I've listened to WTF with @marcmaron.bsky.social since 2013 and I'm going to miss it. But I'm so impressed it went out in style on Maron and his producer's terms. A solo heartfelt 2nd last episode and then one final interview with one of the greatest previous guests: @barackobama.bsky.social. Bravo!

Not sure when I got the German blu-ray of THE NEVERENDING STORY but I've now seen both versions of one of my beloved childhood films. Nostalgia means I'll never be able to be truly critical of it but it does feel timeless; if it were to be remade now you could easily depict the Nothing as AI slop.

Diane Keaton could move seamlessly between comedy and drama, and is one of the reasons so many iconic 1970s (and beyond) films are so amazing, influential and memorable. She was one of the greats.

It wasn't my intention to wait until now to see ONE BATTLE AFTER ANOTHER but it meant I saw it on 70mm at the Astor Theatre along with a really fun and savvy pre-show. Anyway, pretty great, right? Probably will become the defining film of 2025. A couple more thoughts: letterboxd.com/cinemaautops...

I was listening to a podcast just recently where the hosts were discussing TOPKAPI, which is what prompted me to finally watch RIFIFI. I really want to track down a copy of TOPKAPI now. Apparently De Palma lifted from it directly for MISSION: IMPOSSIBLE.

It's a terrific edition. I'm pretty sure I watched all the extras back when I first bought it as I used to be a lot more thorough about doing that.

I finally watched my DVD of RIFIFI last night, addressing a very long overdue #filmblindspot. It is easily one of the all-time great heist films, and arguably the one that set the standard and template that all others should be measured by. More fragmented thoughts at
letterboxd.com/cinemaautops...

‘We are such fans of your music and all of your records. I'm not speaking of yours personally, but the whole genre of the rock and roll.’

Considering how common the mockumentary has become it’s remarkable how few things have come close to nailing the format as THIS IS SPINAL TAP. So much of the joy comes from being lulled into feeling it’s an actual doc and then a random line catches you off guard and you laugh until your face hurts.

Arriving at the tail end of Classical Hollywood, becoming a star of New Hollywood, a director and an essential player in facilitating the wave of independent American cinema in the 1990s, Robert Redford's impact on the last 60 years of American cinema was enormous. Vale to a great artist.

I rewatched my 20th anniversary DVD of the original TRON, which I bought 23 years ago. Damn. One detail that's aged well is the villain is a smug tech arsehole who amassed power by exploiting the work of others to create an AI entity that's ruining the potential that computing once offered humanity.

SKETCH is released in Australia tomorrow. I was expecting a whimsical and wacky family film about drawings that come to life. Instead, it's a darkly funny kids horror with nods to PET SEMATARY, JURASSIC PARK & ARACHNOPHOBIA and more than a little DNA from 1980s Joe Dante and Steven Spielberg films.

HIGHEST 2 LOWEST sees Spike Lee in full operatic mode and Denzel Washington in full bombastic mode, and I'm here for both. Lee's distinct style is both familiar and surprising in the way it so often draws attention to itself or seems to go against the grain. A highly energetic morality play.

DRESSED TO KILL was a big De Palma #filmblindspot for me, so I’m glad to have finally seen it. It’s sleazy, exploitive, silly and problematic as hell but I really enjoyed the craftsmanship and unashamed perversity & voyeurism of it all. A beautiful fusion of Hitchcockian themes & giallo aesthetics.

I’ve never seen that! I really should address that oversight soon especially as I have the blu-ray.

I didn’t want to be the one to say it, but that’s the vibe I was getting too!

My creepy backyard.

He does not disappoint!

BUT ALSO JOHN CLARKE is a smartly directed and assembled collection of archival clips and interviews to give context to who John Clarke was and why his satire is so beloved. It’s a loving and personal tribute that's moving at times, but mostly it's just really entertaining and very, very funny.

I don't love the review either, but yes, the out of context pile on it is receiving is incredibly bad faith. A crucial bit that isn't being shared is: 'This may well be a far more faithful interpretation of the novel than most of its predecessors, but that doesn’t mean it can exorcise their memory.'

I'm not an Aronofsky fan but I thought CAUGHT STEALING was fantastic. Ensuring the chaotic misfortunes are kept mostly grounded gives the violent black comedy an extra edginess. When the film delivers a genuine buzzkill, it impressively bounces back. I finally get the appeal of Austin Butler too.

EDDINGTON encapsulates the pandemic years. It's part satire & part absurdist realisation of bonkers conspiracy theories. Every type of behaviour is ridiculed but it’s easy to see where the film’s sympathies lie when you look at what actions are deceptive & destructive, and what are simply annoying.

Walking out of an intense and often ambiguous film last night and was stunned by the number of people very loudly and confidently expressing how they didn't get every aspect of it so decided it was therefore a bad film. Really embarrassing.

Very charming moment during the Q&A with the filmmakers from THE MYSTERIOUS GAZE OF THE FLAMINGO when an audience member went on stage to assist with translation and then was moved to tears while translating one of the replies. #MIFF2025