Today I’m looking at Rain Man (1988), a film I first saw at 15 in the cinema with my dad, double-billed with Twins. What’s stayed with me is how it works as a road movie built on forced proximity, where the emotional shift between the two brothers slowly does all the heavy lifting. Still a film I like a lot, but now I see Tom Cruise as carrying more of the emotional weight than I did at the time.

Today I’m looking at The Boost (1988), a very 80s story about ambition, excess and self-destruction. James Woods throws himself into the lead role as a man spiralling out of control, and while the film can be heavy-handed at times, it works as both a period piece and a cautionary tale.

Today I’m looking at Ferrari (2023), Michael Mann’s portrait of a man trying to hold everything together while the walls slowly close in around him. Adam Driver is excellent as Enzo Ferrari, and the film is less about racing than pressure, obsession and the personal cost of chasing greatness. It’s measured, deliberate and feels very much like a late-period Michael Mann film.

Today I’m looking at Dressed to Kill (1980), a film that reminds me why Brian De Palma was such a distinctive filmmaker. It’s stylish, suspenseful and completely unapologetic in the way it pushes sex, violence and voyeurism to the forefront. Not everything works for me, but it’s never less than fascinating to watch.

Today I’m looking at First Blood (1982), a film that’s much more than the action franchise it eventually became. Sylvester Stallone gives one of his best performances as John Rambo, a troubled Vietnam veteran pushed to breaking point by a world that no longer understands him. Tense, emotional, and surprisingly human, it still holds up remarkably well.

Today I’m looking at A Short Film About Love (1988), a quiet film about longing, obsession, and one-sided connection. It’s restrained and observational, letting the emotion sit without much explanation or resolution. Simple, but it lingers through what it doesn’t say as much as what it does.

Today I’m looking at Street Smart (1987), a gritty New York crime drama about ambition, desperation, and people trying to talk their way through bad decisions. What really stands out for me is Morgan Freeman’s performance as Fast Black—completely magnetic, unpredictable, and carrying the whole film whenever he’s on screen. It’s a bit uneven, but it has enough tension and energy to keep pulling you through.

Today I’m looking at The Sting (1973), a smooth con film built around charm, deception, and a long-game hustle. What stands out most is the pairing of Paul Newman and Robert Redford and the way the whole film just runs on style, rhythm, and execution. It’s light, clever, and really just about enjoying how the con slowly unfolds.

Today I’m looking at Elephant (2003), Gus Van Sant’s stripped-back, observational film about a school shooting that’s more about mood and structure than story. It uses long tracking shots and quiet spaces to build this sense of everyday normality slowly breaking down. It’s restrained and unsettling, focused more on atmosphere and aftermath than explanation.

Today I’m looking at Return of the Pink Panther (1975), another Clouseau film built around chaos, misunderstandings, and escalating slapstick. Peter Sellers is the standout again, fully inhabiting that mix of cluelessness and accidental genius. It’s light, episodic, and really just about the gags, but it still works on that level.