting for.’ I agree with the second part."

• The Thing

  "Why don't we just wait here for a little while... see what happens..."

• The Silence of the Lambs

  “I do wish I could chat longer, but I’m having an old friend for dinner.”

• Apocalypse Now

  "The horror... the horror..."

• Blade Runner

  "It's a shame she won't live – but then again, who does?"

• Jaws

  "I used to hate the water."
  "I can't imagine why."

...plus 10 more. View the full list on Letterboxd.

Ah, love... nothing warms the heart like a good rom-com. Looking to snuggle up on a first date? Here's a list guaranteed to get their heart pumping!

• When Harry Met Sally...
• Spring
• Teeth
• Fresh
• Honeymoon
• Bones and All
• Thirst
• The Fly
• Possession
• Audition

Every so often, someone says to me "I really, really don't like horror movies" and I bite the inside of my cheek and smile at them.

Sometimes they continue with "what horror movies would you recommend as a gentle way in", or "can you recommend any horror movies for beginners that are more like REAL movies?"

In those cases, these are the movies I immediately recommend.

• Gremlins
• Martyrs
• Possession
• Imprint
• Funny Games
• The Last House on the Left
• Antichrist
• Terrifier 2
• Cannibal Holocaust
• A Serbian Film

My top 10 favorites of the year I was born

1. Days of Heaven
2. Gates of Heaven
3. Invasion of the Body Snatchers
4. The Deer Hunter
5. Superman
6. Dawn of the Dead
7. Halloween
8. Piranha
9. Animal House
10. Jaws 2

My top 10 favorites of 1979

1. All That Jazz
2. Nosferatu the Vampyre
3. Alien
4. Apocalypse Now
5. Stalker
6. Life of Brian
7. Salem's Lot
8. Kramer vs. Kramer
9. Being There
10. Phantasm

My top 100 favorites of the 1980s, by order of release date

• The Fog
• The Changeling
• The Empire Strikes Back
• The Shining
• Airplane!
• Caddyshack
• Cosmos: A Personal Voyage
• Raging Bull
• Superman II
• Altered States

...plus 90 more. View the full list on Letterboxd.

My top 10 favorites of 1980

1. Cosmos: A Personal Voyage
2. The Shining
3. The Empire Strikes Back
4. The Changeling
5. Raging Bull
6. Airplane!
7. Superman II
8. The Fog
9. Caddyshack
10. Altered States

My top 10 favorites of 1981

1. Possession
2. Das Boot
3. The Day After Trinity
4. Raiders of the Lost Ark
5. My Dinner with Andre
6. The Evil Dead
7. Chariots of Fire
8. An American Werewolf in London
9. History of the World: Part I
10. Dragonslayer

My top 10 favorites of 1982

1. The Thing
2. Blade Runner
3. Fitzcarraldo
4. The Verdict
5. Poltergeist
6. Gandhi
7. Koyaanisqatsi
8. The Dark Crystal
9. Diner
10. Deathtrap

My top 10 favorites of 1983

1. Return of the Jedi
2. The Big Chill
3. A Christmas Story
4. The Dead Zone
5. Twilight Zone: The Movie
6. Star 80
7. Christine
8. Risky Business
9. Trading Places
10. Monty Python's The Meaning of Life

My top 10 favorites of 1984

1. Paris, Texas
2. Amadeus
3. Once Upon a Time in America
4. The Natural
5. A Nightmare on Elm Street
6. The Terminator
7. A age to India
8. Blood Simple
9. Stranger Than Paradise
10. The NeverEnding Story

My top 10 favorites of 1985

1. Come and See
2. Das Boot
3. Clue
4. The Color Purple
5. Back to the Future
6. The Breakfast Club
7. Fright Night
8. Cocoon
9. Explorers
10. Young Sherlock Holmes

My top 100 films of the 1990s, in order of release date

• Tremors
• The Hunt for Red October
• The Freshman
• The Exorcist III
• GoodFellas
• Miller's Crossing
• Jacob's Ladder
• Home Alone
• Misery
• Edward Scissorhands

...plus 90 more. View the full list on Letterboxd.

My top 100 favorite movies of the 2000s, in order of release date

• You Can Count on Me
• Wonder Boys
• Traffic
• Shadow of the Vampire
• Crouching Tiger, Hidden Dragon
• t Security Area
• Memento
• Almost Famous
• Best in Show
• Cast Away

...plus 90 more. View the full list on Letterboxd.

My top 10 favorites of 1986

1. Stand by Me
2. Aliens
3. The Fly
4. Platoon
5. Ferris Bueller's Day Off
6. Little Shop of Horrors
7. The Color of Money
8. Salvador
9. Labyrinth
10. Manhunter

My top 10 favorites of 1987

1. Wings of Desire
2. Full Metal Jacket
3. The Untouchables
4. The Princess Bride
5. Dirty Dancing
6. Raising Arizona
7. Evil Dead II
8. Predator
9. Hellraiser
10. RoboCop

My top 10 favorites of 1988

1. Die Hard
2. Talk Radio
3. Beetlejuice
4. Stand and Deliver
5. Rain Man
6. Who Framed Roger Rabbit
7. The Naked Gun: From the Files of Police Squad!
8. A Fish Called Wanda
9. The Thin Blue Line
10. Dangerous Liaisons

My top 10 favorites of 1989

1. Field of Dreams
2. Dead Poets Society
3. Do the Right Thing
4. The Abyss
5. When Harry Met Sally...
6. Back to the Future Part II
7. Batman
8. Indiana Jones and the Last Crusade
9. Say Anything...
10. sex, lies, and videotape

My top 10 favorites of 1999

1. Fight Club
2. Magnolia
3. American Beauty
4. The Green Mile
5. The Sixth Sense
6. The Matrix
7. The Blair Witch Project
8. Audition
9. South Park: Bigger, Longer & Uncut
10. American Movie

My top 10 favorites of 1990

1. GoodFellas
2. Miller's Crossing
3. Misery
4. Edward Scissorhands
5. The Hunt for Red October
6. Home Alone
7. Jacob's Ladder
8. Tremors
9. The Exorcist III
10. The Freshman