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   This Tom Cruise/Steven Spielberg Blockbuster Is Still Somehow Underrated
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                  <p style="margin:0;margin-bottom:16px">
                   To be The Movie Guy in any given group chat is to open yourself up to the vaguest of texts from your civilian friends: “give me a good movie to watch.” No genre, no reference point, no specifier of any kind—just “a good movie”. There are always
                   <em>
                    unspoken
                   </em>
                   qualifiers that come with this plea, though: nothing “dated” or “too old,” nothing too weird or challenging, but also nothing that’s so populist that it’s syndicated on TNT every other weekend. So when my homie Eliot, one of the biggest “I need a movie” texters in my phone, threw the Bat Signal up the other day, I knew he wanted something conventionally entertaining and ideally 10 years younger than us. I offered
                   <a style="text-decoration: underline; color: #000000;">
                    <em>
                     Out of Sight
                    </em>
                   </a>
                   with a hard sell (“
                   <em>
                    Trust
                   </em>
                   me”) but he didn’t bite—two years too old to make his cutoff (I’ll get him there one day). My second pitch:
                   <em>
                    Minority Report
                   </em>
                   . Swing, hit, and two hours later, the home-run reply all good movie-recommenders eagerly await: “that was great.”
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   Eleven year-old me could never fathom that we’d get to a point where
                   <em>
                    Minority Report
                   </em>
                   was somehow underrated—a mid-thought if not an afterthought in the larger conversations and reverence around both
                   <a style="text-decoration: underline; color: #000000;">
                    Steven Spielberg
                   </a>
                   and
                   <a style="text-decoration: underline; color: #000000;">
                    Tom Cruise
                   </a>
                   ’s filmographies. Because as far as I’m concerned, it’s top 10 in both. This was a formative filmgoing experience for me, a 2002 trip to my local AMC—Clifton Commons on New Jersey Route 3, what’s good—that I still remember to this day (and given my age, quite possibly my first Tom Cruise film, but surely not my first Spielberg.) It’s so special to me that I decided to join Eliot spiritually from the opposite coast and fire it up myself; I was relieved, if not surprised, to see that it still holds up as strongly as it does in my memory.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   For anyone who’s still woefully uninitiated,
                   <em>
                    Minority Report
                   </em>
                   is Spielberg in full Thriller Mode, delivering a whodunit, a dystopian sci-fi drama, and a chase film all under the umbrella of a loose Philip K. Dick adaptation chronicling a police force that uses psychic “precogs” to identify and stop murderers before they actually commit the crime. Cruise is John Anderton, the initiative’s top cop and a true believer in the program—until, on the eve of a vote to take the operation national, the system spits his name out as the next person thinking of committing murder and he goes on the run to clear his name.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <em>
                    Minority Report
                   </em>
                   is full of flourishes you don’t really see Spielberg flex too often elsewhere, and finds the director indulging what I’ve always pegged as two of his best instincts: his dark sense of humor, and his fascination with horror. The chases that show off his penchant for blocking, choreography and pacing are here; a cat-and-mouse sequence near the mid-point evokes some of the creature-feature stuff from, say,
                   <em>
                    The Lost World
                   </em>
                   . But you’ve never seen a Spielberg blockbuster quite like this one; this film is as haunting as it is fun, two tones that would be at odds with each other in lesser hands.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   Spiels somehow gets away with staging Anderton bumbling down a hallway chasing two bouncing eyeballs like slapstick, while making the mysterious, genuinely creepy footage of the murder of a random woman that Anderton keeps revisiting feel—thanks also to some of composer John Williams’ most unsettling music to date—as if we’re watching a snuff film. It’s a movie that has a lot to say about capitalist consumerism, civil liberties, and fate versus free will—so much so that it might feel preachy if Spielberg ever actually paused to let Cruise catch a breath.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   And as for Cruise, it’s strange to rewatch this after having seen so much of his work before and after and find him playing a fairly passive character in much of the first half, until it clicks that this is a deliberate choice. John Anderton is a broken man, eternally scarred by a tragic event that happened to his child, which characters only reference in passing. But after the midway point, when Anderton’s nightmares flash back to give us the full picture, his raw nerves come exposed and Cruise explodes, with actual outbursts and tender notes of vulnerability.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   It all comes together in a scene in the third act between Anderton and the awkward oracle he’s enlisted to help clear his name; it’s essentially a crushing Samantha Morton monologue that Cruise is supposed to react to, but it only works because Cruise is practically convulsing with tears by the end of it. That’s the Oscar-reel moment—but even Cruise’s delivery of “I
                   <em>
                    am
                   </em>
                   going to kill this man,” as if he’s both realizing the idea in real-time and resigning himself to it, lives in my head rent free. (If you haven’t seen it, that isn’t really a spoiler—this is about as airtight a plot as you can get in a genre movie, the kind where even if you call a twist right before it happens, it feels just as satisfying to see it click into place.)
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   This year will mark a return to form for both Spielberg and Cruise. The former is leaving
                   <a style="text-decoration: underline; color: #000000;">
                    Sondheim musicals
                   </a>
                   and
                   <a style="text-decoration: underline; color: #000000;">
                    eight-figure therapy sessions
                   </a>
                   behind for an extraterrestrial epic in the mold of the awe-inspiring blockbusters that helped make summer-movie season a thing in the first place; the latter, after a decade-plus of fashioning himself as
                   <a style="text-decoration: underline; color: #000000;">
                    our Last Action Hero
                   </a>
                   , is set to return to the type of riskier dramatic fare he indulged in during the ‘90s and aughts with Alejandro González Iñárritu’s
                   <em>
                    Digger
                   </em>
                   , a film that (probably) won’t feature any explosions.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   These are significant moments to look forward to, but personally, I was way more amped to see Spielberg on hand to support Cruise’s lifetime achievement moment at
                   <a style="text-decoration: underline; color: #000000;">
                    the Academy’s Governors Awards last fall
                   </a>
                   . Seeing them sitting together, twenty years after their last movie and a rumored falling out, the prospect of these two finding their way back to each other professionally was even more exciting than the films in their respective futures. One can only hope. And if it doesn’t happen, we’ll always have this classic.
                  </p>
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                   <strong>
                    Between the Taps
                   </strong>
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                   (
                   <em>
                    A weekly roundup of everything else I consumed since the last Tap In)
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                   <strong>
                    <em>
                     The Drama
                    </em>
                    , LA premiere
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   Yes, there is indeed a wild, end-of-first-act reveal that knocks this movie off the axis of just being a straightforward rom-com, rom-dram, or whatever the average Zendaya fan might be expecting. But if you’re familiar with Kristoffer Borgli, then you should know that this was always going to be an off-kilter experience. The problem is most people aren’t yet—this is only the Norwegian director’s third film, following 2023’s delightfully quirky Dream Scenario with Nic Cage. It’ll be interesting to see how an audience of Euphoria and Twilight fans react to Borgli’s sensibilities.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   Personally, I think I might’ve been more thoroughly satisfied with Dream Scenario and its commentaries on contemporary fame and virality, but I was mostly into this. It’s the kind of movie where you can’t help going in with expectations just based off of the trailer/marketing, which is fine as long as you know to tuck those expectations once the credits roll and judge the film on its own merits. The reveal is… fun, if not what I expected—but this is the kind of movie where expectations are inevitable just based off of the trailer/marketing, which is fine as long as you know to tuck those expectations once the credits roll and judge the film on its own merits. And it sets up Borgli’s most cringe-inducing dark comedy yet, full of painfully awkward moments that just make you want to either slowly melt or spontaneously combust from secondhand embarrassment. (There are strains of early Yorgos here, like
                   <em>
                    Dogtooth
                   </em>
                   or
                   <em>
                    Sacred Deer.
                   </em>
                   )
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   I just don’t know if Borgli goes far enough? Without giving anything away, as dark as the Zendaya reveal is, it also kind of quickly lets her off the hook in a way that makes it hard to fully empathize with Pattinson’s character having fidgety doubts for as long as he does. But Pattinson revels in playing a fidgety spaz, so it works, and even when it lulls, it’s a treat to watch Borgli’s powers grow. The way he edits scenes and paces the movie feels so distinct and fresh. I’ll tap in with whatever he does from here on out, and the same goes for Hailey Benton Gates, a perennial scene-stealer who’s becoming my favorite A24 recurring player.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    <em>
                     Buffy the Vampire Slayer
                    </em>
                    , “The Zeppo”
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   It’s been an unexpectedly grueling week for those of us with taste who recognize
                   <em>
                    Buffy
                   </em>
                   as one of the defining series of contemporary television (narrative arcs, dialog, the list goes on). First, the long-gestating revival spearheaded by
                   <em>
                    Buffy
                   </em>
                   herself, Sarah Michelle Gellar, and Chloe Zhao (who’s apparently a devout
                   <em>
                    Buffy
                   </em>
                   disciple) was unceremoniously and loudly thrown into the recycle bin by Hulu about a week ago. Most reboots are ill-adivsed and tragic, but there was something about SMG’s excitement that made most of us believe she and Zhao might have actually pulled it off. Gellar has resisted the call to return to slaying for decades, rebuffed many an offer, and apparently really put Zhao through the ringer on selling a compelling story worth bringing
                   <em>
                    Buffy
                   </em>
                   out of retirement for, then collaborating with her to fine-tune it. Descriptions of their initial pilot sound very Force Awakens-y, which is the reboot ideal: new characters on a journey that retains the essence of the original, with the legacy cast playing secondary to stoke the nostalgia without just making it a retread. “Into every generation a new slayer is born,” the series logline basically begets this kind of a cross-gen sequel.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   The execs disagreed, Gellar went scorched earth, and now everyone is pointing fingers in the press and this thing will likely never see the light of day in any shape or form. Then days later, Nicholas Brendon, the Day One castmember who plays Buffy’s pal Xander, passed at the untimely age of 54, after a troubled life that included addiction and abuse allegations.
                  </p>
                  <p style="margin:0">
                   All of that negative news led me to fire up a random episode as it’s been awhile since I’ve rewatched the show, and the Brendon of it all led me to choose “The Zeppo,” a fan-favorite episode from the show’s third, and best, season. By this point in the series, Brendon’s Xander is the only one in the ensemble without any special powers or tangible contribution besides being the hapless dork who provides quippy comic relief. “The Zeppo” is top-tier
                   <em>
                    Buffy
                   </em>
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