AndMoreAgain

August 2026 Reviews

2026-08-01T08:40:51.753-07:00

These are the reviews and other projects I'm working

on this month.

Cucalorus Film Festival: member of the 2026 narrative feature judging committee.

Northwest Film Forum: moderator of a Q&A with Adam Sekuler after a screening of his documentary The Flamingo.

Seattle 48 Hour Film Project: member of the 2026 judging committee with Kris Swenson and Chase Hutchinson.

Seattle Film Blog: Christiane F. [Criterion Collection].

The Stranger: Teenage Sex and Death and Camp Miasma.

Video Librarian: An American Pastoral, Anatomy of a Fall, Anthropocene: The Human Epoch, Liza: A Truly Terrific Absolutely True Story, Mad About the Boy: The Noël Coward Story,

and An American Pastoral.

Unassigned: Barbarella [Blu-ray set], The Bat [Blu-ray], The Betrayal [Blu-ray], Blood Money: $10,000 Blood Money, Find a Place to Die, Vengeance Is Mine, and Matalo! [four Blu-ray set], Borsalino [Blu-ray], Desperate Teenage Lovedolls & Lovedolls Superstar: The Complete 4K Remastered Collection [Blu-ray], Fighting Back [Blu-ray], Flaming Brothers [Blu-ray], The Iron-Fisted Monk [Blu-ray], Last House on the Left [Blu-ray/UHD set], New First of Fury [Blu-ray], The Prodigal Son [Blu-ray], Savage Guns: Four Classic Westerns, Vol 3: El Puro, Four of the Apocalypse, I Want Him Dead, and Wrath of the Wind [four Blu-ray set], and That Most Important Thing: Love.

Image from Everyman (Hannah Einbinder and Gillian Anderson).

July 2026 Reviews

2026-07-01T08:35:44.063-07:00

These are the reviews and other projects I'm working

on this month.

Cucalorus Film Festival: member of the 2026 narrative feature judging committee.

Seattle Film Blog: Lilian T. Mehrel's Sweet, Funny Directorial Debut, Honeyjoon, with a Superb Amira Casar, Stranger Flashback: Gianfranco Rosi's Golden Bear-Winning Documentary, Fire at Sea, Remains Heartbreaking and Harrowing, All I've Got Is a Photograph: Looking Back at Lisa Cholodenko's 1998 Debut High Art, There's a Chick Who's Paid to Be My Slave: Sex and Scams in Georgia Bernstein's Night Nurse, and Not Everybody Does It But Everybody Should: In I Want Your Sex, Gregg Araki Returns to Give the Office Comedy a BDSM Makeover.

Front Row & Backstage: reference to my Stranger/Line Out preview of A Band Called Death from the Wayback Machine.

The Stranger: The World Does Not Need A 7-Hour Odyssey.

Video Librarian: Every Little Thing and Soundtrack to Coup d’Etat.

Image from Two Coats of Paint (Radha Mitchell and Ally Sheedy).

June 2026 Reviews

2026-06-03T07:24:34.626-07:00

These are the reviews and other projects I'm working on this month.

Cucalorus Film Festival: member of the 2026 narrative feature judging committee.

Seattle Film Blog: I'm Tense and Nervous and I Can't Relax: On Cindy Sherman's Underappreciated Office Killer, Silas Howard and Harry Dodge Put a Queer Spin on the Buddy Comedy in Charming San Francisco Picaresque By Hook or by Crook, A Restless Spirit on an Endless Flight: Canadian Filmmaker Avalon Fast’s Enchanting CAMP, and revamped and/or revived versions of C.R.A.Z.Y., That Man: Peter Berlin, Wild Combination: A Portrait of Arthur Russell, Milk, and Small Town Gay Bar.

Video Librarian: All We Imagine as Light.

Image from MoMA (Carol Kane in Office Killer).

May 2026 Reviews

2026-05-02T09:22:00.000-07:00

These are the reviews and other

projects I'm working on this month.

Crypticon: Moderator for 50th Anniversary of 1976 Horror, 40th Anniversary of 1986 Horror and panelist on Good Boy! (Pets in Horror).

Cucalorus Film Festival: member of the 2026 narrative feature judging committee.

Good Docs: Quote from my Video Librarian review of Perfect Strangers.

Seattle Film Blog: SIFF 2026 Dispatch #1: Gothic Horror, Māori-Style, in Taratoa Stappard's Assured Mārama, SIFF 2026 Dispatch #2: Brief Words on Case 137, Drunken Noodles, and Franz (as in Kafka), SIFF 2026 Dispatch #3: Aberdeen-Born Actor/Director Mia Moore Puts a Lo-Fi, Queer Spin on Sci-Fi in Her Debut, Again Again, SIFF 2026 Dispatch #4: Music Heals in Radioheart: The Drive & Times of DJ Kevin Cole, SIFF 2026 Dispatch #5: Times of Trouble (and Sparks of Joy) in Body Blow and Valentina, SIFF Dispatch #6: Post-Millennial Mockumentary Meets '70s Surrealism in Lady, SIFF Dispatch #7: Music, Movement, and Community in Sky Hopinka's Powwow People, and Lost and Found Family-Oriented Film Reviews: Graduation and Rachel Getting Married, and Bob Fosse, Lenny Bruce, Honey and Kitty Bruce, and Fosse's Bleak as Hell Biopic Lenny.

Video Librarian: Green Is the New Red and The Librarians.

Image from Altered Innocence / IMDb.

April 2026 Reviews

2026-04-02T08:50:00.000-07:00

These are the reviews
and other projects I'm
on working on this month.

Seattle Film Blog: The Stranger: François Ozon's Beautiful Take on an Ugly Crime--and an Enigmatic Criminal, When I Paint My Masterpiece: Steven Soderbergh's Sly Two-Hander The Christophers, Times of Trouble for Anne Hathaway and Michaela Cole in David Lowery's Mother Mary, Bend Me, Shape Me, Anyway You Want Me: Angelo Madsen Takes on Modern Primitive Pioneer Fakir Musafar in A Body to Live In, and revamped versions of Histoire(s) du Cinema, and You Me Them.

Seattle Film Society: In Focus screening and Q&A with SJ Chiro.

Video Librarian: Ain't No Back to a Merry-Go-Round.

Image from Gaumont via Wikipedia.

March 2026 Reviews

2026-03-03T00:04:00.000-08:00

These are

the reviews and other projects I'm working on

this month.

In Their Own League: A quote from my review of Karyn Kusama's 2018 Destroyer.

Seattle Film Blog: Jenny Agutter's Schoolgirl Gets a Sentimental Education in David Greene's I Start Counting, Surveys of French and Spanish Horror, Lost and Found Film Reviews: The Orphanage, Not Forgotten, and The Skin I Live In, and Born Innocent Pays Homage to Redd Kross, "The Most Important Band in the World."

Video Librarian: 3000 Nights.

Image of Redd Kross from Tony Molina / Variety.

Impressions of Cat Power at the Paramount

2026-02-21T13:04:00.000-08:00

I've written about Chan Marshall, aka Cat Power, a few times: a 2012 review of Sun for The Stranger's Line Out music blog, a 2018 review of the Wanderer for The Stranger, and a concert preview for the same paper the same year. ~~All~~ Most have disappeared from the internet, and even the Wayback Machine can't find them, so here are a few random thoughts drawn from one concert, but many years of listening to and writing about her.

This Paramount concert was my third time seeing Cat Power after a somewhat tentative solo acoustic set at Bumbershoot in 1999 and a more confident full band set at Showbox at the Market in 2018.

The image below is intentionally blurry, because she performed in semi-darkness. In boosting my images--not counting shots of the venue and the crowd--everything blurred out. I believe it's how she deals with stage discomfort, since the light was never on her face, but always on her keyboard player, possibly for sheet music-reading purposes. To my surprise, Chan also referred to sheet music, though not often.

She went on 30+ minutes after the 8pm start time, and no one seemed to mind, not least because of the artists playing on the PA beforehand (there was no opening act): Al Green, James Brown, the Supremes, Roberta Flack, Sam and Dave, Irma Thomas, and Joe Tex.

Grace Jones did the same at the Moore Theatre in 2022, and it only seemed to stoke anticipation for her worth-the-wait appearance.

As advertised, Chan performed the entirety of 2006 album The Greatest, but performed several other songs, too, like 2012's "Manhattan," but not "Up and Gone" from the limited edition version or Felice and Boudleaux Bryant's "All I Have to Do Is Dream" from the Japanese edition. The original soulful material, recorded at Memphis's Ardent Studios with Green and Booker T. and the MGs veterans, sounded more like Rolling Stones-style blues rock with this band.

Her voice, in its jazzy, improvisatory textures, has never sounded more like Strange Weather-era Marianne Faithfull--she's starting to look like her, too--though she sounded like Bobbie Gentry on one track (I forget which one). Mostly though, she sounded like herself.

The show was 90 minutes altogether, culminating in a standing ovation, and had me home by 10:30pm on a Friday night...and I am absolutely not complaining. I don't much miss the late-night club shows of the grunge years.

Overall, good stuff from a lady who has been through some...stuff. At one point, she joked about a former partner, and everyone laughed, because I think we all knew who she meant: actor/cinematographer Giovanni Ribisi, with whom she had a tempestuous relationship--their breakup inspired the album Sun.

Set List from Setlist.fm

The Greatest

Living Proof

Lived in Bars

Could We

Empty Shell

Willie

Where Is My Love

The Moon

Islands

After It All

Hate

Love and Communication

I Don't Blame You

Try Me (James Brown & the Famous Flames cover)

Good Woman

It Wasn't God Who Made Honky Tonk Angels (J.D. Miller cover)

Shattered / Manhattan (snippet of Shattered by the Rolling Stones as vocal intro)

I'll Be Seeing You (Sammy Fain cover)

I think this is the fourth time I've seen a musician or band perform the entirety of a single album: Massive Attack and Liz Fraser with Mezzanine in 2019, Scritti Politti with Cupid & Psyche 85 in 2021, and Kim Deal with Nobody Loves You More last year. For more information about The Greatest tour, which is shockingly robust--it continues through November--please see this page at the Domino site.

February 2026 Reviews

2026-02-04T06:51:00.000-08:00

These are

the reviews and other projects I'm working on

this month.

Seattle Film Blog: The Return of Los Golfos ("The Delinquents"): Carlos Saura's Searing 1959 Neorealist Debut, What's Cooler Than Cool: Michael Almereyda's Vampire Tale Nadja with Elina Löwensohn, Abbie Cornish Astonishes in Australian Filmmaker Cate Shortland’s Debut Somersault, Horror from Around the World: Canada, and a revamped version of Love Me Some Highway: Melvin Van Peebles' Confessionsofa Ex-Doofus-Itchyfooted Mutha.

Image of Luis Marín and María Mayer from Mubi.

January 2026 Reviews

2026-01-02T23:18:00.000-08:00

These are the reviews and

other projects

I'm working

on this month.

Parallax View: my top 10 is included.

Seattle Film Blog: Grzegorz Królikiewicz's Through and Through Flips the Script on the True Crime Narrative, Blood's Thicker Than Mud: Jim Jarmusch’s Unsentimental Father Mother Sister Brother, Nia DaCosta Brings the Chills, Spills, and Duran Duran to 28 Years Later: The Bone Temple, Joy Wilkinson Puts a Feminist Spin on the Erotic Thriller in Her Directorial Debut 7 Keys, Writing a Life: Kristen Stewart’s Triumphant Directorial Debut, The Chronology of Water, and revamped versions of SIFF 2005 Quick Hits: Murderball, Boats Out of Watermelon Rinds, Dying Gaul, The Aristocrats and A Town Called Panic.

Video Librarian: Bad Reputation / Mala Reputacion

and The Freedom of Fierro / La Libertad de Fierro.

Through and Through image from Film Hounds.

Songs for Cineastes: 2025 Edition

2025-12-31T21:58:00.000-08:00

Click here for the 2024 edition.

Other than the review of a Kim Deal concert, I didn't do any music writing this year for the first time in a good long while, so it was harder than usual to keep up with new releases, even though I'm still on several mailing lists--and I didn't keep up with any reissues or collections at all.

To that end, respect to RVNG Intl. and 12XU for releasing some of my favorite albums this year, and a fond adieu to Trouble in Mind. Every year, I used to look forward to their new releases. It's a Herculean task to keep an independent act or label going in the post-millennial era, especially once the pandemic hit, so here's to all those who have.

Respect also to John Whitson, the founder of Holy Mountain Records, and a social media associate with whom I shared many friends. I regret that I never got to meet him in person. This year we also lost music writers Kaleb Horton and Charles Cross, completely unexpected passings of gentlemen with a lot left to say--in Cross's case, he was just getting started on a memoir. We'll not see the likes of any of these three again; each their own, unmistakable, much-missed individual.

Top 10

1. Lucrecia Dalt - A Danger to Ourselves (RVNG Intl.)

2. Nightmares On Wax - Echo45 Sound System (Warp)

3. Go Kurosawa - soft shakes (Guruguru Brain)

4. Marie Davidson - City of Clowns (DEEWEE/Because Music)

5. Little Simz - Lotus (AWAL Recordings)

6. Anika - Abyss (Sacred Bones)

7. Cate Le Bon - Michelangelo Dying (Mexican Summer)

8. Ty Segall - Possession (Drag City)

9. Melody's Echo Chamber - Unclouded (Domino)

10. Decius - Decius Vol. II (Splendour & Obedience) (The Leaf Label)

Runners-up

11. The Hard Quartet - The Hard Quartet (Matador)

12. Wet Leg - Moisturizer (Domino)

13. Stereolab - Instant Holograms on Metal Film

(Duophonic UHF Disks/Warp)

14. Lily Allen - West End Girl (BMG)

15. Horse Lords & Arnold Dreyblatt FRKWYS Vol. 18:

Extended Field (RVNG Intl.)

16. Horsegirl - Phonetics On and On (Matador)

17. Taba - Satomimagae (RVNG Intl.)

18. L'eclair - Cloud Drifter (Innovative Leisure)

19. Clipse - Let God Sort Them Out (ROC Nation Distribution)

20. The Cords - The Cords (Slumberland)

Note: Call me crazy, but I'd rather watch Austin Butler run through the streets of New York City than Timothée Chalamet. To each their own, I guess, but Caught Stealing is also a great cat movie with a truly great cat in veteran performer Tonic, who plays Butler's "Bud."

21. John Glacier - Like a Ribbon (Young)

22. Sault - 10 (Forever Living Originals)

23. Pulp - More (Rough Trade)

24. Water Damage - Instruments (12XU)

25. Natural Information Society - Meditation (New Soil Limited)

26. Natural Information Society - Manifestation (New Soil Limited)

27. Ichiko Aoba - Luminescent Creatures (Psychic Hotline)

28. Alice Cohen - Archaelogy (Crinoline)

29. De La Soul - Cabin in the Sky (Mass Appeal)

30. Ed Kuepper & Jim White - After the Flood (12XU)

31. Elijah Jamal Asani - ,,, as long as i long to memorise your sky ,,, (AKP Recordings)

32. France - Destino Scifosi (Standard in-Fi / a1000p)

33. Eiko Ishibashi - Antigone (Drag City)

34. Makaya McCraven - In These Times (International Anthem)

35. Natural Information Society - Momentum (New Soil Limited)

36. The Squanderers - If a Body Meet a Body (Shimmy-Disc)

37. Richard Dawson - End of the Middle (Domino)

38. Erika de Casier - Lifetime (Independent Jeep Music)

39. Sudan Archives - The BPM (Stones Throw Records)

40. Tyler, the Creator - Don't Tap the Glass (Columbia)

Top songs

1. Kate Nash - "Germ" (Kill Rock Stars)

2. Christine & the Queens ft. Cerrone - "Catching Feelings"

(Malligator Préférence / Because Music)

3. Danger Mouse, Black Thought and Rag'n'Bone Man - "Up" (BMG)

4. Jamie xx ft. Erykah Badu - "F.U." (Young)

5. L'eclair ft. Gelli Haha - "Run" (Innovative Leisure)

6. supermodel - "I Used to Live in England" (f***ing whatever)

7. Go Kurosawa - "Autowalk" (Guruguru Brain)

8. Lord Huron ft. Kristin Stewart - "Who Laughs Last" (Mercury)

9. Sampa the Great ft. Mwanjé - "Can't Hold Us" (Loma Vista)

10. Little Simz - "Free" and "Young" (AWAL Recordings)

Note: I couldn't choose between "Free" and "Young," so I decided to list them both.

Top Scores

1. Idles - Caught Stealing (OST) (Partisan/Columbia)

2. Young Fathers - 28 Years Later (OST) (Milan)

3. Kangding Ray - Sirât (OST) (Invada)

4. Hildur Guðnadóttir - Hedda (OST) (MGM)

5. Mateus Alves and Tomaz Alves Souza - The Secret Agent (Lakeshore)

6. Johan Lenox - The Plague (OST) (Waxwork)

7. Anika and Jim Jarmusch - Father Mother Sister Brother (Sacred Bones)

8. Ludwig Göransson - Sinners (OST) (Sony Masterworks)

9. Jonny Greenwood - One Battle After Another (OST) (Nonesuch)

Notable concerts (unranked): Ty Segall (solo acoustic) with King Tuff at the Neptune, Kim Deal with Morgan Nagler at the Neptune, Branford Marsalis live score for silent Armstrong biopic Louis at the Paramount, and Wet Leg with Mary in the Junkyard at the Paramount.

Images from Christoph Winkler (Lucrecia Dalt) and Bruce Springsteen Archives & Center for American Music (Charles R. Cross).

Movies for Music Lovers: 2025 Edition

2025-12-31T11:46:00.000-08:00

Click here for the

2024 edition.

This was a weird year. Not in terms of the movies I watched--well, not really--but everything else.

I'm not normally one to tune out politics--especially since 2016--but for the entire year, I couldn't get away if I tried. Under the current regime, everything has been politicized; nothing is neutral, innocent, innocuous.

Everything that promotes free thought--public media (the field in which I've worked since 2009), non-billionaire-owned newspapers--must be destroyed, everything that discourages free thought--chatbots, professor watchlists, book-banning campaigns--must be encouraged.

It's hard not to feel pessimistic, but I took hope from movies in which characters sought answers, forged connections, fought oppression, and found ways to make a difference. Not superheroes, just regular people.

Maybe they made mistakes, maybe they failed, but at least they tried, and maybe they even inspired others to do the same. Not all of these films fit that description, but I'm grateful for those that did.

Left: Jafar Panahi at the Uptown on Nov 20.

Links lead to my reviews for Book and Film Globe (okay, just one), Letterboxd, Seattle Film Blog, and Video Librarian.

Top 10

1. One Battle After Another (Paul Thomas Anderson)

2. Sinners (Ryan Coogler)

3. The Secret Agent / O Agente Secreto (Kleber Mendonça Filho)

4. Familiar Touch (Sarah Friedland)

5. 40 Acres (R.T. Thorne)

6. Sirāt (Oliver Laxe)

7. Blue Sun Palace (Constance Tsang)

8. Blue Moon (Richard Linklater)

9. It Was Just an Accident / Un Simple Accident (Jafar Panahi )

10. The Mastermind (Kelly Reichardt)

Note: I was planning to review The Secret Agent, and prepared by catching up with Neighboring Sounds--the only Mendonça narrative I hadn't seen yet--but the new film screened for the press while I was at the New York Film Festival, and since I was only in town for five days, I missed it at NYFF, too. (I still need to catch up with Pictures of Ghosts.)

Runners-up

11. 28 Years Later (Danny Boyle)

12. Black Bag (Steven Soderbergh)

13. Sentimental Value / Affeksjonsverdi (Joachim Trier)

14. Sorry, Baby (Eva Victor)

15. Weapons (Zach Cregger)

16. The Ice Tower / La Tour de Glace (Lucile Hadžihalilović)

17. Sister Midnight (Karan Kandhari)

18. Reflection in a Dead Diamond / Reflet dans un Diamant Mort

(Bruno Forzani and Hélène Cattet)

19. Highest 2 Lowest (Spike Lee)

20. Misericordia (Alain Guiraudie)

Right: Ira Sachs introduces Peter Hujar's Day at the Walter Reade Theater during this year's NYFF (I missed the premiere screening with Ben Whishaw and Rebecca Hall).

Note: Seattle Film Critics Society awarded Sorry, Baby with the inaugural SIFF Seattle Critics Award. In one of my last official acts as SFCS president, I announced the winner and nominees at the awards ceremony. In April, my board term will come to an end.

21. Peter Hujar's Day (Ira Sachs)

22. The Shrouds (David Cronenberg)

23. Nouvelle Vague (Richard Linklater)

24. Rebuilding (Max Walker-Silverman)

25. Hedda (Nia DaCosta)

26. The Monkey (Osgood Perkins)

27. If I Had Legs I'd Kick You (Mary Bronstein)

28. Souleymane’s Story / L'Histoire de Souleymane (Boris Lojkine)

29. Caught Stealing (Darren Aronofsky)

30. Eephus (Carson Lund)

Note: 2025 was a comeback year of a kind for Richard Linklater, and I'm absolutely here for it. While walking back from the Hudson Theatre after catching a late-September performance of Waiting for Godot with Keanu Reeves and Alex Winter, I happened to walk past Sardi's, which is also on 44th Street, and where Blue Moon takes place. Only later did I find that Linklater filmed the entire film on a soundstage in Dublin. Sure fooled me!

31. Wake Up Dead Man: A Knives Out Mystery (Rian Johnson)

32. Dead Man's Wire (Gus Van Sant)

33. Cloud (Kiyoshi Kurosawa)

34. On Becoming a Guinea Fowl (Rungano Nyoni)

35. Bruce Springsteen: Deliver Me from Nowhere (Scott Cooper)

36. Frankenstein (Guillermo del Toro)

37. Julie Keeps Quiet / Julie Zwigt (Leonardo van Dijl)

38. To Kill a Wolf (Kelsey Taylor)

39. The Plague (Charlie Polinger)

40. The Friend (David Siegel and Scott McGehee)

Left: Scott Cooper and Jeremy Allen White talk about Bruce Springsteen: Deliver Me from Nowhere at Alice Tully Hall during this year's NYFF.

41. Drink and Be Merry (Adam Volerich)

42. Train Dreams (Clint Bentley)

43. The Testament of Ann Lee (Mona Fastvold)

44. No Other Choice (Park Chan-wook)

45. Twinless (James Sweeney)

46. Lurker (Alex Russell)

47. Out (Dennis Alink)

48. Alice-Heart (Mike Macera)

49. One of Them Days (Lawrence Lamont)

50. They Call Her Death (Austin Snell)

Top documentaries

1. Chain Reactions (Alexandre O. Philippe)

2. Art Spiegelman: Disaster Is My Muse

(Molly Bernstein and Philip Dolin)

3. The Alabama Solution (Andrew Jarecki and Charlotte Kaufman)

4. Devo (Chris Smith)

5. Mr. Scorsese (Rebecca Miller)

6. WTO/99 (Ian Bell)

7. SLY LIVES! (aka The Burden of Black Genius) (Questlove)

8. Art for Everybody (Miranda Yousef)

9. Cover-Up (Laura Poitras and Mark Obenhaus)

10. Suburban Fury (Robinson Devor)

Runners-up

11. Deaf President Now! (Nyle DiMarco and Davis Guggenheim)

12. My Mother Jayne (Mariska Hargitay)

13. Billy Joel: And So It Goes (Susan Lacy and Jessica Levin)

14. Afternoons of Solitude (Albert Serra)

15. Blue Road: The Edna O'Brien Story (Sinéad O'Shea)

16. Pee-Wee As Himself (Matt Wolf)

17. Israel Palestine on Swedish TV 1958-1989 (Göran Hugo Olsson)

18. Baby Doe (Jessica Earnshaw)

19. Jean Cocteau (Lisa Immordino Vreeland)

20. Predators (David Osit)

Right: WTO/99 director Ian Bell and producer Gavin P. Sullivan at Seattle Film Critics Society's PNW nominee screening at SIFF Film Center on Nov 23. The film went on to win our best documentary award.

Short: Shelly's Leg (Wes Hurley).

Animated feature: Little Amélie or the Character of Rain (Maïlys Vallade, Liane-Cho Han, and Jin Kuang).

2024 films (that I caught up with in 2025): A Different Man, Black Dog, The Flamingo (directed by former Northwest Film Forum head programmer Adam Sekuler, who co-edited Suburban Fury), Kneecap, and The Outrun.

Missed or haven't seen yet: BLKNWS: Terms & Conditions, Caught by the Tides, Come See Me in the Good Light, Eddington, Father Mother Sister Brother, Is This Thing On?, Materialists, Megadoc, Mickey 17, My Undesirable Friends: Part I — Last Air in Moscow, Presence, Put Your Soul on Your Hand and Walk, Resurrection, and The Voice of Hind Rajab.

The rest (all categories): 25 Cats from Qatar, Acolyte, The Actor, American Baby, Americana, April, Beautiful Evening, Beautiful Day, Before the Call, Bird in Hand, The Balconettes, Born for You / Nata per Te, Boys Go to Jupiter, Braindead, Bring Her Back, Bugonia, Cat Town USA, Charlotte, 1994, Companion, ¡Corazón!, Crusty Fouler, Debut, or, Objects of the Field of Debris as Currently Catalogued, Die My Love, The Disappearance of Miss Scott, Jacqueline du Pré: Genius and Tragedy, Duse, Eat the Night, Endless Summer Syndrome, Enigma, F1, The Fantastic 4: First Steps, A Fateful Weekend, Fidelity, Foreign Objects, Four Mothers, Freedom Renegade, Girl with Two Belly Buttons, Good Boy, Grafted, Great Absence, Hamnet, Holland, Honeyjoon, House of Dynamite, Jay Kelly, Jimmy in Saigon, Late Fame, The Life of Chuck, Liza: A Truly Terrific Absolutely True Story, Marty Supreme, Marlee Matlin: Not Alone Anymore, Matt and Mara, Moonwater, More Beautiful Perversions, Mother, Couch, Naked Ambition, On a String, One to One: John & Yoko, Orwell: 2+2=5, Pavements, The Perfect Neighbor, Pescador, The Phoenician Scheme, Pooja, Sir, Predator: Badlands, A Private Life, Ready or Not, Revelations of Divine Love, Riefenstahl, Rope Tied, Roofman, Rose of Nevada, The Salamander King / The Long Shot, Samuel and the Light / Samuel e a Luz, Sanatorium Under the Sign of the Hourglass, Séance, The Secret of Me, Sisi & I / Sisi & Ich, Softshell, Song Sung Blue, Songs of Black Folk, Superman, Suspended Time, Style: A Seattle Basketball Story, Sylvania, There, There, Times with God, Tripolar The Movie, The True Beauty of Being Eaten by a Tick, Twelfth Night, The Ugly Stepsister, Water Lilies, Ways to Traverse a Territory / Formas de Atravesar un Territorio, Vulcanizadora, Warfare, We Want the Funk, Wolf Land, Wolf Man, The Womenists, and The Zodiac Killer Project.

Left: Director Mark Jenkin with cowriter/actor/partner Mary Woodvine at Walter Reade Theater during NYFF.

Note: For the second year in a row, I served on the judging committee for Cucalorus, though I wasn't able to make it to this year's festival--it conflicted with the SFCS screenings--and that's how I saw 32 of the films above. A few have distribution, but most don't. I'm thrilled that American Baby and Beautiful Evening, Beautiul Day made the cut, and reserve the right to rank them at a later date if they get a proper release.

Older (pre-2024) films: 20,000 Species of Bees / 20.000 Especies de Abejas, All You Need Is Death, Amer, The Ax / Le Couperet, Black Moon, Blame It on Rio, Bone Tomahawk, The Burrowers, The Cat and the Canary (1927), The Cat and the Canary (1939), The Cat and the Canary (1978), Chained for Life, Choose Me, Compensation, Curse of the Undead, A Date for Mad Mary, The Day of the Locust, Dead Air, Deathdream / Dead of Night, Deep Cover, Desperate Hours, Detroit, Doctor X, Down with Love, The Elephant Man, Faces, Family Plot, The Fiend Who Walked the West, Frenzy, Giants and Toys, The Girl Who Leapt Through Time, The Glass Web, The Gold Diggers, The Hills Have Eyes, His Motorbike, Her Island, Hugo, In the Heat of the Night, In the Rearview / Skad Dokad, Infinity According to Florian, Juliet, Naked, Kitten with a Whip, Bernadette Lafont - And God Created the Free Woman, The Leopard Man, Looking for Mr. Goodbar, Love Letters, Louis, Madam Satan, May, Mi Iubita, Mon Amour, Mirror Images, Murder by Decree, A Murder in Abidjan / Un Crime à Abidjan, Miracle Mile, Murder, My Sweet, The Narrow Margin, The Old Dark House, Once Again (for the very first time), The Outfit, The Paperboy, Play It Cool, Poetry / Shi, A Powerful Thang, Q&A, The Quiet Earth, The Return - Family Separation, Roadgames, Roubaix, Police Department, Ordinary Business, The Sales Girl / Khudaldagch Ohin, Seisaku's Wife, Serpent's Path, The Shooting on Mole Street, The Silent Partner, Skin Gang, The Slumber Party Massacre, St. Vincent, The Stepfather, Strange Days, Stray Cat Rock: Delinquent Girl Boss, Streets of Fire, Sudden Fear, Tarzana, Through and Through, Tish, Toby Dammit, Truck Turner, The Warriors, Welcome to L.A., Wicked, Will, Witness, Yeast, You Are Not Alone / Du Er Ikke Alene, and Zelly & Me.

Right: Steve De Jarnatt's Miracle Mile was the Grand Illusion Cinema/Scarecrow Video member screening for December at the NWFF. De Jarnatt was in attendance, and also introduced his short flm, Tarzana.

Note: Thanks to Kanopy, the Internet Archive, Tubi, and YouTube for making many of the above films available. All four sites were helpful while preparing for my horror western panel at Crypticon.

Television/streaming (unranked): All Creatures Great and Small S5, Anatomy of Lies, Apple Cider Vinegar, The Bear S4, Brokenwood Mysteries S1-2, Call Her Alex, Call the Midwife S14, Dept Q, Devil in Disguise: John Wayne Gacy, Dope Thief, Dying for Sex, Finding Your Roots S11, The Gold S1, The Good Karma Hospital S1-2, Grantchester S10, Law & Order S24, Law & Order: SVU S27, The Lowdown, Mad Men S6, The Marlow Murder Club, Miss Scarlet S5, NYPD Blue S6 - 7, Patience S1, The Pitt, Professor T S4, Reacher S1-3, Severance S2, Slow Horses S5, Task, Unforgotten S6, The White Lotus S3, Wolf Hall - The Mirror and the Light, and The Yogurt Shop Murders. Also, select episodes of Atlanta, The Good Place, and Sex Education.

Books (unranked): The Ax (Donald E. Westlake), Girl in a Band: A Memoir (Kim Gordon), King's Ransom (Ed McBain), and Without You: The Tragic Story of Badfinger (Dan Matovina). I also bought copies of memoirs from Neko Case, Tim Curry, Werner Herzog, and Lydia Yuknavitch, but haven't read any of them yet.

Top image from Screen Anarchy (One Battle After Another poster).

December 2025 Reviews

2025-12-01T13:37:00.000-08:00

These are the reviews and other projects I'm working
on this month.

AndMoreAgain: a revamped version of Samuel Benchetrit's comic noir I Always Wanted to Be a Gangster.

Reel News: Douglas Sirk: In Praise of Melodrama (a revised and revitalized piece about Sirk and his protégés from 2002).

Seattle Film Blog: Adam Volerich's Directorial Debut, Drink and Be Merry: A Christmas Movie for Those Who Usually Abstain (from Christmas Movies), an expanded version of Mala Noche, and Two Filmmakers Have Adapted Donald Westlake's The Ax, but One Got It More Right Than the Other: The Axe vs. No Other Choice.

Siskel Film Center: Quote from my Eight Deadly Shots review.

Video Librarian: Infinity According to Florian.

Image: The Hollywood Reporter / Courtesy the Venice Film Festival.

November 2025 Reviews

2025-11-02T09:46:00.000-08:00

These are the reviews and other projects I'm working

on this month.

Letterboxd: The Flamingo and The Plague.

Reel News: The Latest Crop: SIFF's 2002 Emerging Masters.

Seattle Film Blog: Hope You Like Me: Nobuhiko Ôbayashi's Biker Musical Melodrama His Motorbike, Her Island, The Eurospy Genre Lives Again in Bruno Forzani and Hélène Cattet's Dazzling, Dizzying Pastiche Reflection in a Dead Diamond, and Nanfu Wang Builds a Thriller Around a Chinese Women's Rights Activist in Hooligan Sparrow, a revived and revised Daily Projections review from 2016.

Seattle Film Critics Society: appearance on Studio 13 Live to preview our PNW award nominee screenings at SIFF in November.

Video Librarian: Israel Palestine on Swedish TV 1958-1989.

Image of Kiwako Harada in His Motorbike from Pinterest.

October 2024 Reviews

2025-10-04T10:12:00.000-07:00

These are the reviews and other projects I'm working

on this month.

Letterboxd: Wassup Rockers (rescued from Amazon).

Seattle Film Blog: Hans Christian Andersen Meets the Brothers Grimm in Lucile Hadžihalilović's The Ice Tower, A Snapshot of the 63rd New York Film Festival Plus a Detour to Take in a Broadway Show, 63rd New York Film Festival Snapshot, Part 2: Ira Sachs' 1970s Reverie Peter Hujar's Day, 63rd New York Film Festival Snapshot, Part 3: Kathryn Bigelow’s Thriller A House of Dynamite, Bruce Springsteen, Nebraska, Deliver Me from Nowhere, and the Fraternal Ties That Bind, and Rose Byrne Unravels in Mary Bronstein's If I Had Legs I’d Kick You, a Horror-Comedy with Motherhood as a Neverending Nightmare.

Seattle Film Society: moderator for an In Focus screening event with director Georgia Krause at Northwest Film Forum.

Video Librarian: Dennis Alink's Out.

Clara Pacini image from Yellow Veil Pictures.

September 2025 Reviews

2025-09-01T09:19:00.000-07:00

These are the reviews and other

projects I'm working on this month.

Cucalorus Film Festival 2025: narrative judging committee member.

Seattle Film Blog: On the Return of Compensation: LA Rebellion Filmmaker Zeinabu irene Davis's Masterpiece About Communication and Connection, City Pages Flashback: Rocketman Is an Extravagant Jukebox Musical with Heart, and Looking for a Brighter Day in Paul Thomas Anderson's Brilliant One Battle After Another.

Video Librarian: Jimmy in Saigon and Witness [Blu-ray].

Image: Criterion Collection cover art for Compensation.

August 2025 Reviews

2025-08-02T10:19:00.000-07:00

These are the reviews and other projects I'm working

on this month.

Cucalorus Film Festival 2025: narrative judging committee member.

Seattle Film Blog: Capitalism Proves Crushing in Kiyoshi Kurosawa’s Satirical Thriller Cloud (Though People With Guns Can Be Pesky, Too), Anchorage Daily News Flashback: Herzog: A Little Risk Keeps Life Interesting for Director, As Long as We Live, It's You and Me Baby: On Spike Lee's Music Biz Thriller Highest 2 Lowest, Honey Don't!, In Which Margaret Qualley Plays a Rotary Dial Woman in a Touch-Screen World, Generations Unite, At Least Momentarily, in Hong Sang-soo's Reflective By the Stream, You Are Trapped in the Middle, Punk: Darren Aronofsky’s Caught Stealing with Austin Butler, and a revised version of Mouchette.

To Kill a Wolf: Q&A with Kelsey Taylor and Adam Lee.

Video Librarian: Tish and The Warriors [Blu-ray].

Image of Masaki Suda (Cloud) from the IMDB.

July 2025 Reviews

2025-07-01T13:28:00.000-07:00

These are the reviews and other
projects I'm working on this month.

Cucalorus Film Festival 2025: narrative judging committee member.

Book and Film Globe: From Soccer Star to Podcast Powerhouse: Hulu documentary 'Call Her Alex' traces Alex Cooper's phenomenal rise.

EverOut: revival of my 2014 It Follows review for The Stranger.

Letterboxd: Billy Joel: And So It Goes.

Seattle Film Blog: Jessie Maple’s Debut Will: Addiction and Redemption on the Mean Streets of Harlem, Keeping the End in Sight in Kei Chika-ura’s Familial Procedural Great Absence, and revised versions of Luc Moullet's Brigitte et Brigitte and A Girl Is a Gun.

Seattle Film Society: Moderator July's In Focus event: 48 Hours with Tommy Heffernan's Gold Team at Northwest Film Forum.

Video Librarian: Ways to Traverse a Territory

and The Return - Family Separation (a short).

Jessie Maple (Will) image from Maysles Documentary Center.

Stranger Flashback: The Julie Ruin in 2013: A Super-Sized Sundae with Chocolate Sauce

2025-06-06T00:31:00.000-07:00

Here is a revived version of a 2013 Line Out post about Kathleen Hanna's band, the Julie Ruin (these posts were purged from the internet after The Stranger pulled the plug on their music blog in 2014).

Blogs Sep 16, 2013 at 10:25 am

The Julie Ruin: A Super-Sized Sundae with Chocolate Sauce

Kathy Fennessy

THE JULIE RUIN
Run Fast (TJR-Dischord)

"Peppermint Schnapps and super-sized sundaes with chocolate sauce."
--the Julie Ruin, "Run Fast"

There's a reason Kathleen Hanna disappeared for six years after the end of Le Tigre and before the beginning of the Julie Ruin (the band, not the solo record she released on Kill Rock Stars in 1998).

If you've seen Sini Anderson's documentary The Punk Singer, you know about her struggles with Lyme disease, and if you missed it, this Spin interview will catch you up. She may have also needed a break from music-making—as well as the adoration of some pretty intense fans—but she's back now and sounding better than ever.

If Le Tigre seemed like an odd fit for a major label, Hanna returns to her riot grrrl roots by putting out the first Julie Ruin album on her own.

Nonetheless, it plays more like an extension of Le Tigre's electro-pop than Bikini Kill's agit-punk (the five-piece includes bass player Kathi Wilcox from Bikini Kill and keyboard player Kenny Mellman from Kiki and Herb). The emphasis on rubbery party grooves reminds me of the early B-52's, especially since Mellman handles the vocals on one song, "South Coast Plaza," while adding counterpoint to others. My favorite Mellman moment: when he contributes to the "Girls Like Us" chorus.

Though I've been following Hanna's career for a couple of decades, I was never one of her adoring fans (I've written about several documentaries in which she appears, but I've never actually reviewed any of her recordings). If anything, I was always a little skeptical, particularly after I caught Bikini Kill opening for Fugazi at St. Joseph's Hall in 1992, where the group made me uncomfortable—and not in a good way. I wasn't really feeling it, and after Hanna called out a male audience member who didn't appear to be doing anything wrong, I wondered if they might not be for me. Shows should offer a safe space for women, but I wasn't sure this was the best way to go about it.

But I always liked Le Tigre—"Get Off the Internet" seems even more relevant today than it did 13 years ago—and my appreciation for Bikini Kill grew after seeing The Punk Singer, which makes a case for their musicianship and not just for their third-wave politics or for their influence on most every female-driven act to follow in their wake, which includes the Vivian Girls whose bassist, Katie Goodman, opened for the Julie Ruin last night at Neumos with her band La Sera.

If Run Fast is less overtly confrontational than the projects with which Hanna has been involved in the past, it's just as spirited and energetic. Though it hews closer to pop than rock, Hanna yells, shouts, and swears: she's gotten older, but she hasn't gotten old.

In the live context, the album took on more of a garage-punk dimension. The grooves still abounded, but there was more punch to Sara Landeau's guitar work, though Mellman proved to be the band's secret weapon with his singing, his playing, his moves, and his quips (as with Justin Vivian Bond's Kiki, he's a great foil for Hanna).

If I had to choose between the Julie Ruin live or in the studio, I would call it a draw. Both have their merits, but in different ways. If it took awhile for Mellman's recorded vocals to grow on me—he's a bit of a grumbler—I was frustrated that I couldn't hear him properly at Neumos (no such problem with Hanna). I also grew restless during the ballad the band played toward the end of the set, but then they came out for an encore and performed the dreamy, keyboard-driven "Run Fast," which concludes the album—and it sounded just as good live.

Right: Hanna described her skirt-free look as a "business outfit"

I'm glad Hanna is feeling better, I'm glad she's back, and I love the Julie Ruin.

Run Fast is out now on TJR Records through Dischord. Sundance Selects, a division of IFC Films, will be distributing The Punk Singer (release dates TBA). Images from Amazon (Run Fast album cover), Sara Landeau (Kathleen on the mic, Sara on the guitar), and Philip LaRose via Flickr (Kathleen and Sara at Neumos).

June 2025 Reviews

2025-06-03T06:02:00.000-07:00

These are the reviews and other projects I'm working on this month.

Cucalorus Film Festival 2025: narrative judging committee member.

KUOW: Guest, alongside Chase Hutchinson, on the summer movies edition of "Meet Me Here."

Letterboxd: Art Spiegelman: Disaster Is My Muse, Q & A, and The Life of Chuck.

Seattle Film Blog: A Thriller with Purpose: Norman Jewison's Best Picture Winner In the Heat of the Night, Holly Woodlawn Takes Manhattan in Musical Comedy Scarecrow in a Garden of Cucumbers, The Cat and the Canary: Paul Leni's Winning Template for the “Old Dark House" Genre, Compensation, and revised versions of The Landlord, The Weird World of Blowfly, and Last Days Here.

Video Librarian: Born for You, Samuel and the Light and Once Again (For the Very First Time).

In the Heat of the Night poster image from Posterazzi.

May 2025 Reviews

2025-05-02T12:25:00.000-07:00

These are the reviews
and other projects I'm working on this month.

Crypticon 2025: panelist and moderator.

Cucalorus Film Festival 2025: narrative judging committee member.

Letterboxd: Louis (2010).

Seattle Film Blog: SIFF 2025 Dispatch #1: Four Mothers with James McCardle and Fionnula Flanagan, SIFF 2025 Dispatch #2: Sinéad O'Shea Offers a Vibrant Profile of Edna O'Brien in Blue Road, SIFF 2025 Dispatch #3: "Bad, Beautiful, and Bold as Sin!" in Jack Arnold's The Glass Web, SIFF 2025 Dispatch #4: Horror, Comedy, and Sisterhood Come Together in The Balconettes, SIFF 2025 Dispatch #5: Josh O'Connor Narrates a Dreamy Portrait of Jean Cocteau, SIFF 2025 Dispatch #6: An Irish Girl Grows Up Fast in Claire Frances Byrne's Ready or Not, SIFF Dispatch #7: Robinson Devor Profiles Sara Jane Moore, the Would-Be Presidential Assassin Next Door, in Suburban Fury, and SIFF 2025 Dispatch #8: Cat Town, USA Celebrates a Sanctuary for Cats in Florida.

Image of Irish author Edna O'Brien from the IMDb.

April 2025 Reviews

2025-04-05T20:42:00.000-07:00

These are the reviews and other projects I'm working
on this month.

Cucalorus Film Festival 2025: judging committee member.

KUOW: Taping for an upcoming podcast on summer movies

Letterboxd: Liza: A Truly Terrific Absolutely True Story.

Seattle Film Blog: Stranger Flashback: Strange Fruit Captures the Semi-Forgotten Harvest of Apple Records, Art for Everybody: Illuminating Doc Explores the Agonies and Ecstasies of Thomas Kinkade, The Dead Don't Hurt (Like the Living) in David Cronenberg's Reflective Reverie The Shrouds, and A Fistful of Horror Westerns from the 1940s to Today: Cowboys, Cannibals, Cults, and More.

Society of Professional Journalists: participant in the critics' role panel at the annual Region 10 Conference in Portland.

Video Librarian: Julie Keeps Quiet and Eat the Night.

Image of Laura La Plante from the San Francisco Silent Film Festival (I didn't actually get around to the review until June).

Concert Review: Kim Deal at the Neptune

2025-03-25T23:04:00.000-07:00

As a music and film writer, I try to be forgiving.

We all have our off days, and expecting perfection from an artist--however you choose to define that term–isn't really fair. Growing and maturing also involves taking risks, and not all risks pay off, so I can forgive an artist for a film or music performance that isn't up to their usual standards. Or maybe it is, but it just isn't to my taste.

Nonetheless, despite their human frailties, and the ups and downs of their lives, some artists always deliver. In preparation for a 2022 Rock and Roll Globe piece about Jane Birkin, I listened to every album she released during her 43-year career (most all of them are on streaming).

I liked some more than others, and some songs didn't quite work for me, but to my surprise, she never released a bad studio recording, even as she mixed things up with different languages, collaborators, and the like. This is all subjective, of course, but I was impressed, since a lot of my favorite artists have released some real clunkers. It happens.

It's also true of Jane's daughter, Charlotte Gainsbourg. Granted, I don't count 1984's Charlotte For Ever, the record she made as a child, because that was her father Serge Gainsbourg's doing; the songs, the arrangements–everything except for her tentative vocals. Since resuming her recording career as an adult, however, she hasn't set a foot wrong.

I would say the same of Kim Deal. I'm not counting the Pixies, not because she wasn't an integral part of the band, but because that always felt more like Frank Black's project, and towards the end of their initial run, she was more like a guest than a full-fledged member.

As a fan of her contributions as both writer and singer, I expected good things from the work to come, but the Breeders' 1990 debut, Pod, was better than I expected--better even than the Pixies at their best (your mileage may vary, but for me that means the pre-Elektra material).

To prepare for Kim's show at the Neptune last night, I revisited all five Breeders full-lengths, in addition to the 1992 Safari EP, and I enjoyed them all. If anything, 2002's Title TK and 2008's Mountain Battles sound better now than they did at the time. I can't be the only one who hoped they would sound more like Pod or 1993's Last Splash, but there was a lot going on at the time, with lineup changes, Kim in and out of the Pixies, and care duty after her mother's dementia diagnosis.

Nonetheless, the band sounded revitalized on 2018's All Nerve, and that's the last time I saw Kim in concert. The show was at a venue, Showbox Sodo, that leaves a lot to be desired, but it was really good. Not great, necessarily, and I don't recall any surprises, but I left happy.

Last fall, Kim released her first solo album, Nobody Loves You More, at the age of 63 (she turns 64 this June). There are only so many artists who wait that long to strike out on their own, and it isn't always worth the wait, but it's among the best things she's ever done–possibly the best–and she's been pulling out all the stops for her tour. In the Pixies, the Breeders, and the Amps, Kim was mostly playing with three other musicians. Last night, she was joined by nine. Maybe even 10.

I should backtrack, though, to mention the opening act. I wasn't familiar with Morgan Nagler, but my friend Tony and I made sure to get there in time for her set, and it was totally worth it. A former child actress with dozens of credits at the IMDb, Morgan is a charming presence with a voice and vibe that reminded me of Susannah Hoffs in her early Bangles days, though with less of Susannah's mod '60s style.

Though her name didn’t ring a bell, Morgan has played with or written for a number of acts with whom I have some familiarity, including Haim, Jenny Lewis and/or Rilo Kiley, and Gillian Welch and David Rawlings. In 2014, she and Kim released the single "The Root," which they performed as part of the headliner's two encores. Their voices work beautifully together, and I like the way the song recalls the spirited sound of Holly Golightly with or without the Headcoatees.

Perhaps because Kim had such a sprawling ensemble, Morgan played as part of a drum-less trio, including her friend and producer Kyle Thomas of King Tuff–Tony and I saw him at the Neptune just a few weeks ago opening for Ty Segall– and author and musician Orenda Fink from Azure Ray. Beyond the guitars and bass, Orenda played melodica during one number and multi-instrumentalist Nick White, from Kim's band, added keyboards to another.

Like Kim, Morgan did her time in bands, mostly Whispertown, before striking out on her own. She turned 47 last night, and her Kyle Thomas-produced debut will be appearing sometime later this year. On the basis of the material she performed, it should be quite good.

Kim and company then proceeded to play every song off Nobody Loves You More, and everything sounded fantastic. I'm not certain whether she retained the sequence from the album, but I think she did.

Tony and I agreed that the title track recalled Love, circa 1967's baroque-rock masterpiece Forever Changes. I had expected a rock combo, but the horns, strings, and backup singers, including twin sister Kelley, made everything richer, fuller--more special--than it would've been otherwise. Due to the Neptune's fuzzy acoustics, I couldn't hear everything she said, but that had no effect on the sound of the music or her voice--which hasn't changed since her 20s.

The venue was packed, possibly even sold out, and there was a lot of yelling between songs, which Kim took in stride. Tony speculated that it's probably been happening at every show, and that seems likely. When she mentioned the Pixies, for instance, a woman yelled, "You were the Pixies!" (Well yes, and no.) Sometimes it was a bit much, but I understand the impulse. She just means that much to so many of us.

Towards the end of the evening, she acknowledged that her album only provided around 35 minutes of material, not enough for a full set, so she performed other songs from throughout her career, both solo singles and Breeders songs, like "Safari," which Tony and I were thrilled to hear. If anything, I prefer the Safari EP to Last Splash, the slightly more polished, platinum-selling album that followed.

At various times, Kim introduced members of her band, rather than all at once. I could make out some of her introductions, but not all. She introduced Kelley by saying she's from Dayton, Spencer by saying he's from Cincinnati, and "Allison is from Albini–she's from Chicago." It was the second Steve Albini reference of the night, and he really was one of the Breeders' best engineers–one of the Pixies' best engineers, too.

Though I took notes, I won't list every song she played--I counted around 20--because I'll probably get it wrong, but the last one was "Do You Love Me Now?" from Last Splash, and it's been stuck in my head ever since, especially the line, "C'mon c'mon come back to me right now," mostly because it's so catchy, but maybe, just maybe because the whole show was so good, I wouldn't mind doing it all over again as soon as possible. Kim Deal really is one of the all-timers.

Update: set list here (they count the first encore as a second set).

Morgan Nagler will be opening for Kim Deal's next four California engagements. Find more tour dates here. All photos by me.