The Moment (2026)

British pop singer Charli xcx pokes fun at her own image in this mockumentary satirizing the 'Brat Summer' phenomenon that took over the airwaves in 2024. Focusing on the planning and clashes behind the scenes in the run up to the concert tour, and how the label exploits the artist for its own financial gain, the whole thing feels obnoxious, stressful, anxiety-driven and unpleasant to sit through, but I guess it accurately captures a moment in time. I'm clearly not the target audience for this, but I struggle to see how fans would embrace this either. It's a bit like Spinal Tap or Popstar, except more depressing than funny.

1½ brat cards out of 5

Amazon Women on the Moon (1987)

One of my favorite and most consistently entertaining sketch comedy movies, this anthology satirizes the experience of channel surfing through late-night television. Ironically, the titular film (a spoof of low-budget 1950s sci-fi films) is the weak link, although it cleverly weaves throughout the other segments, featuring a huge ensemble of celebrities and directed by some big shots. This shit is ribald and obscene and hilarious. They don't make 'em like they used to.

3½ remote controls out of 5

Hell's Kitchen (1998)

The survivors of a bungled burglary are affected in different ways by what happened; e.g. Gloria (Angelina Jolie) wants revenge, while Johnny (Mekhi Phifer) wants to move away from violence. The emotional clash of interests gives the film a solid foundation upon which to build an effective drama, but it's too piecemeal and some scenes, while admirably lengthy and well-acted, often feel staged and, therefore, don't ring true. Likewise, while the rap music used is reflective of the street culture, it intrudes rather than complements.
The Johnny and Lou (William Forsythe) story could've been a worthy tale of redemption, but the film's lack of focus makes it too messy to recommend.

2½ stupid life choices out of 5

Pulp Fiction (1994)

QT’s second film is a nonlinear collection of about half a dozen stories that overlap in interesting ways, even though none of them really go anywhere meaningful. On one hand it’s deserving of being pulped, but the performances, dialogue and love shown to established filmic techniques (rear projection car rides, long tracking shots, split-focus lens and even a McGuffin) are indulgently entertaining. It’s not unlike the tasty burger that Sam Jackson makes a big deal over in one of the stories: it’s constructed from chopped up pieces and satisfies for a brief time. However, at 154 minutes I do feel that it pushes against the limits of acceptability for that kind of thing.

4 moral tests of oneself out of 5

Crash (1996)

A married couple with an active but unrewarding sex life delve deep into a bizarre subculture of people who fetishise car crashes. It's consensual within the group, but their hidden world is hazardous to our world.
Reading the J.G. Ballard novel (1973) upon which Crash is based isn't much fun, but it’s essential to understanding the otherwise impenetrable aspects of the film. Somehow Cronenberg translated the insipid moments into filmic intensity. He distorts the traditional role of the viewer by putting us too close for comfort, turning viewer into voyeur—a position of distanced participation. It’s uncomfortable and I believe the main reason that most people shy away from even discussing the film in public. It’s a shame, because it’s a powerful work with some outstanding acting, but it'll take a very open-minded person to see past the taboo wall.

3½ reshapings out of 5