The Seventh (and possibly annual but probably not because this was fucking exhausting) Dixon Movie Awards
Another cinematic journey around the sun has finally come to a close. The year in film always feels longer than the year on the calendar with the Oscars pushing so far into the spring. If I ran the Academy, I’d host the Oscars on January 1st every year so that we could all get on with our lives, but alas, that is not the universe in which we currently find ourselves.
2023 was a year that forced me to reassess my priorities and how I spend my time. Movies are still a big part of my life, but I’ve struggled to keep pace with the insatiable past version of myself that watched 200+ new movies a year. I don’t regret that time spent at the cinema. Diving into thousands of stories told from different ethnic, cultural, and economic backgrounds has undoubtedly helped me understand the world on a deeper level. That’s one of the underappreciated qualities of film. Sometimes it’s just entertainment, but sometimes you walk out of the theater a slightly different person than the one that walked in.
Over the past year, I’ve tried to spend more time with the people I care about, which has inevitably reduced the time I can spend at the theater. I was only able to see 105 movies released in 2023 (still an insane amount, I know), and that forced me to be more selective.
The best movies I saw this year were as good as anything I’ve seen since I started this ridiculous annual tradition seven years ago. I think I’ve managed to cut out a lot of middle-of-the-road movies while still making time for the year’s most impactful films, but it’s very possible that I’ve missed out on a profound, perspective-altering piece of cinema. If I overlooked a movie that really meant something to you, blame the new lady friend.
Every 2023 Movie I Saw, Ranked
B- and above is a thumbs up. C+ and below is a thumbs down. I highly recommend anything A- or higher.
A
1. Killers of the Flower Moon
2. The Eight Mountains
3. Lakota Nation vs. United States
A-
4. Oppenheimer
5. Once Within a Time
6. Perfect Days
7. Poor Things
8. John Wick: Chapter 4
9. The Iron Claw
10. Aberrance
11. All of Us Strangers
12. The Taste of Things
13. The Quiet Girl
14. Tótem
15. The Boy and the Heron
16. Maestro
17. Dream Scenario
18. Fingernails
19. River
B+
20. The Starling Girl
21. Beau Is Afraid
22. Blind Willow, Sleeping Woman
23. American Fiction
24. Afire
25. Asteroid City
26. The Zone of Interest
27. Spider-Man: Across the Spider-Verse
28. Chile ’76
29. Raging Grace
30. Fallen Leaves
31. Butcher’s Crossing
32. Anatomy of a Fall
33. Saltburn
34. Last Stop Larrimah
35. Down Low
36. Menus-Plaisirs — Les Troisgros
37. Lynch/Oz
38. Silent Night
39. One Fine Morning
40. Past Lives
41. Godland
B
42. The Delinquents
43. Enys Men
44. They Cloned Tyrone
45. Godzilla Minus One
46. May December
47. Master Gardener
48. Suzume
49. Priscilla
50. Showing Up
51. The Holdovers
52. Passages
53. How to Blow Up a Pipeline
54. Who I Am Not
55. Air
56. Sisu
57. Joy Ride
58. Barbie
59. You Hurt My Feelings
60. Talk to Me
61. Monster
62. The Lady Bird Diaries
63. Are You There God? It’s Me, Margaret.
64. Reality
65. Fast X
66. Bottoms
67. Fremont
68. Palm Trees and Power Lines
69. Satan Wants You
70. Subject
71. Taylor Swift: The Eras Tour
B-
72. Personality Crisis: One Night Only
73. The Novelist’s Film
74. Tori and Lokita
75. Joan Baez: I Am a Noise
76. The World Is Not My Own
77. Creed III
78. Our Father, the Devil
79. Plane
80. A Disturbance in the Force: How the Star Wars Holiday Special Happened
81. De Humani Corporis Fabrica
C+
82. Sympathy for the Devil
83. Napoleon
84. Dungeons & Dragons: Honor Among Thieves
85. The Creator
86. Cocaine Bear
87. The Killer
88. The Innocent
89. Who Invited Charlie?
90. The Super Mario Bros. Movie
91. Inside
C
92. The Five Devils
93. The Royal Hotel
94. Renfield
95. Wonka
96. Meg 2: The Trench
97. 65
C-
98. The Old Way
99. Mission: Impossible — Dead Reckoning
100. Skinamarink
101. Infinity Pool
D+
102. The Retirement Plan
D
103. The Marvels
104. Indiana Jones and the Dial of Destiny
D-
105. Hypnotic
Best Picture: Killers of the Flower Moon
How do we tell a story that’s not our own? This question casts a shadow over every scene of Martin Scorsese’s latest epic. Almost every Hollywood filmmaker has to confront this issue at some point, but it carries more weight when the movie is a heartbreaking tale about our country’s original sin and white Americans’ complicity in it.
Based on David Grann’s investigative non-fiction book of the same name, Killers of the Flower Moon tells the sickening true story of the Osage Nation and the horrifying plot of local white residents to marry tribe members, kill them off, and steal their oil rights. Scorsese and co-writer Eric Roth originally wrote the screenplay as a detective story with Leonardo DiCaprio cast as Bureau of Investigation agent Tom White as he pieces together the facts behind the Osage murders.
Just before filming began, COVID-19 shut down production and gave them an opportunity to reassess the script. Rather than focusing on the investigation and creating a white savior narrative, Scorsese elected to rebuild the story around Ernest Burkhart — husband to Osage woman Mollie Burkhart and a conspirator in the killing of her mother and sisters — with the goal of centering the film around the plight of the Osage people. The result is a three hour and twenty-six minute epic that flies by at a furious pace. Rodrigo Prieto’s dynamic cinematography, Thelma Schoonmaker’s precise editing, and Robbie Robertson’s driving score create an engrossing viewing experience on par with Scorsese’s best work.
One can debate how effectively he’s able to tell the Osage’s story and whether he gives their perspective enough screen time, but I think he tells it the best way he can. As one of the great crime film directors, Scorsese has a long history of making movies about organized criminal operations. While his early and mid-career crime films focus on the Italian American mafia, he’s used this filmmaking style in his more recent works to expose other areas of society as nothing more than sleazy criminal enterprises.
The Departed reveals the police to be no better than the mafia, working alongside them to control the people they purportedly serve. The Wolf of Wall Street shows how the American financial system is a massive criminal operation existing only to separate naive people from their hard-earned money. With Killers of the Flower Moon, Scorsese concentrates the power of his camera on our country’s very foundation. The American project itself is just organized crime.
Scorsese has been accused of glorifying crime in his movies, but I don’t think anyone can say that about this film. What sets Killers apart from his previous works is the proximity of the victims to the culprits. The villains aren’t just harming random strangers. They’re killing their spouses, sisters-in-law, friends, and even their children. They have to live with the anguish they create in their families, which gives the film an unshakable emotional heft.
The movie ends with an FBI radio play detailing the final events of the story, similar to the actual radio plays put on by the bureau in the late 1940s and early 1950s as propaganda to grow its popularity. America has always been fascinated by crime, whether true or fictionalized. This scene feels like the director questioning the role he’s played in that fascination throughout his career. Finally, Scorsese himself approaches the microphone and reads Mollie’s obituary. Is he the right person to tell this story? I don’t know, but he told it pretty damn well.
Best Director: Martin Scorsese — Killers of the Flower Moon
The man just doesn’t slow down. He’s eighty-one years old and still the best in the business. Every new Scorsese film feels like a gift — yet another addition to the astounding body of work of one of America’s great artists. Despite his age, he fills Killers of the Flower Moon with incredible urgency that ripples through every frame. I don’t know how long he’s going to be able to keep this up, but I’ll take whatever I can get. To your health, Marty.
Honorable Mentions
Felix van Groeningen and Charlotte Vandermeersch — The Eight Mountains
Jesse Short Bull and Laura Tomaselli — Lakota Nation vs. United States
Christopher Nolan — Oppenheimer
Godfrey Reggio and Jon Kane — Once Within a Time
Wim Wenders — Perfect Days
Yorgos Lanthimos — Poor Things
Chad Stahelski — John Wick: Chapter 4
Baatar Batsukh — Aberrance
Best Actress: Lily Gladstone — Killers of the Flower Moon
DiCaprio and De Niro have top billing, but Lily Gladstone gives the most affecting performance of the year as the tragic Mollie Burkhart. I first saw Gladstone in Kelly Reichart’s 2016 film Certain Women, in which she plays a shy woman searching for connection. I loved her performance in that film, but I haven’t seen her in much since then.
Her character in Killers of the Flower Moon is a vibrant, witty Osage woman with the misfortune of marrying into a greedy, genocidal family intent on taking her oil rights at any cost. Mollie’s devolution into a sickly, broken woman is astounding to behold, and Gladstone brings a gravity to the role that establishes the moral center of the film.
Honorable Mentions
Emma Stone — Poor Things
Juliette Binoche — The Taste of Things
Jessie Buckley — Fingernails
Naíma Sentíes — Tótem
Eliza Scanlen — The Starling Girl
Aline Küppenheim — Chile ‘76
Alma Pöysti — Fallen Leaves
Best Supporting Actress: Da’Vine Joy Randolph — The Holdovers
I don’t love The Holdovers as much as everyone else. The story of three misfits forced to spend the holidays together and learn a little something about themselves in the process feels a bit trite and very predictable. However, Alexander Payne executes this well-worn premise about as effectively as can be expected.
Paul Giamatti is great in the lead role, but Da’Vine Joy Randolph adds a depth and soul to the film that’s lacking in the adversarial teacher/pupil dynamic that dominates the main plot. Payne isn’t breaking any new ground here, but the cast elevates the film to something better than it has to be. It’s a well-made feel-good movie that your parents will love, and those can be hard to come by.
Honorable Mentions
Patti Lupone — Beau Is Afraid
Paula Beer — Afire
Margarita Molfino — The Delinquents
Adèle Exarchopoulos — Passages
Kathryn Hunter — Poor Things
Best Actor: Cillian Murphy — Oppenheimer
Before Oppenheimer, I didn’t think Christopher Nolan was capable of making a film with real emotional weight. His movies generally feel like watching a robot attempt to replicate what it thinks human emotion might be like. That’s not to say Nolan isn’t a talented filmmaker, but his best movies tend to be the ones that avoid human emotion as much as possible (à la Dunkirk) rather than the ones about sending love through bookcases.
I went into Oppenheimer expecting an impressive technical spectacle, but I was surprised at how much the film stuck with me over the following weeks and months. Stories about atomic weapons have a way of always feeling painfully relevant given the nuclear sword of Damocles constantly hanging over humanity’s cocksure existence. Oppenheimer doesn’t reach the wonderfully wild heights of Dr. Strangelove, but its calmer analysis of our self-destructive nature is equally poignant.
Cillian Murphy plays the titular role with a reserved, principled determination. He’s a man with many interests and talents who wants to see justice in the world, despite his personal failings toward the people closest to him. His work on the bomb is motivated by an urgency to stop Hitler and win the war, but he has no desire to see his weapon of mass death expanded beyond that specific use case.
While much of Oppenheimer is the story of talented people coming together to achieve a near impossible goal, the real heart of the film focuses on America’s appalling determination to vilify its heroes the minute they step out of line. The true masters of the world are American weapons manufacturers and their cheaply purchased government supplicants. It doesn’t matter how much Oppenheimer has done for this country. If you get in the way of the profit machine, it will undermine you, defame you, and eventually destroy you. That’s the way this country works.
The film concludes with a small conversation between Oppenheimer and Einstein that lands harder than the room-rocking atomic test scene ever could. The long-term impact of the Manhattan Project and the ensuing nuclear arms race has yet to be fully realized and will likely culminate in the end of life as we know it. The American war machine marches on, crushing soldiers and enemies alike.
Honorable Mentions
Leonardo DiCaprio — Killers of the Flower Moon
Kôji Yakusho — Perfect Days
Luca Marinelli — The Eight Mountains
Alessandro Borghi — The Eight Mountains
Zac Efron — The Iron Claw
Andrew Scott — All of Us Strangers
Nicolas Cage — Dream Scenario
Riz Ahmed — Fingernails
Jeffrey Wright — American Fiction
Best Supporting Actor: Willem Dafoe — Poor Things
Willem Dafoe might have more range than any actor in Hollywood. From the grounded kindness of The Florida Project to the unhinged absurdity of The Lighthouse, the man can pretty much do anything you put in front of him. In his latest role, Dafoe plays a mad scientist named God who is a cross between Dr. Frankenstein and his monster. If that doesn’t make you want to watch Poor Things, I don’t know what will.
His character is more reserved and rational than you’d expect, but that makes his occasional odd rants about his unique physical ailments all the more entertaining. He’s a broken man who’s experienced a lot of trauma that he’s trying not to pass on to the people around him, but he doesn’t really understand how to do that. Mark Ruffalo somehow has an even showier role and thus got the Oscar nomination, but Dafoe’s character has more depth and brings the movie together in a really affecting way.
Honorable Mentions
Robert DeNiro — Killers of the Flower Moon
Mark Ruffalo — Poor Things
Paul Mescal — All of Us Strangers
Lewis Pullman — The Starling Girl
Harris Dickinson — The Iron Claw
Jeremy Allen White — The Iron Claw
William Belleau — Killers of the Flower Moon
Ty Mitchell — Killers of the Flower Moon
Best Screenplay: Sean Durkin — The Iron Claw
I knew the Von Erich story was tragic, but I was completely unprepared for the devastating experience of watching The Iron Claw with my mom on Christmas Day. It was just the two of us for Christmas this year, and this was the only movie in theaters we both wanted to see. While far from the most joyful yuletide experience, it was a Christmas that I won’t soon forget.
The miracle of Durkin’s script is that after all the relentless tragedy and death over the course of the movie, he somehow crafts a hopeful ending, allowing Kevin Von Erich to find some level of peace and happiness, even if his life didn’t go as planned. It’s a film that made me reassess my own life and the hardship I’ve experienced in recent years that’s held me back. If Kevin can piece his life together and find joy despite his unbearable loss, maybe I can too.
Honorable Mentions
Eric Roth and Martin Scorsese — Killers of the Flower Moon
Tony McNamara — Poor Things
Andrew Haigh — All of Us Strangers
Kristoffer Borgli — Dream Scenario
Christos Nikou, Sam Steiner, and Stavros Raptis — Fingernails
Cord Jefferson — American Fiction
Laurel Parmet — The Starling Girl
Best Cinematography: Baatar Batsukh — Aberrance
I caught this at SXSW last year because it happened to fit into my frantic schedule, and it ended up being my favorite film at the festival. Directed and photographed by Baatar Batsukh, Aberrance is a Mongolian horror film that keeps its audience off balance by continually shifting perspectives between characters. The movie begins with a couple driving to a remote cabin in the snow-covered Mongolian mountains, only to quickly change viewpoints to their quiet new neighbor as he hears terrible sounds coming from their house each night.
The dynamic hand-held cinematography furthers the perspective shifts by following the characters closely and showing the world from their specific points of view. It’s a fascinating approach to storytelling, and I’ve never seen it executed so well. Aberrance is an enthralling rollercoaster with a batshit ending that probably doesn’t make a lot of sense if you think too hard about it, but it’s an incredibly fun ride, and the cinematography is a sight to behold.
Honorable Mentions
Ruben Impens — The Eight Mountains
Rodrigo Prieto — Killer of the Flower Moon
Hoyte Van Hoytema — Oppenheimer
Dan Laustsen — John Wick: Chapter 4
Robbie Ryan — Poor Things
Kevin Phillips — Lakota Nation vs. United States
Matthew Libatique — Maestro
Best Score: Philip Glass and Sussan Deyhim — Once Within a Time
More visual poem than narrative story, Koyaanisqatsi director Godfrey Reggio’s latest masterpiece is an enrapturing meditation on the current state of the human race. After millennia of war, climate change, and technological advancement, we find ourselves at a crossroads between evolution and self-destruction. The most unique film of 2023 is both an ode to the silent films of the early twentieth century and an original creation that pushes the boundaries of the medium.
Eschewing dialogue in favor of a more universal approach to storytelling, Reggio leans heavily on Philip Glass and Sussan Deyhim’s brilliant score to bring his vision to life. The haunting, ethereal music features flutes, drums, and operatic human voices that create a hypnotic pull on the audience. I’ve never seen anything quite like this, and I can’t wait to watch it again.
Honorable Mentions
Jerskin Fendrix — Poor Things
Daniel Norgren — The Eight Mountains
Ochsuren Davaasuren and Jargal Oyunerdene — Aberrance
Leo Birenberg — Butcher’s Crossing
Robbie Robertson — Killers of the Flower Moon
Ludwig Göransson — Oppenheimer
Best Documentary: Lakota Nation vs. United States
A perfect companion piece to Killers of the Flower Moon, the best documentary of the year explores the plight of the Lakota people, from the systematic theft of their land and culture to their modern day fight to take it back. Native American directors Jesse Short Bull and Laura Tomaselli utilize traditional documentary techniques combined with enrapturing cinematography of the Dakota hills to tell a fascinating story of resilience in the face of insurmountable odds.
The first two acts of the film focus on the Lakota people’s ties to the land and the US government’s illegal seizure of it through lies, broken treaties, and forced assimilation. It’s a heartbreaking story culminating in a final act that somehow lands on a positive note. The Lakota people are still fighting to reclaim the land that’s legally theirs. They understand that the deck is stacked impossibly against them as they combat the most powerful entity in the history of the world, but nevertheless they forge ahead, determined to restore their homeland and way of life. Simultaneously depressing and inspiring, their Sisyphean struggle is a call to all Americans to stand for what’s right, even if it seems hopeless.
Best Animated Film: The Boy and the Heron
Hayao Miyazaki’s latest and allegedly final work is a beautifully drawn story of a pre-teen Japanese boy processing the death of his mother during the height of World War II. When a talking heron draws him into the woods outside his father’s new house, he falls into a strange fantasy world run by his long-lost grandfather that seems to exist outside of space and time.
I’m not sure exactly what Miyazaki is trying to say with The Boy and the Heron. It’s kind of a mess, but it’s a dazzling, crazy ride. There are lots of characters and plot threads that don’t tie back together neatly by the film’s end. Who is this heron, and why does he have a grotesque human head inside his beak? I don’t know, but he’s awesome.
The emotional core of the movie centers around the grandfather’s struggle to continue creating and maintaining the fantasy world and his desire to find an heir to follow in his footsteps. It feels like the final plea of a retiring master. Here’s hoping that someone steps up to fill the massive void in the cinema universe that Miyazaki’s leaving behind.
Best Foreign Language Film: The Eight Mountains
I had a very difficult time picking my number one film this year. I ended up going with Killers of the Flower Moon, but The Eight Mountains is every bit as good. A stunningly beautiful work, the film follows two friends from childhood to middle age as their relationship evolves through each stage of life. Pietro lives in Turin during the school year and vacations to the Alps with his family each summer. Bruno lives in the mountains with his uncle while learning to become a brick layer and dairy farmer. When Pietro’s father passes, he wills a dilapidated mountain cabin to his son and asks Bruno to rebuild it. The two friends erect the cabin over the course of the summer and vow to return each year when the snow melts.
Shot on location in the picturesque Italian mountains, Felix van Groeningen and Charlotte Vandermeersch’s latest work is a hypnotic meditation on the profound nature of friendship. No matter what’s happening in their lives or how long they’ve been apart, Pietro and Bruno can always return to their shared cabin to find healing and solace. Daniel Norgren’s calming score adds a mystical tone to the brilliant images, creating a bewitching atmosphere unlike any film this year. This is one of the most peaceful, relaxing movies I’ve ever experienced. I could watch it every day and never grow tired of it.
Best Comedy: Poor Things
A feminist reimagining of Frankenstein, Yorgos Lanthimos’ latest film stars Emma Stone as Bella Baxter, the result of an insane experiment in which the brain of an infant is placed inside the skull of her dead mother and reanimated by a scientist named God. Hilarity ensues as her baby brain catches up with her adult body and she learns to function in polite society.
It’s rare to see a comedy as meticulously crafted as Poor Things, but that’s to be expected from Lanthimos. Every aspect of the filmmaking is impeccable, and it’s his funniest movie yet. The Killing of a Sacred Deer is still my favorite of his films, but Poor Things is high on the list.
Best Horror: Aberrance
The only movie I can remember that made my heart race more than Aberrance is Uncut Gems. It’s a beautiful, stressful mess that looks and sounds as good as any movie you’ll see this year.
Best Sci-Fi: Fingernails
The best sci-fi movie of the year is a quiet little romantic drama about a near future in which a corporation has developed a scientific test that allegedly determines with one hundred percent accuracy whether romantic partners are compatible. The simple yet painful procedure involves a fingernail of each partner being yanked out by the roots and placed together inside a microwave-esque machine that outputs one of three possible results. 0% means that neither partner loves the other, 100% means that both partners love each other, and 50% is the dreaded unrequited love, although the test lacks the specificity to determine the direction of that love.
Jessie Buckley stars as Anna, a recently laid off school teacher looking for work. She and her boyfriend passed the love test three years ago, but their relationship has begun to feel a bit stale. In an effort to improve their relationship and learn more about love, she takes a job at the love testing company where she counsels couples preparing to take the test. As she spends more time in her new job, she begins to fall for her colleague Amir, played by Riz Ahmed.
The screenplay is one of the year’s best, creating a fascinating premise that leads to profound questions about life, love, and happiness. Buckley and Ahmed have incredible chemistry, and Luke Wilson gives a great performance as the head of the love test company. Fingernails flew under the radar this year, and I hope more people have a chance to check it out.
Best Action: John Wick: Chapter 4
I’ve never seen fight choreography this good. John Wick: Chapter 4 is a mesmerizing ballet of violence and carnage that never lets up. It’s a true testament to the skill of Keanu Reeves and director Chad Stahelski that I saw this movie a second time despite knowing that I would have to endure Bill Skarsgård’s awful French accent once more.
Best Romance: Fingernails
See Best Sci-Fi above.
Best Superhero Movie: Spider-Man: Across the Spider-Verse
The correct answer here is John Wick: Chapter 4, but I’m trying to spread the love a little. Despite removing the great Nicolas Cage from this installment of the cartoon spider franchise and only being half a movie, it’s still pretty damn good.
Most Underrated Film: Once Within a Time
It’s got Mike Tyson and a monkey wearing a VR headset. What more do you want?
Most Overrated Film: Skinamarink
This movie has a cool vibe, but that can only take you so far. Director Kyle Edward Ball is trying to replicate the feeling of waking up in the middle of the night as a scared, confused child, and he achieves that for a few minutes. Skinamarink would be a cool ten-minute short, but a hundred minutes is just way too far to stretch this concept. There’s absolutely no plot, and it feels like Ball didn’t really know where he wanted to go with his idea.
I saw this at a theater, and I got bored real quick. This is the only movie I’ve ever seen where I actually think the home viewing experience would be more immersive. If you’re interested in watching this thing, buy an old tube TV at a yard sale, set it up on the floor of your parents’ living room, and watch Skinamarink alone at 2:00 AM sitting cross-legged three feet away from it with all the lights turned off. Maybe that’ll make it scary. I don’t know. Let me know if you try it.
Worst Picture: Hypnotic
I have mixed feelings about Robert Rodriguez. I love Machete and Machete Kills. As far as over-the-top dumb action movies go, they’re about as good as it gets. However, when he tries to make something even slightly more serious, his films tend to fall pretty flat. Instead of finally shooting the long-rumored third installment in the Danny Trejo action franchise titled Machete Kills in Space, he decided to make this pile of garbage.
Rodriguez wrote, directed, shot, and edited Hypnotic, so it’s clearly something he’s passionate about, but you wouldn’t know it from watching the movie. Despite sounding exactly like his normal Bostonian self, Ben Affleck stars as an Austin police detective trying to track down his missing daughter. Over the course of the investigation, he discovers a CIA-esque cadre of weirdos called Hypnotics, who can disguise reality using mind powers that are rendered with some of the worst CGI I’ve ever seen.
SPOILERS BELOW (not that you’re going to watch this movie anyway)
The first two acts are designed like a typical action film where every character has three different leather jackets that they switch between in every new scene. In the final act, Affleck discovers that the Hypnotics have been creating a virtual reality around him and that nothing we’ve seen up to this point has been real. He wakes up tied to a chair and sees the sinister cabal of Hypnotics for what they truly are: a bunch of bureaucrats wearing bright red blazers that look like a flock of fucking RE/MAX agents. The movie still wants you to be intimidated by these reality-shifting freaks, but it’s hard to be scared of someone that looks like he wants to sell you a house.
Fast forward to the end — Affleck finds his daughter, who turns out to be a Hypnotic, and realizes that he and his wife are also Hypnotics, but they no longer wish to be part of the club. As the bad guys descend upon them, the family shares an intimate group hug as they murder the approaching horde of realtors with their newly discovered mind powers.
I don’t know what the fuck is going on with this movie. Affleck has done some good work recently in films like The Last Duel and Air, but in most of the roles he’s played over the past decade, he looks like he’d rather kill himself than shoot one more second of footage. Just pick better roles, Ben. There’s no reason to do shitty movies like this.
Michael Dixon is a mild mannered accountant by day and a mild mannered movie watcher by night. He will not do your taxes for you. He lives in Austin, Texas with his lovely television and collection of fine whiskies. Follow him on Twitter @mDixon00 and check out his podcast here. You can’t purchase his book anywhere because it doesn’t exist. Check out his previous annual movie award posts below.
