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Emerging filmmaker Nas gives an inside view to Ralph McDaniels and his fabled Video Music Box, a television staple of New York City since the 1980s. Hip-hop fans who grew up outside of the range of WNYC TV or are on the younger side can more than put a face to the name: host/producer McDaniels and his show are given a loving tribute with a thorough history and seemingly total access to the treasure trove that is the thousands of hours of the show archive.

The endeavor is a natural vehicle for gifted storyteller Nas, who affectionately honors and revives classic hip-hop figures and touchstones in his otherwise deeply introspective music. That love Nas has shown over his musical career is fully returned here with open and thoughtful interviews with those involved and a who's who in hip-hop and beyond offering their mostly glowing commentary on and touching recollections of the pioneering show and creator. Those no longer with us appear in well-preserved archive footage. Sincere appreciation for McDaniels and company's authenticity in bringing music that started out in the park to a wider audience echoes throughout and allows Nas to explore the history and evolution of hip-hop culture and music overall. You're Watching Video Music Box and never forget that, but it's one of the finest documentaries about hip-hop I've seen. Nas nails the cultural impact and significance here while keeping it fun and fairly light, and it is an absolute joy to watch. Shoutout to Mass Appeal.

For diehard Dune heads, director Denis Villeneuve's vision delivers on what they've been waiting for like the most vivid of recurring dreams. For the rest of us, it washes over like a dream in itself, full of astonishing imagery, deliberate performances, and music that is out of this world. Fans of Villeneuve's Arrival and Blade Runner 2049 will find a lot to like here, but the film almost presupposes recall of its source novel and characters for emotional buy-in. Even those familiar with Frank Herbert's intricate world will benefit from multiple viewings, picking up new details, differences, and callbacks each time.

Particularly as experienced in IMAX, Dune's top-notch production design and visual effects, like the worm and spice harvester, and sounds, like its aggressive bagpipes, are the stuff of dreams as well as nightmares. Villeneuve's well-chosen cast of A-listers turn in largely empathetic, sometimes no-frills, sometimes exquisite readings of lines rife with references to various houses and alien species cursorily set up in the prologue to the film. The action then flits about introducing different characters as a means to showcase stunning set pieces and build up the teenage protagonist. The story lopes along between pretty speeches and expertly choreographed battle scenes all the while maintaining a somnambulant feel. Two and a half hours pass by with ease because of the great crop of current talent involved, but ultimately the film serves primarily to set up Part Two if not a more ambitious franchise as well as reward viewers with singular moments, like fleeting scenes from a dream upon waking.

For better or worse, '90s humor, music, fashion, pop culture references (mostly '70s TV), and stars are in full effect here. Watch for the nostalgia trip and an almost effective romantic comedy.

Nancy Travis is the real highlight. Her performance still charms, and her character stands up well to modern expectations. She's an independent business owner, a butcher in fact, has deadly martial arts skills, speaks multiple languages, and is smart and good looking. Mike Myers' character does what exactly? It was never clear to me if he worked despite driving around an expensive city in a convertible. Myers is quite funny here, but it might have been better if he dialed that down and played it more of a straight rom com. There are shades here of his Wayne Campbell and even Fat B*stard. I think he could have been more of a romantic lead in movies if he didn't try so hard for laughs. "Hello!"

As of now, Thomas Schlamme hasn't directed a theatrical feature since this one, focusing instead on TV, where competence is key. This film opens with a cool tracking shot, and there are a couple fun wipes in the editing, but overall the style is fairly bland.

This is worth a watch and a rewatch, but it's more of a mild misfire or also-ran than a hidden gem.