On the newest episode of the Awards Radar Podcast, Myles and I react to the Oscar nominations, complain about Return to Silent Hill, and more. Tune in and enjoy: @mylesonfilm.bsky.social awardsradar.com/2026/01/29/a...

You’ll never guess what I’ve been up to.

I know I’m years behind the curve (as is my gaming pathology), but I just rolled credits on the original Hades, and as a massive fan of roguelikes, I am happy to agree that it is in fact exquisite. Will definitely pick up the sequel whenever it releases on Xbox.

It feels like we’ve reached a turning point for the genre. You love to see it.

Anyway, Joseph Kosinski has now directed more Best Picture nominees than David Lynch did, and that’s why the Oscars, as much as they delight and entertain us nerds every year, should never be taken to heart.

Here’s the final predictions episode of the Awards Radar Podcast. Where do Myles and I land before tomorrow morning’s announcement? Find out: @mylesonfilm.bsky.social awardsradar.com/2026/01/21/a...

Dead Man’s Wire will play like catnip to fans of gritty 70s crime dramas, with an authentic period feel and a devilish sense of humor. The first half is much stronger before it loses some momentum, but Bill Skarsgård is thoroughly engrossing from start to finish. Nice to see Gus Van Sant back at it.

My last note about 28 Years Later and Bone Temple is that Ralph Fiennes can do anything. What an actor. Handsome and charismatic enough to anchor a movie like Quiz Show, doesn't mind doing a 10 minute cameo in things like Hurt Locker and stealing the show, and is absolutely fearless about his body.

This. His performances in Barton Fink and The Big Lebowski are especially legendary.

28 Years Later: The Bone Temple expands upon the most intriguing aspects of its predecessor in frequently surprising and exciting ways. Ralph Fiennes is a towering presence, Jack O’Connell a delightful fiend (Chi Lewis-Parry and Erin Kellyman also excel). Nia DaCosta delivers her best film to date.

With Oscar nominations less than a week away, here are my 12 favorite films of 2025. Mixed bag of a year for me, except for the horror on offer, which was outstanding.

In life David Lynch was known widely for being the absolute king of weird beard arthouse filmmakers. In death, he is known mostly for his kindness, work ethic, and just being an all around rad person that made films HIS way. And I absolutely love that. What a legacy. Rest in peace, king.

My top ten of last year is listed here, along with the rest of the staff!

Words can’t express how much this man has meant to me over the past year. Having finally taken the plunge into his work, I discovered an artist far more like me than I’d realized, a kindred spirit who I never met or appreciated while he was alive. My own work feels freer now thanks to his influence.

Here’s the new episode of the Awards Radar Podcast. Myles and I talk Golden Globe results, next week’s Oscar nominations, and more. Enjoy: @mylesonfilm.bsky.social awardsradar.com/2026/01/15/a...

DUST BUNNY is available on VOD today. It made my top 15, a criminally overlooked 2025 film that's part Jim Henson, part John Woo, all awesome. Mads Mikkelsen is fantastic, the action is solid, and the Monster is very cool. In the 90s or Aughts it would have been huge. See it. Buy it. Worth it.

The new Awards Radar Podcast is out. Myles and I defy the odds and almost exclusively talk awards! Tune in and enjoy on the site or wherever you get your pods: @mylesonfilm.bsky.social awardsradar.com/2026/01/08/a...

The Plague is likely the most intense film about a water polo summer camp ever made, a pseudo-modern riff on Lord of the Flies that perfectly captures the all-consuming anxiety of adolescence. The cast of young actors are incredible across the board. If you can handle some mild body horror, see it.

Myles and I wrap up 2025 and welcome 2026 on the latest episode of the Awards Radar Podcast. Give a listen: @mylesonfilm.bsky.social awardsradar.com/2026/01/01/a...

For this week’s Sunday Scaries, I ran down my top ten horror films of 2025. Plus, Myles shares his list as well! Check it out at Awards Radar: @mylesonfilm.bsky.social awardsradar.com/2025/12/28/s...

Marty Supreme moves like a roller coaster, rarely letting the characters or the audience catch their breath. Josh Safdie’s control over the tempo of all the chaos being unleashed is impressive. Timothée Chalamet gives a possible career-best performance, with Odessa A’zion as the supporting standout.

Song Sung Blue may not show anything you haven’t seen before, but when it’s presented this passionately and truthfully you can’t really complain. Hugh Jackman and Kate Hudson make a dynamic couple, and their love story fuels some emotional highs and devastating lows (bring tissues if you’re prone).

Here’s the latest episode of the Awards Radar Podcast. It’s kind of our Christmas Spectacular, though Myles and I spend a lot of time on Avatar: Fire and Ash as well. Give it a listen: @mylesonfilm.bsky.social awardsradar.com/2025/12/25/a...

The Ugly Stepsister is an inspired twist on a classic story that gives it fresh perspective while still engaging with the original in surprising ways. The body horror is full-on (including one of the grossest things I’ve ever seen in a movie) and the humor is gallows dark, so your mileage may vary.

Here’s the latest Awards Radar Podcast episode. Myles and I get into all the Oscar news of the week. Give it a listen: @mylesonfilm.bsky.social awardsradar.com/2025/12/18/a...

Rob Reiner either made your favorite movie, or made somebody you know’s favorite movie. If you’re a Californian, he’s also part of the reason you or your friends can get married. He has changed more lives for the better than this asshole commenting on him ever did.

Dust Bunny is the best kind of fairy tale for adults, throwing various influences into a stylish stew that largely shines on its own merits. Gorgeous costumes and production design, creative action, a memorable monster, and a wonderful showcase for how much range Mads Mikkelsen can bring to a role.

If I Had Legs I’d Kick You puts both its audience and protagonist through the wringer, yet writer/director Mary Bronstein brings a wry, delicate sensibility that prevents any sense of dreariness from setting in. Rose Byrne delivers a tour de force, holding the screen captive for much of the runtime.

Here’s the latest episode of the Awards Radar Podcast. Myles has his takes on Hamnet and Jay Kelly, while we go over the Golden Globe nominations. Tune in and enjoy: @mylesonfilm.bsky.social awardsradar.com/2025/12/11/a...

Jay Kelly is a tribute to the power of cinema and movie stardom, while shining a light on the personal shortcomings and the village of assistants and enablers that it takes to create such a figure. Baumbach is in top form, as are the inspired pairing of Clooney and Sandler. Great use of flashbacks.

Deathstalker 2025 is an affectionately messy slice of B-movie camp. Rarely do more than a few minutes go by without some clever gag or delightful practical effect or over-the-top decapitation to keep things moving beyond the threadbare plot and characters. If you’re into 80s schlock you’ll have fun.

Eternity is a surprisingly effective slice of old-school Hollywood romance, with a touch more sincerity and thoughtfulness than expected (despite plenty of cliches to work through). It helps that it’s riotously funny at times. Elizabeth Olsen and Miles Teller deliver nuanced, engaging performances.

Paul Dano is the best and Netflix is the worst. That’s all I have to say about this week’s discourse.

The latest episode of the Awards Radar Podcast has precursor talk, a take on Avatar: Fire and Ash, another on Ella McCay, and much more. Listen to Myles and I almost exclusively talk Oscar season for a change. Enjoy: @mylesonfilm.bsky.social awardsradar.com/2025/12/04/a...

Nouvelle Vague is a charmingly light-footed recreation of a very specific time, told through a very specific lens, and by that metric is a glorious success. Can’t help feeling conventional compared to its classic subject matter, but still very enjoyable to watch if you’re familiar with Breathless.

Wake Up Dead Man keeps the murder mystery series on solid footing thanks to a uniquely thoughtful story and Rian Johnson’s reliably first-rate writing and direction. It’s a little too long, and the ensemble and setting are less memorable this time out. But Craig, Close and O’Conner are all superb.

Zootopia 2 may not have the original’s surprise factor or tight pacing, but the blend of animal pun-based buddy cop hijinks with impressively layered social commentary remains endlessly effective. Hopps and Wilde are two of Disney’s best characters in years, and their complex dynamic is a highlight.

Here’s the latest episode of the Awards Radar Podcast. Myles and I talk turkey as we discuss our shared love for Train Dreams and frustrations with Wicked: For Good. Listen and enjoy: @mylesonfilm.bsky.social awardsradar.com/2025/11/27/a...

QT is not a serious person, and we don’t have to make his lack of self-awareness everyone else’s problem. He made a few good movies, but he’s not the last voice in criticism. I just wish people would stop acting like what he says matters.

Train Dreams snuck up on me and quietly took my breath away with its poetic simplicity. Edgerton has scarcely been better, while Macy and Condon deliver memorable supporting turns. Some of the best sights and sounds of any film this year. No easy answers in what’s hopefully a major Oscar contender.

On this week’s Awards Radar Podcast, Myles and I talk about upcoming films like Marty Supreme, No Other Choice, and Wicked: For Good, as well as recent releases like Keeper and Predator: Badlands. Give it a listen wherever you get your pods: @mylesonfilm.bsky.social awardsradar.com/2025/11/20/a...

Here’s the latest episode of the Awards Radar Podcast. Myles was on a time crunch, so we do one of our fastest episodes. Still, we hit on Bugonia, In Your Dreams, The Running Man, Train Dreams, and more. Enjoy: @mylesonfilm.bsky.social awardsradar.com/2025/11/13/a...

Bugonia takes a little while to truly feel like a Yorgos Lanthimos picture, but boy does it get there when it gets there. The 3rd act is both an outrageous spectacle and somewhat narratively muddled, but Plemons and Stone are at the top of their game, and their captivating work kept me engaged.

Here is the latest episode of the Awards Radar Podcast. Myles and I recorded this one well in advance, so we decided to look at the early Golden Globes race. Give it a listen: @mylesonfilm.bsky.social awardsradar.com/2025/11/06/a...

So it’s Godzilla Day? GODZILLA MINUS ONE isn’t just a great Godzilla movie, it’s one of the best movies of the decade. Flat out. Movies can really be that good.

I don't know who needs to hear this, but: ONE BATTLE AFTER ANOTHER doesn't have all the answers. It's telling a story. Also: No movie has the answers. Not a one. They tell stories. Solving the problems of the world is not even remotely a movie's job. Hope this helps.

Here’s the latest episode of the Awards Radar Podcast, our 2025 Halloween Spooktacular. Horror films like Frankenstein and horror adjacent works like A House of Dynamite are discussed, along with Blue Moon and Song Sung Blue. Give a listen: @mylesonfilm.bsky.social awardsradar.com/2025/10/30/a...

Blue Moon takes a little while to adjust to its hyper-verbal rhythms and minimal staging, but as a performance piece for Ethan Hawke it’s transcendent. The actor has scarcely been better, and he received exemplary support from Andrew Scott, Margaret Qualley and Bobby Cannavale. A bittersweet treat.

Frankenstein is by and large the timeless tale you know, with more than enough gruesome yet heartfelt flourishes to earn Guillermo del Toro’s signature. Oscar Isaac and especially Jacob Elordi bring new shades to the creator/creation dynamic. Some pacing issues, but it’s a wonderfully bold vision.

I feel like I’m not seeing this perspective enough, so I’ll just say that I am not remotely on board for the public rehabilitation of certain cancelled performers, who were cancelled with good reason and pose a potential danger to their colleagues. So I’m giving certain filmmakers a lot of side-eye.