MSPIFF 2025 - Part One

Back for its 44th year, the Minneapolis St. Paul International Film Festival presented by the MSP Film Society is the largest film event in the Upper Midwest and something I look forward to every springtime. Last year I was only able to attend a couple of screenings due to travel, but this year I'm in town, I'm ready, I'm willing, and I've been very generously accredited for a press pass from the organizers once again. Programming is king when it comes to good festivals and MSPIFF remains committed to showing a wide range of films and perspectives from all over the world that include a lot of smaller films. I noticed quite a few titles that haven't necessarily gotten an overabundance of attention at the larger, market festivals. It can make it a bit challenging to parse the schedule, but the freedom of the pass allows for me to take a few chances. 

The thing that more than endears me to the festival in recent years is that it's mostly concentrated at The Main Cinema across the Mississippi River from downtown Minneapolis. MSP Film Society runs programming at The Main all year round, but it's a tremendous central location for a festival that I can bike or bus to easily. It's in a great neighborhood and it's no problem to find food or coffee or even walk along the river in-between films (provided I give myself some time to do so). An especially exciting development this year is that I feel like I know more people at the festival and have had the good fortune of scheduling some viewings with friends and even running into old pals unexpectedly. 

I think the format I used in 2023 was a good one, so I'll be doing the same this year: Capsule reviews of everything I see and broken out into two parts. I think this will give people a good idea of the variety of films on offer and my hope is that you might see something interesting in this entry that compels you to attend MSPIFF while it has another week left.

Day 0

I already wrote about Bushido in my March entry so I won't go into details here. I like the preview screening idea, though. I hope that continues next year.

Day 1

Free Leonard Peltier (2025) - Opening night shindig and three sold-out screenings of this latest Leonard Peltier documentary. The history of the American Indian Movement, the arrest and conviction of Peltier, and the absolute chicanery on the side of the FBI are important stories to tell and MSPIFF accorded the event with the appropriate deference. There was a performance from local indigenous people, and invocation in Lakota, and then a zoom call from Peltier himself! I only wish I liked the film better. It functions well enough to convey the history but the film starts to meander somewhere in the midpoint. There is also the deeply unfortunate choice to bolster the archival footage with AI enhanced digital sequences. It's so unnecessary and I can't even say it's very effective. I wasn't positive at first but when I looked into the filmmakers, it became apparent that one of them is an enthusiastic generative AI adopter. It's hard not to contrast this film to Michael Apted's Incident at Oglala which I think is a much stronger feature. Thankfully, Peltier has finally been released from prison which does provide a moving coda for the film and serves as a testament to keeping the faith in the face of injustice.

Day 2 

The Friend (2024) - This other Sigrid Nunez adaptation from 2024 (the first to hit our shores was Pedro Almodovar's The Room Next Door) features Naomi Watts as a Manhattan writer who must come to terms with both the loss of a friend and mentor, the aftermath of the relationships left in his wake, and (most critically) the inheritance of his 150lb Great Dane. I know I'm not supposed to give credence to the concept of "guilty pleasures" but I really do feel guilty at how much I enjoy watching erudite, literary, essentially affluent people running around New York doing New York stuff. I can't help it and it may be a sickness, but I still think The Friend is pretty good. Watts is actually terrific and Murray delivers some brutally funny (if nihilistic) lines. I am uncertain of animal "performances" but I actually believed this dog to be in mourning for his person. What a good boy. Speaking of which, the film was co-introduced by Karl and his owner/trainer and it appears that I'm easily taken with gigantic dogs in indoor spaces. 

The Wailing (2024) - Not to be confused with the Korean folk horror/thriller of the same title. This Wailing is a largely Spanish production about different generations of women being haunted by a mostly unseen force. I am loathe to actually list this one as I was getting tired, it was late, and I still had to bike back home. I'm afraid I bailed about halfway through and didn't give The Wailing an entirely fair shake. It felt like a tepid mixture of YouTube creepypasta videos and tropes that were wearing thin in J-Horror 20-30 years ago. In fairness, I have a potent aversion to films filled with people doing things on phones and laptops - I don't like being subjected to text messages and IMs in real life. Why would I want to deal with it in film?

Day 3

LUZ (2025) - Given my expressed distaste for digital spaces, Flora Lau's use of a virtual reality game as a framing device for her intergenerational, bi-national film could have flopped instantly for me. Instead, I found myself absolutely taken with its gorgeous photography and meditation on how we build relationships. As mentioned, it's beautifully shot - contrasting a neon, nighttime Chongqing with a distinctly old-world version of Paris. The characters in Chongqing are unapologetically 21st century - watching livestreams and playing the titular VR game. In Paris, Isabelle Huppert's Sabine lives a largely analog life of books, art, records, and face to face relationships. The two worlds mirror each other throughout a few scenes and then begin to overlap - both aesthetically and due to the game. 

I'm not certain that LUZ (the film) is looking to admonish modern society (though it does take some beats to illustrate how dumb we look plugged into our devices) but it does seem to encourage life affirming, non-virtual connections. When Sabine's step-daughter explains that the virtual world is better than the physical one, Sabine flatly responds "I don't even know what that means." The goal of LUZ (the game) isn't rendered meaningless but my sense is that Flora Lau is reminding us that connectivity we effortlessly achieve virtually should be a means to strengthen our real world relationships.

The Surfer (2024) - When films and filmmakers make intentional nods to grindhouse cinema - the results are often mixed at best. Self aware attempts to be bonkers are usually injected with unwelcome comedy or an assault of film homage so that you can rest easy knowing the director watched the same grimy films you now own on 4K Ultra Hi-Def disc. I think Lorcan Finnegan has largely struck the right tone with this quasi-psychedelic throwback to the 70s/80s Ozploitation boom. Nic Cage is the right man for the job of both being incomprehensibly stubborn and the object of torrential abuse and humiliation. Crazy Cage done correctly is a joy on the screen. The Surfer is not exceptionally violent (all things considered) but it is visceral and contains more than enough stomach churning, wince inducing moments to make up for its relative bloodlessness. 

Day 4

Unholy Communion (2025) - I make it a point to see any crime films playing at MSPIFF since I've kind of made that my beat in the last year or two. I'm not going to pick on Unholy Communion too much as it's a small, local production though it does co-star one of the more notable actors to emerge from Minneapolis - Vincent Kartheiser. Communion is competently done but ultimately comes off as bland.  Everyone involved seemed very nice and I do think that Mancini's in St. Paul deserves more screen time in more movies.

Meet the Barbarians (2024) - Julie Delpy's satire of French xenophobia and intercultural relations is ultimately a very gentle one, but it still remains funny and insightful. It's no surprise that the overwhelming pleasures to be found here are in the performances from an excellent ensemble cast. They manage to make the village residents heartfelt enough that you can become invested in the local melodramas. Also, some gorgeous footage of Brittany doesn't hurt. I only wish that the reality presented here seemed more plausible compared to the rising tide of right wing nationalism felt all over Europe and the US.

The Wedding Banquet (2025) - Andrew Ahn's reinterpretation of Ang Lee's 90s indie classic could have gone terribly wrong and yet, I feel like I'll be recommending this one broadly. I haven't seen the original in ages (and now I'd very much like to revisit it), but Ahn's interpretation feels like it lives very much in its own space. The cast is truly excellent - though they are so good that Bowen Yang's comparative lack of expressive depth is noticeable. He's still hilarious when called upon and there are so many funny moments in this. It's easy to describe Ang Lee's films as gorgeous or luminous or whatever your preferred adjectives for "very pretty" are - Ahn is working in a different register but it's still lovely. Elegant compositions and some terrific location footage - especially multiple sequences in what I believe is Discovery Park. 

Friendship (2024) - I finished my fourth day with a raucous, sold out screening of Andrew DeYoung's buddy comedy starring Paul Rudd and Tim Robinson. There are some gut busting gags in Friendship and (because I'm a simple person) a lot of my favorites were pure physical tomfoolery. That said, I think the film was losing steam and losing me somewhere towards the middle. Tim Robinson's Craig says "I'm all out of ideas" before embarking on a toad fueled psychedelic experience and I felt that the movie was talking directly to us at that point. I don't think it's too much of a spoiler to mention that Conner O’Malley has a small cameo in the film. Some guy behind me roared "Let's Goooooooo!" the minute O'Malley turned up. That's absolutely the target market for this one.

Day 5

Crouching Tiger, Hidden Dragon (2000) - I remembered being distinctly dubious when I went to see this when it opened. I considered myself some kind of Hong Kong cinema aficionado and was NOT impressed with various Hollywood attempts at importing Wuxia stylings (I was kind of dickhead as young men often are). Also, Ang Lee didn't do martial arts movies so what did he know? Lee's film shut me up so quickly and I was duly chastened. It had been a few years since I revisited Tiger so I was very much reliving that same thrill during the opening brawl between Michelle Yeoh and Zhang Ziyi. I couldn't help but think how deprived we are of action this virtuosic since the balance has tipped towards digital effects even in Asian cinema. What a joy to see action and adventure at this scale shot on film. Also, the inn scene/send up of heroic fiction is still beyond hilarious. The guy with the iron abacus kills me every time.

My next MSPIFF stop wasn't a film but a conversation and Q&A with the man himself, Ang Lee. He spoke for around an hour with a moderator and I feel like I could have listened to him all night. Ang Lee was incredibly humble about what he's been able to achieve and yet not overly demure. He's clearly passionate, perceptive, and possessed of a certain eloquence though he constantly deprecates his English. Great event and I was very grateful to some of my fellow MNFCA folks who waved me over to a good spot

Việt and Nam (2024) - Ang Lee went on to present a screening of Brokeback Mountain which was no doubt tremendous. I opted instead to see this Vietnamese film that interestingly shares some thematic, contextual connective tissue to Brokeback. Việt and Nam entered my consciousness when it made John Waters' annual "best of" list and this was arguably going to be my only chance to see it. The movie is utterly stunning. Each frame is beautifully composed with an incredibly rich film grain and even some print artifacts. I understood that it was shot on 16mm, but I have to wonder if director Truong Minh Quy used an older film stock as well to achieve the look. It's a far more abstract film than I expected and even though I was engaged - fest life caught up to me and I conked out for the last bit. Not my finest festival moment but it really had been a long few days. I am hopeful Việt and Nam gets distribution somewhere or maybe a Mubi deal? My lack of stamina notwithstanding, I think this one is worth your time especially if you know what you're getting into.

That's it for Part 1 of my MSPIFF coverage this year. I will be posting a Part 2 early next week. There are still many screenings and multiple opportunities to see international films at this years fest. I'd highly recommend making time for it and if you see me at the fest, please say hello!

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Best New-to-Me: March 2025

March absolutely rocketed by and despite doing some traveling and keeping up on some other things, I got an okay amount of movies watched. Unfortunately for this entry, I did a lot of re-watches. Fortunately for this entry, I went to the theater weekly and will detail some of that below. I'll be attending MSPIFF again in April and doing some international travel so I worry that I'm falling a bit behind in some of my usual watching - but I am very much looking forward to getting some genre goodness watched and getting another issue of Apache Revolver out there.

New to Me!

The Damned Don't Cry (1950) - Joan Crawford stars as a small-town housewife who abandons her marriage and chases fortune as a gangster's moll. One of the issues I run into with Crawford films is that she's such a magnetic onscreen presence with an obvious, penetrating intelligence that I struggle to imagine her beholden to the dopes she shares the screen with. The Damned Don't Cry circumnavigates this issue by rendering her an animal of pure ambition. She finagles and manipulates her circumstances impeccably until she becomes the victim of her own avarice. As melodramas go, Damned absolutely stretches credulity, but I still find the plot more plausible than Crawford succumbing to one more flannel suited dolt. 

Crawford is stupendous, the supporting cast is solid, there are some spectacular deep focus shots, and some cool location work as well. I would love to see this theatrically some day.

Tin Men (1987) - From Barry Levinson, writer of Street Girls, Tin Men is a thoroughly lived-in, location specific, not exactly hangout but hardly breakneck story of awkward relationships and the aluminum siding business. Richard Dreyfuss, Danny DeVito, and Barbara Hershey are the principles and all three are absolutely phenomenal in this but the supporting cast is insanely stacked with terrific character actors. The performances are funny and relatable but the location work puts this one over the top for me. Such a wonderfully natural presentation of 60s Baltimore roots you completely in the film. In a supremely 80s choice, the soundtrack is anchored by anachronistic tunes from the Fine Young Cannibals. I actually thought this worked pretty well, I only wished they would have licensed a few more songs.

Cheap Thrills (2019) - Not quite sure what's kept me at arms length from Cheap Thrills for so long. It might be the poster image or my impression that it would be more of a gross out comedy than the tenser, darker film it really is. I had the good fortune of seeing Pat Healy giving an in-person talk/conversation about his career and you could really feel the enthusiasm people had for this movie. He also had some insight on the production which piqued my interest. Cool guy, glad I got to see him.

The movie is probably not going to be an all-time repeat watch for me but Pat is fantastic in it. It's less broadly funny than I imagined (thought there are some wildly hilarious bits). Not sure if it stands as a larger indictment of capitalism or fatherhood.

Theatrical Screenings!

I Knew Her Well (1965) - Absolutely stunning and completely devastating. If you are not somehow already in love with Stefania Sandrelli - you will be once you watch this. Gorgeous people, fantastic locations, brilliant (and unrelenting) pop tunes - and yet multiple sequences of heartbreaking cruelty. This played as part of the annual Italian Film Festival - the main focus of the festival is contemporary cinema but they always have at least one repertory screening and it is inevitably one of my favorite screenings of the year. Antonio Pietrangeli is not someone I'm terribly familiar with though my understanding is that he is a favorite among Italian filmmakers - I'll have to check out more of his work. The use of popular music in I Knew Her Well truly is genius and I made a youtube playlist if you want to check out some killer tunes.

Mickey 17 (2025) - The latest and gloriously expensive slice of sci-fi weirdness from Bong Joon Ho. Mickey meanders a bit but never plods and while I don't know how funny the writing is - I laughed very hard at the essentially slapstick physical gags. Pattinson acquits himself quite well in the dual role and the top billed actors offset some of the less charismatic supporting crew. The writing and the edit could be much tighter in my opinion, but even mid-tier Bong is more fun than another tepid franchise film.

Black Bag (2025) - Two reasonably decent genre entries from Soderbergh in 2025 is something worth celebrating. Bag is conceptually far less ambitious than Presence and yet I found it largely more entertaining. The combination chamber mystery and espionage film isn't as pointed or twisty as I might hope and the tension never reaches white-knuckle territory; but it's fun! It looks good and the actors seem to be having a blast. Really loved what David Holmes is doing with the music - likely my favorite part.

Lost Highway (1997) - When Emagine Willow Creek announced their David Lynch retrospective, I did not immediately grab tickets to my all-time favorite Lynch films. Instead, I opted to attend the films I've seen the least and didn't necessarily love at the time. I know many people have a special place for Lost Highway as their first Lynch film. For me, it was a first time I was able to see one of his films in its original theatrical run. I was coming off of a few years of marinating in his earlier work, but almost exclusively on home video. Unlike his previous films, I was not instantly taken with this as a young person. It seemed slicker, a touch reserved, maybe even commercial in its way. I still liked it, but it did not become part of my cultural DNA.

It's a better watch for me 28 years later (jeezus) with a thousand more noirs and pulp novels under my belt. Many of the parts I didn't like then still irk me, but I can see it more clearly for what it is now and I really can appreciate it. I'm mostly glad to have caught it theatrically as its charms are much more apparent on the big screen (and with theatrical sound). It looked fantastic with deep blacks and beautiful grain and the sound of the night highway nearly makes up for having to listen to Rammstein again.

Harry & Tonto (1974) - This was the secret 16mm show from local heroes, The Cult Film Collective. John intimated to me early on that this would be the screening and I was already thrilled. I love Art Carney in the 70s, I love this film in particular, and it's nearly impossible to see outside of an OOP dvd, a Japanese blu-ray that goes for big money, or legally adjacent means. When John then reached out to me to contribute to the printed program, I was beyond honored. I think I wrote a good piece and the programs looked great. The film was a 16mm television edit which I didn't realize going in. I didn't love that some coarser language and sequences were cut, but was surprised to see at least one scene improved by the edit. Either way, Harry & Tonto remains a thoughtful, humane, melancholy, and terribly funny look at lives in transition. It also provides a triple threat of cinematic urban time capsule goodness - capturing New York, Chicago, and LA of the 70s. I cannot for the life of me fathom why Art Carney's film work has been cast into OOP dvd purgatory but I keep hoping that some courageous and well-financed operation will restore them as they're all well worth your time.

Inland Empire (2006) - I'd seen Lynch's 3 hour, experimental, digitally shot, epic of anxiety exactly once before and it's not a space I relish existing in. Again, I'm glad to have a chance to revisit it and I'm especially glad to have caught it theatrically. I can lose myself in longer films, but I essentially need to be trapped in a dark box without distractions to stick with this one. However, just because it's challenging doesn't mean it's not interesting. There's no shortage of connective tissue to Lynch's other work running through this sprawling effort but the ties to Twin Peaks season 3 were the most apparent to me tonight. The much talked about SD digital format is a conundrum for me - I can't imagine this movie exists any other way and yet it feels like the thing keeping me at arms length from the piece.

Bushido (2024) - Trying something new this year, MSPIFF programmed some preview screenings for passholders hoping to build some word of mouth interest around some of the lesser known entries. Kazuya Shiraishi is a director I've been meaning to catch up to based on the reputation of his gangster films. Bushido (originally titled Gobangiri) is a historical drama centered on a vagrant samurai, his daughter, and multiple games of Go. The first act or so of the film has a methodical, lyrical quality to it and it focuses in on minute details - closeups of cherry blossoms, the detail work in an ornate comb, and the placement of many Go stones. As the film goes on it adopts some wilder, nearly psychotronic stylistic flourishes - flashbacks shown in a 70s Fujifilm patina, backdrops emblazoned with a nearly neon red Mt. Fuji, characters posed in dramatic stances more appropriate for the stage than real life. It moves effortlessly from a deeply realistic historical Edo to a ferociously tense Samurai tale. It's light on swordfights and heavy on Go, but I found it totally entrancing. 

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Best New-to-Me: February 2025

 Late again, very little watched again - I'd say 2025 is shaping up to be a rough year (and it is) but that doesn't necessarily convey where I've been at creatively. I've been reading a ton and writing a bit - I just haven't quite gotten back into the gear of watching new-to-me movies. I did still manage to make it out to the theater several times and I'll write more about that down below. My wife and I wrapped up a watch of the first two seasons of Twin Peaks and that was great. I don't know that I've ever watched them all with the Lynch/Coulson Log Lady intros before each episode. Knowing that it was more or less just the two of them and that they were done some time after the show's finale adds a measure of fascinating context. We'll watch the remainder of the show material throughout the year but I'm on a brief pause for now. 

I know this is highly uncharacteristic for me and this space, but I had the opportunity to preview Daredevil: Born Again so I went for it. I know I almost never talk about television (I don't watch much, either) in the blog and if I was, you'd figure that I would turn my attention to some random genre obscurity from the 70s and not the new streaming series from Marvel. The thing of it is - I was a huge comic book fan as a kid and very specifically a Daredevil fan and even more granularly a massive fan of the Born Again storyline from Frank Miller and Dave Mazzucchelli. I remember so clearly receiving a copy of issue #228 as a birthday gift and found the full cover image of Matt Murdock's shattered visage totally enthralling. I loved masked heroes, but that's not what that slim volume had to offer. Instead it was a lightning strike of a crime story. It was brutal introduction to the kinds of stories I would grow to recognize as noir or hardboiled and I found it intoxicating. It took me a while to collect the complete storyline but I devoured it again and again once I had. In fact, I had to pull it off the shelf again last week and I'm happy to report that it mostly holds up.

So it was with some disappointment that I discovered that Daredevil: Born Again the series actually has very little to do with the beloved story arc from my youth. One thing that the series does borrow from its namesake is that it keeps the masked vigilante business more towards the back burner. At times, it's nearly a straightlaced (if a bit pulpy) NYC crime saga about a underworld heavy (The Kingpin) attempting to hold the reins of conventional urban power. I found it fairly entertaining though I think I may have preferred an entirely super-free version of its promising premise. Vincent D'Onofrio absolutely chews it up onscreen, but he clearly relishes playing the part. I've seen a bit of Michael Gandolfini before and I find him a refreshing screen presence and a solid performer. I hope to see him more in the future. So nothing revolutionary, but maybe it will start the breadcrumb trail for newer Daredevil fans to crack those Miller/Mazzucchelli books.

Enough of the small screen, let's talk movies.

Theatrical Screenings!

Blue Collar (1978) - Paul Schrader's directorial debut remains every bit as potent and desperately relevant as it must have been in the 70s. The montage of auto work while Captain Beefheart growls Hardworkin' Man thrusts you directly into the deeply pessimistic milieu of three friends and co-workers who feel pinned beneath the collapse of the bargain they believed they had entered. Harvey Keitel and Yaphet Kotto are excellent but it's Richard Pryor's performance that shines - distilling so much rage and frustration around race, class, and even family. The last 20 minutes of the film are incredibly bleak and I forget how funny and humane Blue Collar is for a large portion of its runtime. I've loved it for years and seeing it theatrically (in 35mm) was the cinema highlight of the month for me.

Paddington in Peru (2024) - I'm somewhat picky when it comes to preview screenings I attend but if I can bring someone I get much less discerning. So that's how my wife and I joined a crowd of ecstatic children to see the latest adventures of everyone's favorite marmalade enthusiast. It was cute, the kids seemed to dig it (it when on a bit long and the kids were getting restless towards the end), and it contained more Herzog film references than I expected. 

Captain America: Brave New World (2025) - All the above caveats though this was a press and guests only screening. They tend to be a more relaxed atmosphere and critics are (generally) better behaved than toddlers. I'm not a big MCU person but I thought this was an exceptionally lifeless entry into the series. I like the idea of smaller scale Marvel films that explore different themes and genres, but they need to be at least a mid-tier exercise in those genres. You wouldn't have to look too hard to find a better military/political thriller starring Harrison Ford. I'll always kind of love Captain America: The First Avenger and this sorely needed more of that fun and adventure.

The Oscar Nominated Animated Shorts Program - My wife and I have attended this theatrically (to the best of our ability) for many, many years now. I briefly studied animation a long time ago and have an earnest affection for the kind of odd, artistically rigorous animated shorts that used to populate the corners of public television or Nickelodeon (not to mention the wilder channels of Liquid Television or Spike and Mike's). The Academy tends to nominate fairly tame stuff but the shorts program usually contains a "highly commended" segment which is where I find the real gems. This year contained only the five nominees and I have to say it was one of the best programs I've seen in a while (especially compared to last year's mostly awful one). The shorts program has always been a showcase for international studios but this year distinguished itself by only featuring non-US shorts and offered nothing from either Disney or Pixar. I was especially taken with Wander to Wonder which is far stranger than what normally winds up as a nominee. I've seen plenty of shorts that go dark, but they tend to be tied to a specific political message. Wonder is dark and humorous and bizarre without slamming specific messaging in your face. I'd say it's worth seeking out even if animation isn't your go-to.

The Time that it Takes (2024) - This was the opening film for the Italian Film Festival at The Main Theater - I didn't know much about the film but they also host a party with good wine and food on the opening night so we were in attendance. Time is an autobiographical film about director Francesca Comencini's life with her famous director father - Luigi Comencini. It starts strong - taking us behind the scenes of some of the elder Comencini's films and painting a portrait of a largely sympathetic paternal figure. It's hard for me not to be charmed by films about the magic of filmmaking and the Italians especially seem to have a facility for this. Unfortunately, things devolve quickly once we hit troubled years for both Francesca and Italy. There's very little interesting this film has to say about counterculture, family troubles, or the Years of Lead. It comes off frequently as cliche and sometimes even as reactionary. There are still some nice moments and lovely location footage and I do appreciate how much affection this film has for other films. The montage of silent film sequences behind the end credits and footnotes about the film archives in Milan was a nice touch.

Luckily, we also attended one of the IFF repertory screenings and I absolutely loved it. I'll write more about that for the March roundup.

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Best New-to-Me: January 2025

 Welcome at last to a profoundly late monthly entry covering stuff I watched in January. Why so late? It could be the work trip I went on - it's a bad excuse and I should use the next one as an opportunity to get more writing done. I think it has more to do with being distracted by other interests. Now that I have a zine in print, I'm even more invested in all the other great zines out there. I've been reading everything I can get my hands on and posting about my favorites on social media. I've also been reinvested in comics in a way that I haven't been in years. Finally, after the passing of David Lynch, I've been spending my viewing hours revisiting his work or work that he deemed influential. All of this is great, but little of it contributes to my usual monthly ramblings. Still, I saw a fair amount of movies and it's time to give them their due.

New to Me!

Cain & Abel (1982) - This Philippine family drama/action thriller was a recent pickup during the Black Friday maelstrom. I'm afraid I don't have a lot of context on this one, so much of what I'm saying is informed by the (excellent) supplements on Kani's disc. I had some understanding that this was a crime/crime adjacent movie, and it is, but it's a long simmer before the film gets there. The first 90ish minutes are mostly composed of a drama centered around a landed family whose matriarch clearly favors one son over the other. Neither son is especially admirable but they are pitted against each other largely through the machinations of their mother. There are class concerns, illegitimate pregnancies, dreams deferred, and interfamily feuding galore. The pressure cooker finally does explode into surprising levels of violence in the last 30 minutes or so as different factions of armed thugs rally around the two brothers - resulting in paramilitary levels of armed conflict. Cain & Abel is very different from anything I've seen in a while and I really loved it. Definitely worth your time.

Japan Organized Crime Boss (1969) - Utilitarian title translation aside, this is an incredibly entertaining yakuza yarn from the great Fukasaku. This is familiar territory for the director, but Crime Boss was released before he fully developed the unhinged, nihilistic style familiar to most. There's still plenty of mayhem in Japan Organized Crime Boss, but the frenetic pitch and roll of Fukasaku's camera is largely more subdued here. There is a pervasive sense of doom, even futility, but this is still operating more or less within the conventions of the 60s chivalry film tradition. I love Fukasaku's classic 70s period but was really taken by this (and it has some fascinating political threads as well). Might be a good one to check out if you find the more ferocious Fukasaku a tad overbearing.

Slap the Monster on Page One (1972) - A deeply cynical political thriller critiquing both right-wing partisan journalism and how the levers of power are manipulated to maintain societal control. My interests in Years of Lead Italy naturally gravitate towards vigilante cops and rogue mafioso, but this is an absolute scorcher fueled by another tremendous Gian Maria Volonté performance. I'm woefully unfamiliar with director Marco Bellochio, but I'd like to remedy that.

My Heart is That Eternal Rose (1989) - I've been meaning to catch up to Patrick Tam's doomed romance by way of Triad showdown for years now and I'm so happy to have finally made the time for it. I don't know if "hesitant" is the right word for how I approached Eternal Rose but I think I was cautious after not really engaging with his much lauded Love Massacre. This was much more my bag and maybe because it's more of a conventional crime story recognizable to any fan of Hong Kong's heroic bloodshed years. My tastes aside, Rose is an easy film to love and of course it was shot, in part, by the great Christopher Doyle and beautifully captures that dreamy yet gritty look. It features both Joey Wong and Tony Leung and balances truly emotional dramatic sequences with hard hitting crime violence including plenty of twisty neo-noir plot points along the way. The main theme will stay with you for weeks, Beware!

Dust of Angels (1992) - More East Asian crime but focusing on a Taiwanese society in crisis. Rather than established gangsters, Hsu Hsiao-Ming centers his story around disaffected kids on the fringes of the underworld. There's a distinct slice-of-life, hangout appeal to Dust but the ideas that take shape in myriad conversations between all strata of criminal life confront a culture in flux, riddled with uncertainty. This is a gorgeous film and features some killer music too. I'd love to have a fully fleshed out physical release that provides some additional context to what plays out on screen.

Kamikaze Taxi (1994) - This isn't my first Harada film but it's the first one to really knock me out. An absolute epic of a film that refuses to conform to anything about the yakuza genre. It's a revenge tale and a road film that tackles both honor code systems and (improbably) the immigrant experience in Japan. There's a certain class consciousness to the proceedings and a brilliant, understated performance from Koji Yakusho. It's one that I definitely need to re-watch which is only challenging due to its nearly 3 hour runtime. Absolutely worthy of more eyeballs in this part of the world.

Pixote (1980) - Another longtime watchlist denizen that I can finally claim to have seen. Pixote is a devastating portrait of youth and poverty in Brazil featuring a heartbreaking lead performance from Fernando Ramos da Silva. Pixote reminds me in many ways of the Quinqui films coming out of Spain from around the same time, but those films featured freewheeling teenagers where Pixote blends that with children just trying to survive and find a place in an unforgiving world. This is bleak stuff and from what I understand, that tragedy extended to da Silva's brief life off camera as well. Aside from the gut wrenching drama that unfolds, Pixote also acts as an incredible snapshot of street life in Rio and São Paulo and features some window into queer life during that time as well.

Experiment in Terror (1962) - My wife and I are planning to re-watch the entirety of Twin Peaks over the next year or so and because I'm me, I put together a list of both TP titles and films that were either directly referenced in the series or that Lynch claimed were influential on his work. One I watched in January that really struck me was this noir-thriller from Blake Edwards. Besides featuring a street sign that reads "Twin Peaks" within the first five minutes of the film, there's plenty of connective tissue. Terror isn't exactly what I would call sleazy, but it dives almost immediately into a strange underworld (largely driven by an asthmatic would-be rapist and bank robber) that strikes a violently discordant tone with the world of order and goodness that reigns during the daylight hours. Terror sags a little at just over two hours but I was totally taken by it. It's kind of goofy, kind of menacing, and altogether weird movie. I'll almost certainly revisit it at some point.

Theatrical Screenings!

Den of Thieves 2: Pantera (2025) - My first cinema trip of the year and my first 2025 movie was the follow up to Christian Gudegast's 2018 heist thriller. The first Den of Thieves felt very much like a pastiche of great films that are markedly better BUT I thought Gudegast managed it faithfully enough that it won me over. If the first chapter was a take on Heat with some Training Day tossed in the mix, DOT2 is more along the lines of Ronin - exchanging L.A. grit for a jauntier, jet-setting affair. The set up is extensive (144 minutes is nearly criminal for a runtime) though some of the hangout vibes are infectious. However, once this thing kicks into heist mode, I was totally on board. I can totally see why some people may miss the gravitas (however hackneyed) of the first film, but I still came away with a smile on my face. I appreciate that these films don't approach their subject like an overlong music video and that Gudegast has enough restraint to not indulge in CGI, comic book buffoonery when it comes to his heists and chases. Honestly, give me one of these every year or two and I'll keep coming.

No Other Land (2024) - This is likely the hardest film to write about in this post. No Other Land is a collaboration between Palestinian and Israeli journalists and activists capturing what amounts to a decades long siege of Masafer Yatta on the West Bank by the Israeli authorities. It's a devastating portrait of senseless authoritarianism and state sponsored violence. At the same time, there's a touching relationship between two young men that propels much of the film. I am generally skeptical of "issue" documentaries because they are always propaganda at the core - either through what they show and tell or what they choose to omit. I imagine No Other Land suffers from this in some ways. These filmmakers are professional activists and I do have some questions about how things were presented. However, that doesn't rob the impact and the outrage anyone would feel after seeing the breadth and depth of abuses heaped on the denizens of Masafer Yatta by the IDF. This was shown as part of the Film Independent Spirit Awards screenings at the Walker and I absolutely commend them for doing so. When this was screened, No Other Land still had a severely limited theatrical run in the US and is only now seeing a wider release schedule. It's a hard watch and I strongly encourage you to seek it out however you can.

Problemista (2023) - Another Film Independent screening and one I had not found the time to catch up to during it's initial run. Julio Torres' coming of age, coming into your own, immigrant, NYC story has a mostly delightful, whimsical feel and features an absolutely fantastic cast. Torres stars and embodies his determined dreamer with just enough edge to keep him from being absurd and Swinton is clearly having the time of her life as the deeply problematic society woman who offers a key to his success. Support from the RZA as Swinton's egg obsessed artist husband was terrific as well. Problemista gets a little too cute for me at times and is very theatrical. There's part of me that kept wondering how it might be adapted to a stage production. Still, very glad to have caught it.

Nickel Boys (2024) - A rewatch for me and I felt it holds up quite well even though I knew the "reveal" before going in. My mind is unchanged after a second viewing - I think RaMell Ross has accomplished something astounding here both in terms of form and in literary adaptation. I can appreciate that the first person perspective is challenging for some viewers but I find it effortlessly immersive and I'm fortunate to have caught it on a screen for a second time. I would like to see what he chooses to do next though I do hope he doesn't become the "POV guy" moving forward.

Presence (2025) - Speaking of POV. I caught Soderbergh's supernatural mystery/family drama at the multiplex while wrapping up my work travel. Though I understand his talent and that he is much beloved, I find Soderbergh's films very hit or miss for me. Presence is not a miss, but I can't say that I was truly taken with it either. The form is interesting but (unlike Nickel Boys) feels a little like an academic exercise. The story is a combination of some genuinely touching moments and more than a few that felt undercooked to me. Overall, a bit slight and not something I'll be thinking about by the end of the year.

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2024 - Year in Review

 Christ, what a year. I know I don't even have it a 10th as rough as some people do, but 2024 still seemed brutal to me in ways and 2025 isn't exactly promising a respite. Despite any turmoil I might be experiencing personally or geopolitically - I can still point to some terrific things that have happened stemming from the writing I do here. 

Importantly, I was able to officially become a member of the Minnesota Film Critics' Association. This is a group of film reviewers - many written but also video creators, podcasters, and people who actually appear on television - based in Minnesota. I haven't been deeply involved just yet, but joining has given me the opportunity to attend many more press screenings, granted me access to publicity lists and screeners, and I'm able to vote in the local critics' film awards. This access played a huge role in my ability to put the Best of Hardboiled Crime - 2024 list together. I don't exactly operate like a standard film critic with my focus on older films and monthly roundups, but I'd really like to continue to stay on top of modern genre films - particularly the crime films - as it's fun and I think too many of those movies fade into obscurity on streaming services. It also afforded me the opportunity to co-host a live screening which I've always wanted to to and wrote more about below.

Zines!!! I was able to kick off the year with a contribution to the Cult Film Collective Member Zine and then republished that article on the blog. It's fun to write reviews and lists online and I love it when people reach out to me regarding posts, but this CFC zine reminded me how cool it is to have a physical object you contributed to. Not long after that, I had the good fortune to be included in a volume of Klon Waldrip's Ghastly Horror Society zine. I wrote about the not very horrific blaxploitation banger, Truck Turner, and Klon did a fantastic job formatting my unadorned word file into something cool looking. It was at some point after this that I decided I needed to work on my own zine. I wanted the satisfaction of making something and I wanted to divorce some of my writing from any corporate online platforms. It took me several months, but I eventually managed to cobble together the first issue of Apache Revolver and I have to admit that I'm very pleased with it. It's a little rough around the edges but I'm hoping it finds its way into the hands of other crime film, noir, and neo-noir fans. With any luck, I'll be able to do further issues and hopefully have some collaborators along the way. 

Watching Trends - This was definitely not my heaviest viewing year but it's also fairly in-line with my 365+ films annually. "Dramas" are almost invariably my most-watched genre of film because so many subgenres are also classified as dramas on letterboxd. Crime films were (unsurprisingly) my second most watched genre and something I was able to explore in a variety of contexts. I'll definitely be piling on more semi-obscure crime films from around the world over the next year, but I'm also excited to spend some time on more recent crime releases. My most watched director in 2024 was Kinji Fukasaku as I watched quite a few of his Yakuza pictures including a full rewatch of Battles Without Honor or Humanity. Hence, my most watched actors are all the dudes that are in all of Fukasaku's films. Hideo Murota leads the pack but Fukasaku essentially worked repeatedly with the same stable over and over again (though surprisingly not as much with Bunta Sugawara as I expected). American films were far and away the bulk of my watching over the last year but I watched significant numbers of films from France and Japan as well. The US/France/Japan/Italy influence on my movie watching is unlikely to fade over the next year, but I do hope to watch more films from other areas. I was very pleased to find some great contemporary crime thrillers from Indonesia, Brazil, Taiwan, and others and I'd like to keep that trend alive. Per usual, I did a list of "Discoveries" for the year and quite a few of these ended up with reviews in the zine if you needed an additional nudge to pick up your copy.

Theatrical Experiences!

I say this every year, but I continue to believe that the Twin Cities punches way above its weight as a film metro. Even as an enthusiast, I can't attend everything I'd like to considering the variety of repertory screenings, film festivals, and special events that happen throughout the year. Still, I was able to attend quite a lot and that's reflected below. I was also able to do some traveling and managed to catch some terrific screenings during those trips as well. I think this might be my longest annual list so far for screenings and something worthy of inclusion was happening every month (frequently more than one) - which is something I have not been able to say in previous years.

Winter Kills (1979) - A supremely nutso sort-of spoof that never quite lives up to the promise of its totally bananas cast, though I have to say that I was consistently entertained throughout. It's outrageous enough and so stacked with people I love to see that it would be hard not to engage with it. This entry is less about the quality of the film and more to do with the fact that the Cult Film Collective was able to lay hands on the brand new 35mm print of this somewhat forgotten film curiosity that was commissioned by Quentin Tarantino. There's a genuinely fascinating backstory to the production of Winter Kills and we're fortunate to have programmers looking for unique opportunities to snag something so weird.

Daisies (1966) - This was a screening at the Walker Art Center that ran in conjunction with an exhibition on avant-garde art in the Eastern European Soviet Bloc countries during the 60s through the 80s. This was sold out or nearly sold out (I believe it was student night) and the crowd was exceptionally lively for an art museum showing (I go to a lot of these and it's usually the NPR tote bag set). A popping crowd and a well loved 35mm print is possibly one of the best way to experience the 76 minutes of madcap antics Daisies has to offer. The adjoining exhibition also offered some great context to the film. I'm not nearly as well-versed in Czech New Wave as I'd like to be so that might be something to work on in 2025.

We All Loved Each Other So Much (1974) - This is a film I had been dying to see for years and I was beyond thrilled when it was slated as part of the annual Italian Film Festival here in Minneapolis. The festival largely focuses on contemporary cinema but they also schedule at least one "classic" film and I always try to attend if I can. An expansive story of friendship between three men and one woman (who they all wind up loving in some fashion) during the thirty years following the end of WWII. We All Loved Each Other So Much is supposedly extremely influential in Italy and it truly is a brilliant marriage of structural ingenuity by way of arthouse cinema with the sensibilities of a mass market film. It's  ostensibly a comedy and an extremely funny one but the overarching themes are those of loss, melancholy, and even betrayal. The friends betray each other, they betray their families, and they betray their ideals - intellectualism fails, the bravest of them becomes a corrupt capitalist, and leftist reform politics do little to change the circumstances of working people. It's also a movie obsessed with postwar film - De Sica, Fellini, Antonioni, and Rosselini all get their due and there are some excellent cameos throughout the picture. 

As a sidenote, I was able to attend a screening of La Chimera during the same festival (one of my favorite films this year) and they offered an aperitivo beforehand. This is something I'd love to see more of for any aspiring festival organizers out there.

From Beyond (1986) - We headed out to NYC during springtime in 2024 and unlike our usual trips, we were largely left to our own devices. With me being me, that meant several visits to cinemas throughout the city to catch whatever we could during our short time there. We saw some great stuff, but I have to give the nod to From Beyond on 35mm at the Prospect Park Nitehawk Cinema with screenwriter Dennis Paoli in attendance. I love From Beyond so simply seeing it in a great theater in 35mm in all of its gooey, perverse, purple glory was treat enough. Dennis Paoli was absolutely fantastic, too. He had some terrific behind the scenes anecdotes and even had a slideshow presentation put together! The screening was organized by the Brooklyn Horror Society and I'll have to keep an eye out for their other events the next time I'm in town. 

1980s Action Extravaganza - Another nod to the excellent Cult Film Collective who organized their first ever 80s action mini-marathon. Four surprise films (3 of which were on 35mm) by the same folks who run the overnight Horrorthon every October. I wasn't sure what I was getting into with this but I knew I could handle four films much easier than an all-nighter and I wasn't disappointed. The film selection was not the deepest of deep cuts (I was more intrigued by some of the trailers shown between features) but how can I not celebrate a screening of The Killer (1989) on film to an absolutely ecstatic crowd of action enthusiasts. I had not seen it in ages and it still hits so hard despite having seen it dozens of times as a teenager/twentysomething. My only complaint is that practically nothing in a marathon can follow it so after checking what the next film was (Predator) we called it a night. Still, this was a really well run event and I'd be interested in attending another one in 2025.

Eyes of Laura Mars (1978) - This screened at the Walker Art Center as part of a series they programmed in conjunction with their Keith Haring exhibition (essentially NYC cinema from the late 70s through the early 80s). I'd only seen Laura Mars once before and recalled it not having the strongest plot in the world - that's correct but it's nearly impossible to care with the cast, the music, the locations, and the fever pitch thriller action that plays out. The Walker is such an interesting venue for films about art or adjacent to the art scene and there was something special in watching the bath house fashion shoot with "Let's All Chant" booming through the auditorium. It's late 70s perfection pulsing with cocaine and fashion and garbage lined city streets and while it's only tangentially related to Haring - there's some kindred spirit there.

Play it as it Lays (1972) - Another 35mm screening and a return to the Trylon for Frank Perry's strange, melancholic adaptation of Joan Didion's novel. Prints of Play it as it Lays are vanishingly rare and I don't know of any current effort to restore it or revive it. I never thought I'd have a chance to see one unless I made a specific trip or managed to luck out in L.A. or NYC, so this was a real joy for me. Much like Tuesday Weld's character, it's not an easy movie to love. There's a lot of pain and grief laid bare on the screen even and Didion's caustic wit doesn't balance the experience by much. Still, seeing it with an audience and absorbing the stunned silence during the devastating penultimate scene is the reason we go to the cinema.

The Super Spook Show Spectacular! - Cinema of the Macabre did their first SSSS! in 2023 and I included it in my list that year while hoping that they would return in 2024. My wish was granted and they put on another fantastic event with a seriously cool lineup of films. I wrote a whole damn post about it, so you can check that out here.

Suffer, Little Children (1983) - We made a trip out to Seattle this year and managed to fit in a screening of this positively bonkers satanic panic SOV horror from the UK that was sufficiently deranged to land it on the infamous "video nasties" list and was banned for years. I am not a shot on video obsessive but I love to try and work some in every October. What I almost never get a chance to do is witness this brand of murderdrone insanity in the company of other human beings. Little Children is only barely comprehensible but is overflowing with weirdo supernatural vibes and surprisingly brutal violence inflicted on children. Fascinatingly, its origins stem from some kind of school film project so Children comes by its sensibilities honestly. This was part of a series programmed by some folks from Scarecrow Video (which I also made the trip out to see) and was held at the absolutely gorgeous SIFF Egyptian in Capitol Hill. It is such a fantastic venue and I was absolutely heartbroken to learn that it is currently closed due to a pipe leak resulting in significant damage to the building. I hope they find a way to repair and reopen the theater and in the meantime, you can follow their updates and find ways to help here.

Little Murders (1971) - My wife and I decided to take the train to Chicago for the first time and we made sure our timing intersected with a screening of Little Murders that was being hosted by Samm Dieghan and the Oscarbate Film Collective. I've been a fan of Samm's writing, audio commentaries, and podcasts for years now and though we've chatted a bit online, this was a chance to meet in person. Little Murders is a film I absolutely adore and I have long wanted to attend something at the Music Box. It was genuinely terrific - the Music Box is a gorgeous theater, the film was every bit as great as I remembered, Samm was terrific, and I also got to meet Brian from Weekend Nachos who I had previously picked up an insanely cool Cercle Rouge t-shirt from. I should mention that the screening was in support of the book Samm co-edited and contributed to: Revolution in 35mm: Political Violence and Resistance in Cinema from the Arthouse to the Grindhouse, 1960–1990 . It's a tremendous resource for anyone interested in leftist politics in cinema and I found it to be an entertainingly brisk read - not at all some dry tome or textbook. 

The Asphalt Jungle (1950) -  Last and certainly not least, I have to add the screening of The Asphalt Jungle that I got to co-host with Tim Holly as part of Emagine's Secret Movie Night. I had an absolute blast doing this. I love Asphalt Jungle and had never actually seen it on the big screen before. Tim was a terrific and generous co-host and the audience had some great questions. I did prepare for this but I was lucky in that I'm fairly well entrenched in the heist movie genre and it's research that is both a joy to do and not too hard for me to retain. This was another opportunity afforded to me through my association with MNFCA so I couldn't be happier about that. I'd love to do more of these and while I don't think they have presenters return very often for Secret Movie Night, I might have to find some other screening outlet so that I can force unsuspecting crowds to listen to me ramble about movies.

So that's 2024 in the books, movie-wise, I hope that despite what else may be happening in the world, I'll be able to attend more great events and that my film writing will keep lurching forward it its herky-jerky fashion. If you like what I do here, I'd love to hear from you. I'd also love to hear what your big film moments were in the last year. Finally, I'd love if you picked up a copy of the zine or share it with the crime film fanatics in your life. Happy New Year!

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Apache Revolver #1

 Hello to what may be the last Kino Ventura blog post for 2024! It's been an exciting year for me in regards to what I do here - I've been able to contribute to a couple of zines, I was able to join the Minnesota Film Critics' Association, and I was even able to host a live screening of one of my favorite films. I wasn't sure that this additional project would be ready to launch before the month was out but it appears that the stars have aligned so I'm happy to announce the release of my new crime film zine: Apache Revolver!

This is a collection of film writing and reviews, a couple of lists, and some artwork by yours truly covering my favorite genre of film. The selections are what you might already expect from me: older, relatively underseen, largely hardboiled genre pictures from all over the world. It's 26 digest pages of writing and artwork plus the color cover and I'm selling it online for 6 bucks plus tax and shipping. If you are a fan of 70s genre pictures, yakuza films, poliziotteschi, French gangster pictures, or my writing in general, I think you'll find something to appreciate here. Even if that's not your bag, I'd love if you could help spread the word to the crime film fanatic in your life. Hopefully this goes well and there will be future issues and collaborations with other genre folks.

If you do pick it up, I'd love to hear what you think. Don't hesitate to send me an email or poke me on bluesky or instagram

It's been a hard year for a lot of people and next year doesn't look like it will be letting up on any of us. I hope you're able to stay safe, stay sane, and stay healthy and I hope you can still find time to appreciate things like wild old genre pictures. Thanks as always for checking out my stuff!

The Working Class Goes to Hell - Thief (1981)

Criterion announced Thief on 4K and Robert Prosky would have turned 94 today so I thought I would revisit and republish this older review of mine. I removed the final paragraph about availability but otherwise left this unchanged.

Two things are immediately striking upon first viewing Michael Mann’s Thief (1981)—the immaculately constructed world and the singular style in which it is presented. Everything physical in Thief feels real, seems plausible. The tools that Frank (James Caan) and his crew use, the methods they employ, and the locations they maneuver through have a tremendous authenticity to them. 

One of the keys to that authenticity is that Mann employed “technical consultants” on Thief (something he would continue to do throughout his career) that consisted of actual thieves and police. Not only did these consultants inform the methodology of the fictional robbers, but in some cases lent them the actual tools of the trade. The magnetic drill Frank hefts to penetrate a safe door in the opening sequence was a real 200 lb drill and he really drilled through that safe door.

In contrast to this realism, the stylistic elements of Thief are fantastic and alien. The city is all blacks and greens, eternally raining. Streetlights and neon line the skies and are reflected in surfaces of cars and wet asphalt. The pulsing electronic score by Tangerine Dream echoes the industrial heartbeat of the Chicago underworld (parts of the score are actually keyed to match the machine whir of the tools used for the heists). With the level of craft on display, it’s remarkable that this was a first feature both for Mann and his cinematographer Dave Thorin.

However, there’s more than mere style on display here. Thief is very much a character driven narrative and has the performances necessary to draw the viewer in. Caan’s Frank is successful. He maintains his independence, steals only cash or unset jewels, and puts his money into small businesses he can control: a car lot and a bar. He’s unattached and answers to no one. Jessie - beautifully portrayed by Tuesday Weld—is a woman with a dark past. While she seems far too glamorous to be a diner cashier, her humdrum life is one she built herself and something she can rely upon.

In one of Thief’s best scenes, the two lay their cards out on the table and decide to start a life together. This kind of confessional conversation and abrupt decision making would normally strain credulity but Caan and Weld are totally convincing as two people looking for something better and running out of time to find it.  As Frank says, “let's cut the mini-moves and the bullshit, and get on with this big romance.” 

To jump-start this new life chapter, Frank compromises his independence to work for local crime boss, Lou. Robert Prosky brings the faustian Lou vividly to life. He’s both affably paternal and later chillingly brutal, like some kind of folksy satan. Lou offers Frank and Jessie everything they’re dreaming of—money, a home, even a child—if only Frank does things Lou’s way. Of course, Frank’s not the kind of guy who can do things anyone else’s way for long. No longer unattached, Frank has to decide to submit to Lou’s yoke or risk losing everything.

Thief is a tremendously assured debut feature that’s clearly the product of meticulous preparation. Mann set the story in his hometown of Chicago and built on his experience with convicts from his television movie: The Jericho Mile. Thief contains many of the hallmarks that would define Mann’s style as a film-maker throughout his career - the way he focuses on professional details, his use of real people and locations, and his attention to the music in his films. 

Mann also has a terrific eye for supporting cast and Thief features Willie Nelson as Frank’s prison buddy, as well as solid film debuts for Jim Belushi and Dennis Farina. As sparse as the actual plot beats may be, Thief only grows in my estimation each time I revisit it. Some may find it too stylized, maybe even pretentious, but I find myself completely won over by this expertly crafted slice of genre film-making. 

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