Watched on Saturday October 10, 2026.

Worst fears realized. None of the speed and precision Fincher brought, which captured the sense of something being forged before its creators could even grasp what it was capable of. Sorkin’s writing can also quickly go from electric to eye rolling when he’s tackling politics, meaning this spiritual sequel to the film he won an Oscar for writing back in 2011 employs all his worst trademarks. While its insights on the recklessness of big tech already feel dated, what’s even more insulting is Sorkin’s earnest belief that institutions and speechifying are the keys to fighting back. Have you looked around

Thoroughly researched and undeniably damning. My only hesitation is after four hours of patient construction and dozens of interviews, we reach an endpoint most already suspected: Musk as a contemptuous, consequential and outright delusional egomaniac.

Rich movie about the way history is distorted and mythologized, as well as the power of image making. Just wish this thing had a more compelling set of actors to really bring all those themes home. Not a great movie but one worthy of conversation.

Watched on Wednesday October 7, 2026.

Watched on Monday October 5, 2026.

Watched on Saturday October 3, 2026.

Watched on Friday October 2, 2026.

Despite some broadness from its Paul Haggis screenplay, there’s a lot to love here - the painterly, almost Gordon Willis inspired cinematography, performances from Swank/Freeman/Eastwood, and restrained classical storytelling that makes the tragic melodrama of its final act all the more devastating. Eastwood’s best movies are often his most nakedly sentimental and the father/daughter relationship that forms between him and Swank holds real tenderness, without ever pushing the emotions. The finale may be divisive but, for me at least, poses maybe the thorniest moral dilemma in all of his pictures, one it feels even he is still wrestling with even

Not “bad” per se but never quite gets off the ground. Lot of rich material here but it’s missing an “umph,” a jolt of energy to carry you through all this history.

Much as the DW’s own “Lady Ballers” hilariously demonstrated zero understanding of the trans community it attempted to ridicule, while unintentionally revealing a deep contempt for women in general, “Infidels”showcases a hilariously lack of understanding in the very basis of what Muslims believe while also showing the hand of something much more sinister. Because even if you can laugh off Shapiro and company’s poor understanding of the faith they seek to demonize (along with inability to create compelling characters or effective action set pieces), there’s still horror in the fact this movie takes so much glee in the slaughter of

Always fun to guest on Awards Watch’s “Director Watch,” especially when it’s for a great movie such as this.