The History of the Seattle Mariners is the first cultural object I’ve encountered that painstakingly constructs a specific, relatable history—that of a single baseball team—only to use that construct to then gesture towards the futility of completion and the locks storytelling puts on our collective subconscious.
Like many of its 1980s sci-fi contemporaries, the threat in Earth Girls Are Easy is humans, specifically those driven by greed and narrow-mindedness. But there’s also a lesson to be learned about our collective perception of the Valley—a place widely regarded as America’s vortex of vapidness.
I carry Mamma Mia! Here We Go Again with me the way I do band-aids or Excedrin or a spare pen. I know it’s there in case of an emergency.
Almost Famous is not just a story about falling in love with life’s possibilities, nor is it just a story about falling in love with music; at its heart, Almost Famous is a film about falling in love with writing about music. It’s the story of how a boy became a critic.
Grosse Pointe Blank, to me, is the definition of a desert island film: a foundational text, a perennial source of comfort, a go-to reference that lives, in the parlance of today’s youth and the adults who want to be like them, rent-free in one’s brain.
Spider-Man: Into the Spider-Verse is a great animated film, a great superhero film, a great coming-of-age film, a great family film, a great action film, a great comedy, political without being preachy, innovative while honoring classical conventions, intellectually stimulating while also being wholly accessible—it’s the rare instance of an absolutely perfect film.