In one of our recent end-of-the-year podcast episodes that was partially inspired by my having finally been convinced to watch The Twentieth Century based on my delight in director Matt Rankin’s follow-up feature Universal Language (it was my favorite movie of last year!), Brandon read off a list of film titles that he asked me to identify as a kind of makeshift quiz. Those titles were all films that had been on the Swampflix Top Ten list for their eligible year, and which I had not seen at the time of the relevant list’s publication. I’m not a completionist by nature, but with an upcoming collaborative project, I took that list as homework and got to work filling out these blind spots to determine if the listed films would have made my own end-of-the-year list if I had seen them in time. Part One of that journey can be found here. Now, come along with me for part two: 2020-2024.

2020: Boomer’s List vs. Swampflix’s List

Deerskin – Watched March 27, 2024

Upon Review: I, like Brandon, consistently find myself drawn to the work of Quentin Dupieux. Rubber was heavily discussed in the pretentious collegiate film circles I ran with in my youth and I had an absolute hoot of a time with Smoking Causes Coughing, which was on my 2023 end of the year list. This one somehow just slipped past me when it came out, but I did finally watch it over a year ago, and it’s stuck with me. This film, about a jacket that compels its owner to go to increasingly violent lengths in order to ensure that it is the only jacket in the world (although whether this is actually an act by a conscious entity or merely the main character’s delusion is ambiguous), is a lot of fun. Dupieux could probably have made the whole film work on that premise alone, but the complication of a local woman who buys his story that he’s in town to make a documentary starts to cut together his murder footage into something coherent, the film really goes above and beyond. 4.5 stars.

Would it have made my list? Yes, absolutely.

The Wolf House – Watched March 18, 2026

Upon Review: A marvelous picture, top to bottom. Animation in styles I’ve never seen before or ever even considered were possible. The film is an in-universe propaganda piece about obeying your overseers in the form of a fairy tale that vacillates between stop motion, nontraditional versions of traditional animation styles in the form of time lapse painting directly onto a wall, filled with images both beautiful and grotesque. A masterpiece. 4.5 stars.

Would it have made my list? Yes.

Swallow – Watched February 17, 2026

Upon Review: This film was released in March of 2020, which is why I didn’t see it. I was planning to, however, as I was anxiously anticipating its release after seeing trailers for it for a couple of months that led up to lockdown. Unlike a lot of people (who survived the pandemic), I was not someone who was suddenly blessed with an abundance of free time to make sourdough or practice guitar; my lockdown experience was a constant vacillation between twelve hour workdays and primal, rodent-like fear about the future. I don’t even remember learning that this one had ever come to streaming, and while that’s unfortunate, I also don’t think that I would have appreciated this one in its time. Perhaps it’s because Swallow, unlike The Lighthouse, is primarily concerned with the quiet, hidden, self-destructive habits that emerge from the unholy marriage of isolated boredom and previous traumas, while The Lighthouse’s frenetic madness was much more like what I experienced in quarantine. Haley Bennett is wonderful here in her understated feelings of inadequacy in the presence of her in-law social betters who are universally her moral inferiors, and I loved the performance from Elizabeth Marvel as her seemingly warm but ultimately villainous mother-in-law. 4.5 stars. 

Would it have made my list? No, but for the wrong reasons. I wouldn’t have been in the headspace to appreciate this when I would have gotten the chance to see it. 

Possessor – Watched February 11, 2026

Upon Review: This one simply slipped past me in the stream. The Lagniappe Podcast crew watched 2012’s Antiviral in 2023, the same year that Infinity Pool released, and although I very much enjoyed the older film, I could only recognize Infinity Pool for its technical accomplishments as I could not connect with it in the least (Brandon was much more positive). A couple of years ago, I remembered that Possessor was well received at Swampflix, but I ended up watching Malignant (which I disliked but which, again, Brandon had more positive things to say about) instead due to some confusion and am only now working my way back to this one. What a ride! Possessor is an absolutely fantastic piece of art from start to finish. Andrea Riseborough plays a woman who, under guidance from Jennifer Jason Leigh, hijacks the bodies of innocent people through technological trickery and then uses them to assassinate targets. Her most recent possessee is Christopher Abbot, and as she starts to lose herself in more ways than one, she ends up fighting for domination of his body, while he manages to get a glimpse of her family and turns what shambles of a life she has upside down as he tries to figure out what’s happening to him. Gorgeously shot, masterfully performed, drenched in color, and featuring an appearance from Tiio Horn, one of my favorite underrated Canadian performers, this was a delight. 5 stars. 

Would it have made my list? Yes, absolutely.

The Twentieth Century – Watched December 4, 2025

Upon Review: The viewing of this film for our 2025 retrospective on previous films by some of our favorite directors of that year precipitated the very project that you’re currently reading. Director Matthew Rankin’s 2025 feature Universal Language was my favorite film of the year, and The Twentieth Century is an even more delightful picture, an utterly demented look at the career of W.L.M. King, a not particularly well remembered Canadian Prime Minister, complete with visits to “The Flesh Pits of Winnipeg,” whack-a-mole seal clubbing as part of the candidacy for governance, and the future of our neighbors to the north being determined by an ice skating race through a mirrored labyrinth. One of the funniest movies that I have ever seen. 5 stars. 

Would it have made my list? Absolutely; it would have hit the top 5.

2021: Boomer’s List vs. Swampflix’s List

Barb and Star Go to Vista Del Mar – Watched February 20, 2026

Upon Review: Part Josie and the Pussycats, part Romy and Michele, part SNL sketch, and just a dash of Muriel’s Wedding, this Kristen Wiig/Annie Mumolo North Dakota besties-on-vacation comedy is a delight. I love it when a comedy is so perfectly constructed that it scratches that same little itch in one’s brain that a cleverly crafted mystery story does. Everything pays off in the end: the sharp seashell bracelets, the seafood festival queen’s bizarre human cannonball tradition, and even an ocean spirit named Trish. All that, and Jamie Dornan sings to a seagull while flexing on a beach. What more could one ask for? 4.5 stars. 

Would it have made my list? Yes.

Mandibles – Watched January 24, 2026

Upon Review: I didn’t have much fun with this one for its first half, which features two clinically brain dead losers stumbling upon a captive giant fly and coming up with a hairbrained scheme to teach it to rob banks on their behalf. Upon discovery of the beast, they spend some time trying to find a location to “train” it, eventually discovering a remote trailer home whose occupant they force out and which the slightly taller and dumber of the two almost immediately burns down in a cooking mishap. From there they set out on the road to refuel their (stolen) car, at which point they run into a woman who believes that the taller idiot is her high school athlete boyfriend, and invites the two of them to her parents’ home for a bit. This is where things started to become much funnier and more enjoyable, as there is a woman (Adèle Exarchopoulos) there who can’t control her vocal volume, and the film never lets up on its comedy from there. At a breezy eighty minutes, this is worth sitting through the less exciting first half to get to the hilarious last forty. 4 stars. 

Would it have made my list? Yes.

Lapsis – Watched January 27, 2026

Upon Review: This one feels even more prescient now than it did five years ago. A man with limited employable skills takes a gig economy job as a “cabler,” which involves him going on physically demanding hikes to run miles and miles of electronic cord to connect quantum computers that appear to be used almost solely for financial transactions. The impetus for this is the ongoing chronic illness from which his younger brother seemingly suffers; on the trail, he meets a series of other cablers who fill him in on the backstory of the company, specifically the way that it gamifies obsolescence in the form of forcing the cablers to compete with automatons, and try to introduce him to the concept of collective action. In the past year, I’ve seen my city overrun with driverless cars operated by “Waymo,” and my antipathy toward them makes some people uncomfortable. For me, it was already morally and ethically wrong for rideshare companies to infiltrate urban markets, drive out any taxi/cab infrastructure already in place through lower pricing, then immediately raise those prices sky high the moment that they achieved market dominance. The only positive that came from it was the “agency” that these companies offered to drivers to “be [their] own boss” and “set [their] own hours,” which these new automated rideshares will likewise eventually displace, creating further shareholder value for people who are already rich enough and drive more gig workers into economic desperation. Lapsis, although it occasionally seems like it might be close to running out of steam, creates a dim-witted viewpoint character to try to recite all of the company lines about the positives of gig work and be educated otherwise. It sounds preachy, but the indie film budget, values, and casting of this one make it work. 4 stars. 

Would it have made my list? Yes.

The Power of the Dog – Watched February 27, 2026

Upon Review: I’m not terribly familiar with Jane Campion’s filmography outside of The Piano and her TV work on the Elisabeth Moss series Top of the Lake (which I loved), but if you had asked me to describe what I thought her work was like, I probably would have described Power of the Dog. The film is very well made, featuring gorgeous cinematography of beautiful rural vistas, evocatively portraying the isolation of the Burbank house and its lands, and well-acted by all participants, even Benedict Cumberbatch, who I’m never excited to see on screen. It’s also a movie that left me fairly cold and uninvested despite all of its prestige and craftsmanship. Phil Burbank (Cumberbatch) is a deeply unpleasant man deeply in the closet who mistreats his brother George (Jesse Plemmons), and drives George’s new wife (Kirsten Dunst) to alcoholism via his psychological torment of both her and his new step-nephew, Peter (Kodi Smit-McPhee), who eventually bites back. It’s all very good, but it didn’t connect with me at all, unfortunately. 3.5 stars. 

Would it have made my list? No.

2022: Boomer’s List vs. Swampflix’s List

RRR – Watched February 25, 2026

Upon Review: What an absolute thrill! I’ve been a strong proponent of director S. S. Rajamouli’s work for a long time, ever since I first saw Baahubali 2 on the big screen (for more about that, and for our Lagniappe discussion of both Baahubali films, click here). RRR simply slipped past me in the stream; if it got a theatrical release in my city, I either missed it or was hiding out from the latest COVID variant when it screened, and it came to Netflix after I had cancelled my subscription to that service. I’m terribly sorry to have missed this one, a film about two men who find themselves on seemingly opposite sides of the British Raj of the 1920s: Komaram Bheem (N. T. Rama Rao Jr.), a man from the Gond tribe who comes to New Delhi to find a young girl who was stolen from their village by the wife of the British governor, and Rama Raju (Ram Charan), an Indian quisling working for the British occupiers who has been sent undercover to locate and root out the Gond tribe members who have come to the city. The two of them engage in the physics-defying rescue of a young boy from a train accident aboard a bridge, and the two of them immediately fall into passionate love with one another. This isn’t textual, of course; both have token lady love interests (the sweet English Jenny who sympathizes with the oppressed for Bheem and childhood sweetheart Sita for Raju), but let’s not kid ourselves. At the midpoint of the film, there’s a major twist that I won’t spoil, but it’s a very satisfying upending of all of the pieces on the board at this point, and I found myself coming close to cheering approximately every ten minutes for the film’s final act. Could not recommend more highly. 5 stars. 

Would it have made my list? Yes.

Funny Pages – Watched March 3, 2026

Upon Review: I first noticed actor Daniel Zolghadri in last year’s Lurker, and was pleasantly surprised to see him turn up again as one of Rose Byrne’s obsessed patients in If I Had Legs I’d Kick You. He was so fresh-faced in his clean-shaven role as the would-be date rapist in Eighth Grade that it took quite a while to recognize him there, and that film used his youthful, innocent boyishness effectively by revealing the predatory nature behind his big, dark, trustworthy eyes. Funny Pages, which was sold to me as a Holdovers-esque misadventure between a high schooler and a crabby old man, likewise plays to the beardless Zolghadri’s juvenile naivete by casting him as an utterly irredeemable ingrate who seems to float by on nothing more than other people’s fondness for him. Zolghadri’s Robert is a seventeen year old who witnesses the tragic death of his beloved art teacher and decides to drop out of school to pursue his dream of being a cartoonist. To this end, he moves into a hellish basement apartment and takes a job working at the DA’s office as a floating office assistant, where he comes into contact with Wallace (Matthew Maher), a dangerous and unwell man who worked for Image Comics years ago, a fact that Robert latches onto. Here’s the thing—I didn’t find this to be funny at all. (I laughed precisely once, when Wallace claimed that “Rob Liefeld’s line work is industry standard.”) That doesn’t mean that I didn’t like it, but what spoke to me here wasn’t the film’s particular brand of dark comedy, which I noticed but didn’t respond to; to me, this is a story about a teenage boy who needs to perform creativity and imagination to give his life meaning, and how he seems to have been groomed to accept mistreatment by authority figures by his relationship with Mr. Katano, the art teacher. The one scene we get before he dies finds him stripping down in his office with Robert and having the boy draw him in a caricature style, and even if it’s not predatory, it’s sufficiently inappropriate that Katano follows Robert in order to elicit promises that the boy didn’t “think it was weird.” From there, Robert ends up moving into a hellish situation that brings Barton Fink to mind and where he finds his constantly sweating older roommates masturbating together over Robert’s vintage Tijuana bibles, and where he fixates on getting Wallace’s approval despite the older man’s anti-social violence, until it ends tragically. Grim stuff. 3 stars. 

Would it have made my list? No.

2023: Boomer’s List vs. Swampflix’s List

Priscilla – Watched January 10, 2026

Upon Review: I’m pretty ambivalent about Sofia Coppola, but a lot of that is probably just lingering apathy about her aughts output. Regardless, this is a solid movie that’s at turns poignant, funny, and stomach-churning. Cailee Spaeny plays Priscilla Presley in an adaptation of her autobiography in which she detailed the years she was courted by Elvis, then the most famous man in the world. Starting when she was a vulnerable fourteen-year-old girl living in Germany at an army base, Priscilla was pursued by the musician and movie star who was a decade older than her. Jacob Elordi as Elvis was the perfect casting, since he towers over the much shorter Spaeny in a visual invocation of their inherent power imbalance. The script plays cleverly with the King; if you didn’t know anything about him, one could easily interpret him as closeted in this film, given that he adamantly denies affairs with his lady co-stars and rejects them as publicity ploys as well as his complete lack of sexual overtures toward Priscilla for years while dressing her up and installing her at Graceland like a doll. His predation is still creepy and unnerving, but it somehow feels less sinister, while allowing the narrative to focus on Priscilla’s boredom with being locked away in his chintzy tower. Good stuff; 4 stars. 

Would it have made my list? No, but it would have made honorable mention. 

Teenage Mutant Ninja Turtles: Mutant Mayhem – Watched January 31, 2026

Upon Review: I definitely watched the late eighties Ninja Turtles in syndication in the early nineties when I was a kid, and although I remember some core concepts about it, it never imprinted on me enough for me to remember the different turtles’ personalities despite them being recited in the opening theme song. I have a fondness, but I’m not invested. I overlooked this one during a really packed summer, and because I saw a trailer for it before Barbie and saw the MPA’s PG rating assumed it was for kids. And, I mean, it is, but it’s a movie about teenaged mutant ninja turtles; it should be. The roster for non-turtle characters here is populated by A-listers and Seth Rogen’s buddies to presumably draw in a periphery demographic, but the turtles themselves are played by actual teen actors who are unknowns (to me), and they bring an energetic freshness to dialogue that manages to stay just this side of overwritten. Visually, this one is quite a treat as well, with some of the most unique animated visuals I’ve seen since the CGI revolution. I made sure to watch this on a Saturday morning, and I’d recommend others do the same. 4 stars. 

Would it have made my list? No, but it would have made honorable mention. 

2024: Boomer’s List vs. Swampflix’s List

The Taste Of Things – Watched April 12, 2026

Upon Review: I put this one off for a long time. I had no doubt that I would enjoy it, but it’s got a whopper of a run time, and I simply kept finding myself in the mood for something different whenever the opportunity arose. All throughout this procrastination, Brandon repeatedly reminded me that this film would be a pure delight, and although I never doubted him, the time was never quite right. At long last, a perfectly overcast weekend came alone, rainy but not stormy, and I whiled away a perfect afternoon in the company of the always-perfect Juliette Binoche and the less familiar Benoît Magimel, but I was nonetheless perfectly and exquisitely transported to Eugenie’s kitchen. A marvel, worthy of all the accolades it received. 

Would it have made my list? Yes.

-Mark “Boomer” Redmond

In one of our end-of-the-year podcast episodes last year that was partially inspired by my having finally been convinced to watch The Twentieth Century based on my delight in director Matt Rankin’s follow-up feature Universal Language (it was my favorite movie of last year!), Brandon read off a list of film titles that he asked me to identify as a kind of makeshift quiz. Those titles were all films that had been on the Swampflix Top Ten list for their eligible year, and which I had not seen at the time of the relevant list’s publication. I’m not a completionist, but with an upcoming collaborative project, I took that list as homework and got to work filling out these blind spots to determine if the listed films would have made my own end-of-the-year list if I had seen them in time. Come along with me for part one: 2015-2019.

2015: Boomer’s List vs. Swampflix’s List

Crimson Peak – Watched February 1, 2026

Upon review: Crimson Peak has all of the strengths of Guillermo del Toro’s recent Frankenstein adaptation with none of its weaknesses . . . although it admittedly has other weaknesses of its own, mostly in regards to casting. A gorgeous period film with beautiful costumes and sets that all act in service of a Victorian gothic romance that also happens to be a ghost story, this is del Toro at his best and also his most unabashed. As his main character, an aspiring novelist, says of her own work, “It’s not a ghost story; it’s a love story. The ghosts are metaphors for the past.” The film is almost cringe-inducing in the nakedness with which it comments upon itself, but that same open and unabashed sincerity is what makes it so meaningful and worthwhile. The casting of 2010s Tumblr’s favorite “woobie” it-boy Tom Hiddleston is a miss, and although there’s nothing wrong with Jessica Chastain’s performance, doesn’t it just feel like Eva Green should be playing Lucille? 4.5 stars. 

Would it have made my list? Yes. 

Tangerine – Watched January 22, 2026

Upon review: I wouldn’t consider myself an Anora hater per se, but I certainly wasn’t enamored of it in the same way that others were. The overwhelmingly positive critical response to a film that I considered solid but not necessarily remarkable made me somewhat hesitant to revisit director Sean Baker’s earlier work, as I felt fairly certain that I would fail to connect with it in the same way that I had with Anora. I was pleasantly shocked by this one, a film that I remember mostly as part of the discourse for the fact that it was shot entirely on smartphones, a brand-new trick at the time. This story of two trans sex workers, Sin-Dee Rella (who recently completed a prison stay on behalf of her pimp/boyfriend Chester) and her best friend Alexandra is an absolutely hilarious, heartbreaking, and overwhelmingly humane piece of narrative cinema. A true slice of life in the day of two women struggling, not to “have it all,” but just to have some little thing, whether it be a sad Christmas Eve singalong that’s barely a step up from a private karaoke room or the pathetic human specimen of Chester (R.I.P., James Ransone). Anora may have had the budget, the big release, and the acclaim, but this earlier outing blows it out of the water. 5 stars. 

Would it have made my list? Yes. 

2016: Boomer’s List vs. Swampflix’s List

Kubo And The Two Strings – Watched February 6, 2026

Upon review: I was a latecomer to appreciating the animation studio Laika, as I didn’t get around to seeing Coraline, arguably their most famous film, until 2021. I also remember the discourse that surrounded Kubo when it first came out, mostly in the form of criticism of the film’s casting of mostly white voice actors for a story set in and inspired by feudal Japan. While that’s definitely worthy of discussion, I also found Kubo to be an unexpected delight, a gorgeously animated stop-motion film about a boy with magical, musical powers who finds himself thrust into a conflict with his mother’s family following her apparent death, after years of raising the boy in secret. The quest Kubo finds himself upon isn’t the most novel one, but the film takes an interesting twist at the end by having the protagonist forsake the items acquired during his journey and find a more humane way to deal with his evil grandfather. Dark but not too dark, this is one that I would recommend for any child or adult. 4.5 stars. 

Would it have made my list? Yes. 

Tale Of Tales – Watched January 25, 2026

Upon review: A fantastic fantasy film! When Brandon and I discussed this one while recording our Beast Pageant episode, he mentioned that it had one of the highest hit rates for a horror anthology, and I can’t help but agree. I’ll always think of this one first and foremost as a fantasy/fairy tale picture (it is an adaptation of multiple stories by Italian fairy tale collector Giambattista Basile) before I think of it as a horror film, but don’t be fooled by the Italian poster that makes it look like a collection of episodes of Jim Henson’s The Storyteller; there’s plenty here that aligns more with horror as a genre. A queen (Salma Hayek) eats the massive heart of a giant sea dragon, a dye-maker finds a man who will flay her alive in the misguided belief that it will make her appear younger, a young princess is given to an ogre as a wife and is brutalized by him, and when the last of these escapes, the ogre hunts her down and kills her companions with the ferocity of a slasher. Good stuff. 4 stars. 

Would it have made my list? Yes. 

2017: Boomer’s List vs. Swampflix’s List

The Lure – Watched January 13, 2026

Upon review: I loved this movie. A bizarre horror musical fantasia, The Lure follows two sirens who are lured onto land by the songs of an eighties Polish pop band called Figs & Dates, then become part of the band’s act before turning into stars of their own. Their eel-like mermaid tales, which only appear when they get wet (Splash or, depending on your generation, H20: Just Add Water rules), don’t prove to be much of an imposition, but when one of the girls starts to fall in love with the Evan Peters-esque moptop bassist of F&D, her more worldly-wise sister tries to get her to break it off. If she doesn’t, she’s in for a Little Mermaid ending, of the Hans Christian Anderson variety, not the Disney one. Running the gamut from club music to pop to thrash, the soundtrack is excellent, and the moments of horror are genuinely chilling. Not to be missed. 5 stars.

Would it have made my list? Yes. 

2018: Boomer’s List vs. Swampflix’s List

Cam – Watched some time in 2019. 

Upon review: I have to admit that I don’t remember this one too well, although I do recall that I enjoyed it. It’s not possible to legally watch this film anywhere anymore, as it was a direct-to-Netflix feature that the platform no longer hosts and it never got a physical media release, so I don’t have the option to go back and review it again to get a fuller, clearer picture than the one in my head. I remember not caring for actress Madeline Brewer very much at the time, mostly based on her performance on Hemlock Grove; since then, I’ve come around on her, especially when I came to like her quite a bit as the protagonist of the final season of You. This was one that hit with a lot of the Swampflix group based on the predisposition toward internet-based horror, and it went over fairly well in my house with me and my roommate of the time. Too bad I can’t confirm that anymore. 4 stars.

Would it have made my list? 2018 had some clear leaders of the pack with Hereditary, Annihilation, and Black Panther, but the lower rankings on the list aren’t as solidly defensible. Verdict: Possibly, lean toward yes.

Mandy – Watched January 29, 2026

Upon review: Back when we watched Beyond the Black Rainbow as a Movie of the Month years back, I remember reading that as a child director Panos Cosmatos would walk down the horror aisle at the video store and imagine what a movie would be based on the poster alone. Looking back on that, I do wonder if the abyss didn’t gaze back a little, since he has a tendency to make movies that sometimes linger on a single image for extended periods of time, as if the film is the poster. That bothered me much less in Mandy than it did in Rainbow, possibly because it’s driven by yet another in a long history of butterfly fearless performances from Nicolas Cage, or because this one’s nostalgia for VHS-era horror is more textual than referential. The evil gang of demonic bikers who help a cult subdue and torment the titular Mandy are almost exactly what one might imagine from sneaking a peak at the horror aisle at age eight and seeing the cover of Hellbound: Hellraiser II while an overhead TV played Psychomania. The psychedelia and too-familiar narrative structure are unlikely to please plot essentialists, but as a chainsaw duel enthusiast and a King Crimson fan, I liked this despite the soporific nature of its back half. 4.5 stars. 

Would it have made my list? I think that I would have overlooked this one or taken it for granted during the year of its release, especially given my cool reception to Black Rainbow. So no, it would not have made my list, but that would have been an error on my part. 

Eighth Grade – Watched February 6, 2026

Upon Review: Most online sources would say that this is a coming-of-age dramedy, but that would be incorrect; this is a horror film. Our young protagonist Kayla (Elsie Fisher) is growing up during a time in which social media use is essentially compulsory, while she’s also trying to navigate a world that, to the adult viewer, is largely alien, all while her hormones surge amidst a peer group whose treatment of her ranges from cruel to apathetic. That strangeness of the world in which children reside “now” (given that the film itself is nearly a decade old at this point) is made manifest in a scene during which Kayla spends some time with an older girl and her high school friend group, all of whom seem infinitely older and wiser to Kayla than herself despite the fact that they themselves are still children (and not that their youth stops one of them from being a predator). These older teens marvel at the idea that Kayla had SnapChat, a messaging app that their contemporaries use almost solely for exchanging nudes, when she was in fifth grade, and it blows their minds in the same way that I often marvel that there are entire generations now that have grown up on YouTube, a site that launched the summer after I graduated from high school. Kayla’s entire life is inscribed by the age-old pubescent need to be seen and acknowledged, filtered through a world in which validation is a currency that exists entirely within one’s phone. Good stuff. 4 stars. 

Would it have made my list? Yes.

The Wild Boys – Watched December 21 and 22, 2025

Upon Review: I was not looking forward to disappointing Brandon when I watched this one and did not care for it. So much so, in fact, that I watched it again the following day to see if there was something that I could connect with and care for. Unfortunately, this proved not to be the case. A mostly monochrome fantasia about boys becoming women on an island full of erotic flora, I felt in my bones how strongly this would connect to Brandon, but it just didn’t with me. The moments I loved most were when the film would suddenly turn almost Technicolor, bright and vibrant, and then would be disappointed when we went back to black and white. There must have been a reason for not shooting the whole thing in glorious color, but I couldn’t pin down exactly what the reasons were despite two viewings. It is, as Brandon wrote in his review, “decidedly not-for-everyone-but-definitely-for-someone.” 2.5 stars.

Would it have made my list? Alas, no.

2019: Boomer’s List vs. Swampflix’s List

The Lighthouse – Watched January 11, 2026

Upon Review: I was a big fan of The VVitch, so much so that it was my number one movie of 2016. Despite that, I let both of director Robert Eggers’s following films, The Lighthouse and The Northman, slip past me in the stream. Perhaps it was simply a matter of not being up to grappling with the film and its presaging of the madness of isolation when the film came to home viewing in the early days of lockdown. Having now seen The Lighthouse, this was a huge miss on my part. An utterly captivating story about two men on an island together tasked with maintaining an apparatus that captivates them like it were an unknowable elder god, the film is as rich with symbolism as it is dense with the old-timey dialogue for which Eggers continues to demonstrate his uncanny ear. An unpleasant delight. 4.5 stars.

Would it have made my list? Absolutely; it would have hit the top 10.

In Fabric – Watched April 4, 2025

Upon Review: An absolute marvel of a movie, I just happened to miss this one when it appeared, despite the affection I already held for Peter Strickland’s earlier giallo-adjacent psychological thriller Berberian Sound Studio. Featuring an excellent turn from Marianne Jean-Baptiste, one of our greatest living performers, this spooky feature about a red dress that torments its owners is an absolute delight. Briefly discussed at the time of viewing in our Buddha’s Palm episode at about the seventy-two minute mark. 4.5 stars. 

Would it have made my list? Absolutely.

The Beach Bum – Watched January 20, 2026

Upon Review: Matthew McConaughey plays the worst person in the world, a very famous (Florida specific) poet named “Moondog,” who floats through life on little more than military grade marijuana, beer that’s barely fit for swine, and a garden of sun-dried poontang. This life of luxury is not sustained by his poetry, but by the fortune of his wife Minnie, who loves no man but Moondog but has taken to shacking up with R&B artist Lingerie (Snoop Dogg) in the “civilization” of Miami during Moondog’s long hiatus in the Keys. When Minnie tragically dies, the plot, such as it is, kicks in, as Moondog must now finish his current writing project in order to get the inheritance that will continue to fund his degenerate hedonism. Along the way, McConaughey as Moondog gets to spout the occasional fragment of genuinely decent poetry broken up with narcissistic phallocentric drivel that believably charms whatever constitutes the literati of Jacksonville and, less convincingly, the Pulitzer board. It’s all good fun with great editing, delirious neon, and a practiced eye for composition, but I could see this turning into a red flag favorite long term in the same genus as Fight Club or Scarface. 4 stars. 

Would it have made my list? Not this time.

Uncut Gems – I’m hard pressed to think of anything short of being forced into a Clockwork Orange apparatus that will force me to watch this movie. No, thank you.

-Mark “Boomer” Redmond