THE SECRET AGENT (O Agente Secreto) is the last 2025 best picture nominee I hadn’t seen, but I was gonna see it anyway. By coincidence I had just caught up with writer/director Kleber Mendonça Filho’s 2019 film BACURAU (which he co-directed with Juliano Dornelles) right when this came out here. THE SECRET AGENT is slightly more normal, but still very distinct, and a leap forward in terms of filmmaking prowess. As far as Oscars it’s a surprising choice because it’s in Portuguese and it’s odd and puzzling and and takes its sweet time letting you know what it’s about. But also it kinda makes sense because it’s unique and great and though it’s about Brazil in 1977 it has many echoes of things going on right now over here and elsewhere.
Last year also had a Brazilian best picture nominee – I’M STILL HERE – a haunting story about how people tried to go on living while authoritarianism and corruption were corroding their society in the ‘70s. This tackles overlapping material in a completely different way, a little more comparable to my favorite movie of the year, ONE BATTLE AFTER ANOTHER. It’s serious and tragic but also very funny and satirical, a realistic world peppered with the surreal, the absurd, the arguably exaggerated that’s somehow truer than if it wasn’t. And it’s that rare pleasure of a movie where I truly have no idea what it’s going to be about or sense of where it’s going but I stay enraptured. (read the rest of this shit…)

I don’t identify as an anime fan. Not because I’d be ashamed to, but because I don’t want to steal that valor. Real anime fans contain volumes of cultural knowledge that I lack. I don’t think I’m a tourist, but maybe a vacationer. At most a dabbler, a casual partaker, an occasional appreciator. But I love the artform of animation, so some of that stuff hits the spot.
The idea of a horror movie called RUMPELSTILTSKIN seemed funny enough to me in the 1990s that I got a poster for it in the free bin at the video store (“1996 THEATRICAL RELEASE!” it exclaimed) and hung it on my wall, but not enough that it ever occurred to me to actually watch it. Then a couple years ago the eccentrically curated label Terror Vision put out a fancy 4K/blu-ray special edition, and I thought, “Could it actually be good?”
40 ACRES is a 2024 post-apocalyptic movie, set 12 years after a fungal infection killed all the animals, causing civilization to collapse. It centers on Hailey Freeman (Danielle Deadwyler, 


BLOODY NOSE, EMPTY POCKETS (2020) is an incredible slice of life movie. It’s not a documentary but it sure feels like it is (you even see the camera operators a couple times). It’s kind of like a more verite take on another indie drama I love,
I enjoyed the extra strength absurdity of
Last year there was a well-reviewed Valentine’s Day slasher movie playing in theaters. Normally I’d be all over that shit, but I boycotted for political reasons. You see, the production company behind it, Spyglass Media Group, were the assholes who fired the star of SCREAMs
QUEENS OF THE DEAD is a 2025 zombie comedy written and directed by Tina Romero. Yes, that Tina Romero. The one who was in
BLUE MOON is one of Richard Linklater’s two 2025 joints, the one that’s in English and that he didn’t sell to Netflix and that was nominated for two Oscars (actor and original screenplay). At a glance it doesn’t sound like the most typical Linklater picture, because it’s about the songwriter Lorenz Hart when his partner Richard Rodgers has just started a successful new team with Oscar Hammerstein II. But when you see it it turns out it’s very Linklater, because it’s basically a one location play starring Ethan Hawke (like 

















