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“Some people say there's a balance to everything. For every life there's a death, for every death, there is a life. ”

In just its second installment, this iconic franchise already amplifies its signature trait to the extreme. Final Destination 2 is a total embrace of its predecessor’s blueprint—for better or worse. At its best, the movie delivers impressively executed deaths, complete with masterful buildups and tension that crescendos in chaotic, creative mayhem. But at its worst, it collapses into a laughably weak narrative. Final Destination 2 commits heavily to the formula not in a way that escalated the fun, but, rather, rendered the story exorbitant and exaggerated. It fully leans into the hilarity of the original, but fails to offer anything human to grasp within the supernatural extravagances. It lacks the grounded touch that the first movie succeeds with subtle themes of survivor’s guilt, mortality, and trauma. As a result, death in here doesn’t feel significant or even remotely real as the characters are too busy continuing the plot forward than they do processing any real sense of grief, guilt, or shock.

Overall, Final Destination 2 never quite reaches the same, absurdly entertaining height of the original. However, it still offers glimpses of what the franchise does best—delivering delightfully tension-filled, blood-soaked death sequences that I can’t help but enjoy. And at the end of the day, that’s the only thing I’m looking for when it comes to these movies.

“In death there are no accidents, no coincidences, no mishaps, and no escapes.”

Death stars as the chilling, villainous force in this wickedly delightful start to one of the most iconic horror franchises of all time. Final Destination follows teenager Alex Browning, whose sudden premonition saved the lives of his fellow friends out of a tragic plane crash—only to trigger a terrifying aftermath that proves no living being could ever cheat death. 25 years after its release, James Wong’s concoction of the supernatural and the slasher still remains a superbly entertaining and unsettling ride.

Gone are the deranged, knife-wielding killers that’re once regulars of the slasher genre. In their place, emerged the omnipresent specter of death itself. An invisible, unimaginable force that is brought to life through masterful atmospheric filmmaking, defined by its eerie score, sounds, and visuals. There’s a palpable sense that these teens have meddled with an entity far beyond human comprehension of time and space, and, therefore, amplifies the feeling that no hope for escape is possible—that death will devour them all. And while it may lack a physical form, I couldn’t help but imagine a grim smile as this malevolent force toys with the lives of those who dared to disrupt its eternal design. Final Destination’s decision to cast death as its central antagonist remains one of the most ingenious choices in early 21st-century horror.

With death taking central stage, what challenges do the characters face? Simple: the terrifying unpredictability of everyday life. Another one of Final Destination’s striking elements is its meticulous focus on the ordinary objects that surrounds our life, and how deceptively dangerous they can be. In death’s cruel, playfully random fashion, the most mundane thing becomes the very reason that takes our life. From a gust of wind to a dripping leak to even scraps of metal on a railroad, the instruments of fate keeps getting insignificant. Whether the resulting deaths are bone-chillingly horrifying or laughably unrealistic varies between audiences, but one thing is certain: they’re unforgettable. Perhaps this is the very trait that etched Final Destination into the minds of so many. It’s a grim warning of everyday routine and random thingamajig—one that forces you to second-guess every ing bus, every item in your kitchen, and every time you step onto a plane.

Overall, Final Destination remains a film I deeply adore. It’s a cult classic standing at the perfect middle-ground between absurdly fun and genuinely terrifying, one that I wouldn’t change a single frame of. More than ready to experience what I would confidently expect to be a dreadful yet ludicrous franchise.

“Say ‘Auf Wiedersehen’ to your Nazi balls!”

Upon a rewatch, Inglourious Basterds starts to reveal itself to me as more of a hodgepodge of phenomenal set pieces, than it is one cohesive masterpiece. It paints a picture of Tarantino as a director seemingly more interested in perfecting sequences than in building a unified, fulfilling movie. As a result, each masterful moment starts to feel like a standalone ion project, loosely tied with one or two relevances to the broader story. It’s just a single, big, glaring issue—one which could be saved with better interweaving of scenes and a less narrow-minded director. When viewing its entirety, Inglorious Basterds’ dual plotlines (Shoshanna’s revenge and the Basterds’ mission) often feels like it’s competing for the spotlight, when, in reality, their integration would greatly complement each other.

Overall, Inglourious Basterds remains a remarkable achievement with only a huge defect. It’s fortunately still saved by—other than the extraordinary, memorable individual scenes in question—expert use of action, amazing camerawork, and Brad Pitt in one of his most entertaining and swashbuckling performances in his entire career.

“Coba lihat sekeliling lo. 7 dari 10 orang yang lo temui, akan mengaku sebagai pecinta film. Dan kalau lo mendekat ke mereka, lo hampir bisa mendengar mereka berpikir tentang film.”

The career of one of Indonesia’s most acclaimed horror directors begins not in a haunted house, but a cheery, sun-soaked metropolis. Joko Anwar’s first movie follows a film reel courier man, Joni, whose unwavering promise and dedication to his job and personal principles is put to the test when his ordinary routine spirals into a bizarre, comical escapade through the landscape of a grungy Jakarta. With its offbeat charm, Janji Joni remains one of the strongest directorial debuts in Indonesian cinema, and a cult classic among the locals—a sentiment I now fully agree with having finally watched it.

From the very first frame, Janji Joni radiates a distinctly local charm that instantly drew me into the style of Anwar’s cinematic world. It’s a film where the brilliance lies in its celebration of everyday people—whose appeal, quirks, and identity are all thoroughly unique to each their own. A truly hilarious, grounded odyssey that explores the highs and lows of the urban streets of Jakarta, where every corner introduces a new, different personality: from a gay couple in the urinal, to a chatty taxi driver awaiting the news of his wife’s labor, and even a local shaman/artist preparing an exhibition for non-professional stolen goods. The world of Janji Joni feels populated by a living, breathing, quirky cast of individuals that delights the experience. It’s a down-to-earth tribute to Indonesian idiosyncrasies, elevated by a catchy indie pop soundtrack, Nicholas Saputra’s endless charm, and an iconic parade of memorable cameos from beloved local stars.

Perhaps one of the most widely adored facets of Janji Joni is its layered exploration of cinema both in literal and as a meta-commentary. On the surface, the film offers several scenes that delves into the process of film production and distribution, providing an insightful step-by-step look at the journey from idea to screening. But where it truly shines is in its interpretation of cinema as a cultural force that both reflects and shapes society. The opening, a sequence where everyday people daydream their lives in the movies, captures the powerful imprint of films for the mind. While the long, iconic pan across various types of moviegoers—from the critics to the sleepy, each comically exaggerated—greatly highlights the absurd yet relatable influence that the movie-going experience has on our behaviour. Even the characters Joni meets throughout the story mirrors a cast of quirky characters you usually find in the silver screen. Altogether, it’s a subtle but sharp dissection of how cinema bleeds into the fabric of everyday life, shaping the very way in which we live.

Overall, Janji Joni is undoubtedly an instant favorite of mine. If it weren’t for a couple of flaws in the script—such as inauthentic pacing and unresolved themes of goodness and trust—this film could very well be a thorough masterpiece. Nonetheless, it remains a film I deeply adore. A heartfelt love letter from a future auteur to everyday life and the magic of cinema.

“But I'm tryin', Ringo. I'm tryin' real hard to be the shepherd.”

The lives of two professional hitmen, a ruthless gangster boss, her sexy, devil-may-care wife, a noble boxer, and a pair of impulsive small-time robbers intersects in a larger-than-life antithesis to the ordinary. Everything about Pulp Fiction defies convention, captivating audiences for decades after and more. It’s one of cinema’s greatest classics, and for good reasons—many of which I will thoroughly explore over the next seven paragraphs (my longest review yet !!)

The manner in which Pulp Fiction unfolds is already sublime in itself. From the very first frame, we are boldly presented the definition of its title. An opening that ushered Tarantino’s intricate mosaic of poetic profanity and magazine-like tributes to pop culture, all set against a gritty, lurid scenery. Los Angeles becomes a rich tapestry of wild, outlandish escapades where stories of bible-quoting hitmen, dancing contests, heroin overdoses, hoodwinking the mafia, sex dungeons, frantic cleanups, diner robberies, and laborious redemptions are able to collide in such witty and satisfying fashion. 

Tarantino’s mastery of homage also elevates his unconventional creation. This is what, to me, gives Pulp Fiction its timeless edge. Through many cinematic references, the story sometimes feels like a self-aware celebration of pop culture itself. Nowhere is this more true than in the dance between Vincent and Mia. An iconic sequence that blends cinema’s greatest dances—from Disney, to Batman, to Fellini—into one unforgettable pastiche. From visual homages to groovy needle drops, Pulp Fiction functions as a sort of personal concoction filled with tributes to Tarantino's own visual taste and favorite consumptions. This lens through which stories are brought to life with visible celebrations of the past is one that I would definitely strive to achieve when creating arts of any kind.

Given its kaleidoscope of striking elements, it would be reasonable to dismiss Pulp Fiction as a massive case of style over substance. However, that assumption couldn’t be further from the truth. At its core, the intersecting story of Pulp Fiction is, for me, about redemption. While it succeeds as a scrumptious display of the ecstasies of life, it also dares to break free from this hedonistic and violent way of living. It’s up to the viewer’s interpretation whether this shift was the work of divine intervention or the self’s own will to escape, but the message remains clear: it’s a thoroughly powerful film that trusts the people willing to change and punishes the one who stays. The nonlinear narrative only deepens this merit. By scrambling the chronological order, Tarantino creates a story that feels almost prophetic—one that, as it unfolds, provides glimpses of the future that are shaped due to the actions and sins of the past.

If you need further proof of Pulp Fiction's status as a classic, then look no further than its dialogues. Tarantino always uses conversation not just to move the plot, but to sculpt his characters—and this might be his best yet. Here, his lines are used in the pursuit of accentuating the humanity behind these larger-than-life icons. Many words are dedicated to utter nonsense, but they’re the kind of niche topics that we sometimes use in everyday life. Whether it’d be about the term for local junk foods in foreign countries, the sensual implications of foot massages, the pleasure of killings, debates on divine interventions versus sheer luck, or reinterpreting bible ages, they all serve as a gateway where we see the full picture of these characters. Not to mention, the dialogues are being delivered by actors at the height of ion, charm, and chemistry. 

Experiencing Pulp Fiction feels like stepping into a groovy, sun-soaked American dreamscape that borders on the surreal. This sensation is largely owed to the film’s excellent fusion of production design and soundtrack. Every location pulses with personality and flavour, each one crafted to leave a lasting emotional imprint in the mind. From the eccentric settings (a 1950s-themed restaurant, a sadistic dungeon) to the personal places (the Wallace residence, Lance’s cluttered house), the world of Pulp Fiction is brimming with rich texture and wonderful panache. The same can be said for the music—an entire beast of its own. An immense amount of electrifying needle drops injects the film with an irresistible level of ecstasy and charm. Tarantino trades in traditional orchestral score for a fiery mix of America’s iconic tunes of rock and roll, surf, pop, and soul, further cementing Pulp Fiction as the momentous deviation from the norm it’s known for today. Few films I would use the term ‘production heaven’, but this is one of its very best examples.

Lastly, to end this behemoth of a review, I would like to highlight the performances. Pulp Fiction boasts an all-star ensemble who all fully revels in the idiosyncrasies of their characters. Samuel L. Jackson delivers the best of the bunch, and, also, his career-best for sure. A walking, blazing spectacle of everything that makes him a beloved caricature: cool, profane, commanding, electrifying, all in the most unhinged and entertaining way possible. It’s a performance that redefines his place in film history. Meanwhile, John Travolta stages a remarkable resurrection of his career with a performance that's both comedic and charming. Uma Thurman is pure iconography, while Ving Rhames holds his own with a solid, albeit least impactful performance. Bruce Willis was also fantastic with his noble tendencies being met with great emotional weight. And, in the film’s final stretch, a trio of scene-stealers—Harvey Keitel, Amanda Plummer, and Tim Roth—injects the closing moments with extra ion, delight, and chaos.

Overall, Pulp Fiction is a classic in every sense of the word. With only his second venture into the world of cinema, Tarantino delivers a timeless piece of fine wine that firmly etched his name into the very annals of film history. It’s a cultural phenomenon that remains an essential viewing for anyone with even the slightest interest in filmmaking and its creative possibilities. A monument for indie excellence—one that defies, celebrates, kickstarts, and inspires many.

“Look for the blood and the smoke.”

At first glance, Warfare appears to be the kind of exercise-in-saying-nothing war movie that many claim Garland’s previous work to be. A showcase of the battlefield that just starts and ends, in an attempt of showing the horrors of war we all know and expect. But, upon further reflection—in a hauntingly similar fashion to how Civil War traversed my mind—I realized that this initial impression diminished what Garland and Mendoza actually accomplished in Warfare.

Warfare’s narrative and filmmaking goes hand-in-hand in realizing what I can only describe as a film of purposeless tragedy. An unflinching exploration of war as a senseless, soul-stripping pursuit, where identity, meaning, and humanity are indiscernible. Absent are the characterizations in characters and exposition in the narrative, boldly replaced by a mere display of war. As I previously noted, the film simply starts and ends: a remark no longer speaking to its hollow quality, but rather to the story's brutal depictions of war as a place with no significance. It’s meaningless—because war is.

One particular thing I loved about Warfare was its first act. It’s a cold and rigid start that sets the stage for the nerve-wracking brutality to follow. The dialogue is stiff and formal, the camerawork restrained—all to emphasize how impeccably prepared these soldiers are. There’s an air of discipline that’s palpable, showcasing a sense that this unit is thoroughly ready to overcome whatever lies ahead. That, however, could not have been more wrong. The meticulously chosen military dialogues give way to agonizing screams of pain and an aura of temperance is now consumed by panic and disarray. It’s a stark juxtaposition of their initial state, which is then juxtaposed again with a fresh, death-free platoon that arrives on the scene shortly after. It’s a truly cynical cycle that greatly displays how no one is ever truly prepared for the corrosive consequences of war.

While these themes have certainly echoed through countless war films of the past, Warfare still succeeds through its commitment to realism that strips the viewers of any significant glamour to grasp with. This dedication is best encapsulated in the film’s tagline: Everything is based on memory. It’s a total plunge into a soldier’s lived experience, using real-time filmmaking to pull us into the immediacy and chaos of war. Mendoza casually traps us into a recreation of his personal hell, where even a moment of rest feels like a luxury too rare to afford. It’s as close to the battlefield as filmmaking can truly bring us.

As is often the case with Garland’s work, the technical aspects of Warfare are nothing short of masterful. The sound design builds on the brilliance of Civil War, immersing us straight onto the battlefield with haunting blasts of gunfire and explosions. It’s every bit as effective and distressing—and perhaps even more so thanks to its restrained use which amplifies its impact, especially in that one specific scene. The cinematography and camerawork heightens the tension and chaos of the battlefield. It can masterfully shift between quiet precision and disorienting frenzy, which mirrors the nature of war as a place of either stringency or madness.

Overall, Warfare is a fascinating work from the collaborative vision of its directors. It’s not the best entry to war cinema, but there’s certainly a precious quality to it from the craftsmanship and commitment. It made me love Garland even more, though I hope to see his remarkable talent in writing and directing to be poured in stories outside of the war genre. Even so, this duology marks a great chapter in his career—defined by bold storytelling and some of the most immersive sound design in recent memory.

"Tiap ada peran yang bersedih, ada peran yang menghibur. Dan setiap ada peran yang bercerita, harus ada juga peran yang mendengarkan."

From the very first frame, Jumbo confidently announces itself as the long-awaited breakthrough in the realm of Indonesian animation. A paradigm-shifting work bursting with a playful visual style, vibrant colors, and lively animation never before seen in the local industry. It’s the kind of authentic tale that blends culture and wonder that every child in Indonesia has been waiting for.

That said, while Jumbo still deserves praise for its artistic achievements, it’s not without its flaws. Perhaps it’s just my nature as a critic, but the writing remains very stale, boring, and formulaic. It’s a flaw that continues to plague much of Indonesian cinema, which definitely sheds light on the country’s need for better writing. Still, I believe that the formulaic story of Jumbo is definitely intentional to feed its audience. It’s perfect for the people, all I have to say.

Overall, Jumbo is an impressive achievement, though far from the spectacular masterpiece that people on the street have been murmuring about. The story is painfully dull, but I would never hate it to a degree of anything great purely over the fact of its stunning, groundbreaking animation. This visual breakthrough feels like the beginning of a much-needed animation renaissance in Indonesian cinema. If this film ends up inspiring a wave of better animated works in the future, I would thank no other than this special movie for taking its leap of faith.

“We own you now.”

Jake Schreier’s Thunderbolts* concerns a ragtag group of six scarred rejects as they embark on an accidental mission that requires them to confront their inner voids in order to win the day. The story that follows marks an attempt to return to the franchise’s long-gone excellence in concocting character-centric movies with real depth and heart. The complexities of the multiverse are abandoned in favor of an intimate exploration of trauma and healing. Gone are the fan-service crossovers; in their place, emerged a family.

There’s something special about Thunderbolts* and the way it revives the franchise’s past fondness of dissecting broken individuals and channeling their inner pain and anger into a group filled with souls of the same fragmented state. Joanna Calo delivers some of the most compelling character work the MCU has ever seen—especially impressive given that there are characters here that have only made one or two appearances prior to this that I ended up loving more than those I’ve followed for a decade. Thunderbolts* is also an intimate and emotional exploration of mental health that is bound to strike a chord with many audiences due to the excellency in which they’re handled. The reimagining of The Sentry's “Void” persona into a place where everyone’s inner void manifested is a brilliant narrative change from the comics that had me loving the movie a hundred times more.

While the team of on-screen heroes are amazing, the true champions are definitely the creative superteam assembled behind the scenes. Thunderbolts* is a collaborative product of many wonderful talents who chose to take it upon themselves to deliver better than the mediocre standards set by the franchise. Jake Schreier’s sharp direction results in an emotionally engaging and comedically great narrative. Palermo’s beautiful cinematography, paired with Son Lux’s awe inspiring score created one of the most memorable fusion of sight and sound in recent MCU works. A surprising standout lies in the movie’s reliance on practical effects, which lends the action sequences much greater tactility and spectacle. Lastly, there’s the cast: who all deliver fine performances marked by an impressive display of vulnerability and mental anguish unseen before. However, it’s actually within their collective chemistry that truly elevates the film. Nonetheless, Pugh, Pullman, and Russell shine brightest.

As strong as it sounds, Thunderbolts* is still not without its flaws. For one, there’s definitely an imbalance when it comes to focusing on each of the characters in this so-called wholly explored group. Bob and Yelena emerge with the most emotional depth, while the rest lack the thorough dissection and further exploration that those two are blessed with. What’s left is just backstories and inner turmoil reduced to fleeting glimpses. Pacing is another significant issue. The jump from the first to the third act feels abrupt, and with it makes a crucial second act for reflection and bonding feels rushed or nearly absent. It definitely needed more runtime for the story. At the end of the day, both of this flaws hindered Thunderbolts* from becoming the fully realized tribute and return to form to the MCU’s earlier successes with found-family narratives.

Overall, Thunderbolts* is a great effort in telling a genuine story that breaks free from the formulaic confines of the MCU. While many of its writings are undeniably the standards in superhero storytelling, the story nonetheless still feels like a breath of fresh air, especially in a franchise that seemed to have forgotten the ways to deliver this kind of narrative. For a second, I felt a little bit nostalgic from watching Thunderbolts*—not because of cheap nostalgia baits, rather from the fervor of watching an actual great MCU movie.

“Negara kita itu kayak kaca yang tipis, kalau kita tidak melakukan apa-apa, maka tunggu pecahnya.”

The latest from one of Indonesia’s most revered directors follows Edwin, a tough yet reckless Chinese-Indonesian who is assigned as a substitute teacher at the notoriously unruly Duri High School, Jakarta. There, he begins a personal mission to honor his late sister’s final wish, only to spiral into a needlessly brutal feud with the school’s delinquent students. Pengepungan di Bukit Duri conjures a vividly disturbing and heinous look of an Indonesian-gone-wrong, but fails to do anything more after having its audiences on a chokehold in its first act.

With Pengepungan di Bukit Duri, Joko Anwar proves that there’s a place for gritty, dystopian, and atmospheric storytelling within Indonesia’s often formulaic and uniformed film industry. The first act alone is a masterclass in world-building. An immersive and unsettling plunge into a truly fractured country. Social injustice, racial turmoil, and failures in the education system are all boldly displayed and explored against a harrowing backdrop of a future Indonesia in a brink of societal collapse. Violence and chaos permeates in every turn, evoking great discomforts that weirdly feel all too real. But it isn’t weird—not in the slightest—since Anwar is feeding off of the people’s collective traumas and fears by heavily mirroring his world to one of Indonesia’s real-life darkest chapters, while offering a subtle glimpse into what may lie ahead for the nation.

In addition to the first act, Morgan Oey’s performance also stands as one of the few highlights that Pengepungan di Bukit Duri has to offer. Oey delivers a layered and compelling output of a man slowly succumbing to insanity as innocent people around him are actively dealing with the consequences of his reckless actions. As Erwin, Oey masterfully balances a character that is both unflinchingly intense and comically clumsy. It all crescendos into a total outburst of emotions in the final moments of the film—which blends feelings of shock, grief, anger, and despair so flawlessly that it’s arguably one of the most powerful displays of acting I’ve ever seen in contemporary Indonesian cinema.

But beyond its compelling lead and strikingly-raw first act, Pengepungan di Bukit Duri struggles to accumulate any other merits. What begins as a richly imagined story, quickly becomes a work of smaller scale and more monotonous storytelling as soon as it reaches the second act. The movie continues this downward trajectory until the very end as it entirely reduces the narrative, once expansive and full of potential, into a single hallway and gym. It’s beyond baffling for a story with such a gripping world to be abandoned in pursuit of creating a movie that’s only interested in garnering shock value from its audiences.

Equally frustrating is the film’s poor way of handling its backdrop, which starts to reveal itself to lean heavily more on style than substance. Anwar relies so greatly on the haunting scars of the May 1998 riots to carry the emotional weight, without offering any deeper insight or fresh commentary. Further explorations or reimaginings are thrown to the bins—what left is just an overdependence on a real-life tragedy in pursuit of squeezing the most emotions to its viewer without the need of creating anything new. It’s a backdrop that feels exploitative rather than enlightening.

Overall, Pengepungan di Bukit Duri can definitely be seen as a stepping stone for Indonesian, but it does come with many shortcomings. It begins fascinatingly without a doubt, but quickly devolves into nothing more than your typical gore galore movie. Still highly recommended for those who seek great action, immersive world-building, and fantastic performances.

Watched on Thursday April 24, 2025.

“There are legends of people with the gift of making music so true it conjure spirits from the past—and the future.”

South America, 1932 — the notoriously feared twin brothers, Smoke and Stack, return to their roots in the Mississippi Delta in pursuit of starting the hottest juke t in town. They reconnect with families, friends, and past lovers, and stumble upon an evil force of unfathomable power that shatters their understanding of life and death. Sinners stylishly intersects with a myriad of genres, resulting in one of the most electrifying, experimental, and unforgettable cinematic experiences of the year.

Ryan Coogler’s latest is an intricate amalgamation of classic western, blaxploitation thriller, sexy drama, blues-folk musical, and vampire horror that culminates into a fiery display of the transcendental capabilities of cinema. It’s outrageously high-risk for a single film to tackle such a vast spectrum of genres, yet Coogler and his team execute it with such burning vigor, towering confidence, and authentic emotions that the result leans less into overindulgence and more into a triumphantly earned exploration of filmmaking as an art form of endless possibilities. It builds a flavorful yet bona fide world: where past and present, real and unreal, life and death collides in mystifying fashion. It’s truly tremendous; but also so personal, as Sinners functions as a sort of sandbox for Coogler to pour every one of his artistic impulses, musical influences, favorite genres, and beloved aspects of his culture into one giant work—the magnum opus of his filmography.

Music is woven into the very fabric that forms this ambitious film. Sinners portrays music as a communal tool; a weapon; a transcending commodity; an artistic expression so effective and powerful that it’s capable of summoning both good and evil through its sheer, unparalleled beauty and energy. Sinners converge music with the black experience, treating it as the space where centuries of pain and resilience are expressed wholeheartedly. Each performed track is breathtaking and instantly iconic, oozing with love, power, and urgency. At the same time, Ludwig Göransson was doing magic in the composing chair—delivering, by far, the most spectacular and emotional motion picture score of the year. Through a vulnerable lens, Sinners distills music to its purest form: nothing but a place for the expression of the soul. For the first time in a long while, it truly does seem like I feel music on an intimate, almost spiritual level.

A few final elements to appreciate before we wrap up. Firstly, the cinematography is nothing short of stunning. It’s the best use of IMAX since Nolan’s Oppenheimer, masterfully utilizing the 70mm format to deliver one staggering shot after another. The camerawork, too, is impressive with their jaw-dropping one-takes that bewitchingly soars through the film’s rich environment. That one particular scene, especially, was heaven on earth. Lastly, the cast was brimming with ion and life. Michael B. Jordan carries through his dual roles with immense charisma and style. He’s a bit lacking when it comes to distinguishing the twins, but, nonetheless, still remains very raw and emotional in its entirety. Steinfield, O’Connor, and Lawson were absolutely entertaining, while Caton is undoubtedly the revelation of the year. 

Overall, there’s so much to love with Coogler’s Sinners. It’s a phenomenal and daring response to audiences’ ever-growing outcry for original storytelling in the blockbuster industry. And thus, you all should go out of your way to witness it right now in the theater—with the biggest screen possible and the loudest speakers imaginable. 

(4.5 for Sinners is clearly a sin in and of itself, but I’m sure to love it even more in a rewatch—which I can’t wait to do so.)

“There were two times I felt happy. First, the day I met Josh; second, the day I killed him.“

Companion perfectly taps into the current unsettling relationship between humans and artificial intelligence. In its current state, A.I serves as the ideal tool to fuel humanity’s darker impulses—being lifelike enough to form connections and derive emotions, yet still sufficiently mechanical to justify constant infliction of pain without the usual requirements for normal human remorse.

The story delivers not a cautionary tale of artificial intelligence, but of man’s ever-present capability and need for control and cruelty. Companion amazingly highlights this issue through a fun and concise slasher flick, complete with great action, striking costume designs, and expert pacing. Sophie Thatcher also shines in the leading role, delivering a progression from machine to man in expertly subtle fashion.

Overall, Companion is a thoroughly fascinating and enjoyable movie. Though it has predictable story beats, I can’t quite say I was bored throughout the wild ride. Not to mention, if you try to look a little bit deeper into the story, you’ll find a very fascinating commentary on humanity’s darker side.

“Before there was any such thing as a Republican or a Democrat, we were black. Before there was any such thing as a Mason or an Elk, we were black. Before there was any such thing as a Jew or a Christian, we were black people! In fact, before there was any such place as America, we were black!“

One of the greatest achievements in Black cinema. In the span of 3-hours and 22-minutes, Malcolm X immerses the viewers into Black culture, history, and identity. Lee doesn’t strictly depict the figure of Malcolm X, but he took it upon himself to explore his surroundings as well as the deep-rooted history of his race and its oppressions. From the hustling scene to the power movement, Lee thoroughly examined the complex experiences of being Black in such a turbulent America. 

And at the heart of it all is Denzel Washington, delivering one of the finest lead performances in acting history. Washington properly explores Malcolm X’s entire character, carrying the man from one chapter of his life to the next with stunning control. The Malcolm he begins as is unrecognizable from the Malcolm at the end, and Washington rendered this absolute awe-inspiring transformation of a man entirely real and more powerful. Hustler; Activist; Prisoner; Father; Muslim; Minister; Black man; Malcolm X was a man of many—and each fascinating facet that forms such an intricate man was manifested by Washington in bona fide fashion.

Overall, Malcolm X is a thoroughly captivating exploration into one of the most influential Black figures in history. While there are moments that bore me, the sheer significance of the story at play—and Denzel Washington’s phenomenal performance—always managed to pull me right back in. It’s profoundly, intricately human, and I’m sure to love it even more someday.

“Four legs good, two legs bad.”

A timeless fable for every generation. George Orwell’s resounding classic, Animal Farm, tells the story of the animals on Manor Farm after their successful rebellion against their human oppressors—and the newfound freedom and chilling consequences that follows from such an unprecedented act. This review is dedicated to both the book and its animated adaptation, which I finished back-to-back within mere hours.

Animal Farms is one of the greatest pieces of satirical literature in the 20th century. Orwell’s quest to critique the Russian Revolution gave birth to a story with complex themes that has undoubtedly evolved into something far more expansive than its original intention. It’s no longer purely an exploration of the rise of Stalin’s authoritarian Soviet Union, yet more so serves as a chilling and bleak cautionary tale about the corrupting influences of power itself. Many conflicts and moments feel eerily familiar to real-life, even post-Stalin. The characters resemble real-world figures we’ve seen throughout history, separated only by species. Orwell’s decision to present this story through the lens of a simple, almost childlike fable truly sheds light on how unequivocally wrong and dishonorable the acts at play are. The slow moral decay is written to a harrowing perfection and it left me disgusted by the sheer treachery and unethicality of it all.

As for the movie, there isn’t much to ire in John Halas and Joy Batchelor’s CIA-funded, animated adaptation of Orwell’s timeless masterpiece. Animal Farm 1954 understands the core of the narrative, but lacks the thematic weight and bleak tone that defines the novel. Key elements are altered or excluded entirely, which completely lessens the impact of the story. One most significant deviation is the more hopeful resolution, which robs the viewers of a sense of hopelessness present in the novel’s harrowingly phenomenal ending. In addition, I also thought the movie to be severely lacking in the technical aspects. The excessively unpleasant score, poor-man’s Disney-esque animation and uninspired voice acting—both from the narrator and the characters—makes the movie a pain to watch. While it’s understandable that all of these flaws originates from the movie’s purpose to appeal to a much younger audience, Animal Farm 1954 is still nothing more than an oversimplified and surface-level version of the novel.

Overall, Animal Farm is one of the most important works of literature ever written. While the movie didn’t quite give it justice (a shortcoming that’s not worth dwelling on too much given this is an iconic story and many adaptations are sure to come, including Andy Serkis’ in 2025) the novel immediately proved its brilliance from the very first chapter. Brief in length yet profound in message, Animal Farm is, and will continue to be, a timeless and relevant cautionary tale.

“Chicken Jockey!”

I went in knowing I would get nothing more than a simple, brainless, and somewhat charming blockbuster-of-the-week, yet A Minecraft Movie felt like it managed to stoop to even lower grounds than your typical IP-driven and cash-grabs kids’ movie. 

The story was very uninteresting, the characters very flat and borderline unnecessary, and the writing is filled with a bunch of painfully-corny dialogues (not the memefied ones, I can assure, since they were actually funny). The pacing moves too goddamn fast, which makes the smaller sections and conflicts very shallow as well as leaving the whole Overworld a lot to be desired. It culminates into a very messy and weightless experience when external moments aren't factored in. It's a waste of an adaptation, storytelling wise, especially given how exceptional the visuals were. 

However, I was surprisingly in love with how the Overworld looked and thought that it perfectly captured the essence of one of the most iconic-looking world in the gaming medium. It was truly an appealing and enlivening blocky utopia, standing as one of the only strengths of the movie, alongside Jack Black electric performance. It’s a shame that such an aesthetically dashing world was paired with a mediocre story.

Overall, A Minecraft Movie was disappointing. It’s a film largely defined and elevated by external factors: the cheering theaters and the nostalgia of having grown up with Minecraft. I was lucky enough to experience both, and, for that, I would never hate it with the same intensity I usually pour for other films of the same quality. It certainly hits the mark for its intended audience.

“What are you doing here, honey? You're not even old enough to know how bad life gets.”

“Obviously, Doctor, you've never been a 13-year-old girl.”

Sofia Coppola’s debut, The Virgin Suicides, centers around the beautiful and enigmatic Lisbon sisters and the elusive story that leads to their tragic suicides. It’s one of the most haunting stories of female adolescence and coming-of-age, but the catch is that it’s entirely told through the eyes of a male narrator, which opens the way for the film’s most frustrating brilliance.

The decision to frame The Virgin Suicides through the lens of a group of male friends subtly let slip an aching truth of a fatal law that lies within the masculine way of thinking and observing towards the opposite sex. Personally, I had always associated the male gaze with overt sexualization of women, but Coppola’s dreamlike debut introduces another branch that further reveals just how damaging this masculine perspective is. While there are certainly moments that entirely reduces the Lisbons sisters by their physical features, the film more frequently illustrates how the boys in The Virgin Suicides constantly mystifies and idealizes them to such extreme that their individual identities are nowhere to be found. The sisters are held to such high standards—symbols of purity, mystery and beauty—and the boys refuse to acknowledge them as normal human beings with flaws and struggles. They have basically entered a fantasy realm of their own, where the sisters merely act as puzzles to be solved and damsels to be saved. Instead of disturbing objectification, The Virgin Suicides’ reveals that the male gaze can also dehumanize women through excessive romanticization that erases their humanities from the full picture.

However, the brilliance (and the misery) behind the film’s commentary on the male gaze lies in the fact that we, the audiences, are experiencing its damaging effects firsthand as they explore it. It’s important to note that The Virgin Suicides is told entirely through the recollections of a group of male friends, which explains the lack of depth within this attempt exploration of the Lisbon sisters. The story is vague, lacking and unclear, which deservedly so as we see how the boys never truly seek to get an understanding of the sisters’ actual character. And, as a result, we barely even know who they are. We have brief glimpses into their oppressive life, but never a full picture of who they were beyond their suffering. It may be a story about them, but it denies us from seeing their pure and unbridled humanity, keeping us stuck within the boys’ strange idealization until the very end. That’s where the real tragedy lies.

Overall, The Virgin Suicides is an immensely thought-provoking and impenetrable classic. Through the complex commentary, dreamlike aesthetic, atmospheric soundtrack from Air, and Kirsten Dunst at her most ethereal form, Sofia Coppola’s cinematic debut is as phenomenal as a director’s first venture into filmmaking can be.

Watched on Sunday March 30, 2025.

“One time in the fourth grade, I messed around with a lab frog. I figure this is my punishment.”

Mickey 17 encapsulates everything that defines Bong’s signature style: bold commentaries, inventive storytelling, and expert tonal balance. It has about everything you would expect from Bong—especially Bong with a bigger budget. And yet, I wasn’t entirely enamored with the final product the way I usually am with his films. 

For once, I felt that Bong should’ve focused more on Mickey himself rather than his surroundings. Social and ecological themes have long been his trademark, but I would’ve loved to see him explore more of mortality, identity, and the existential dilemmas that’s there within Mickey and his copies. Even giving more depth to the romance would have been a nice change of pace. The commentaries still remain sharp and enjoyable, no doubt, but it’s starting to feel repetitive and I would much prefer seeing something new from a director/writer this talented. As the film progresses, the story becomes increasingly messier and beyond Mickey, and any of the charming and intimate character-driven approach was buried under the crowded plot. It’s one of his most unfulfilling films to date—yet somehow it still remains pretty fun.

Unsurprisingly, much of the fun stems from Robert Pattinson’s performance. From the moment he was announced as the lead, it was clear that Mickey 17—or any modern film, for that matter—would never be a complete disappointment with his inclusion. Pattinson’s performance in here is a perfect representation of his recent acting career, being both quirkily unhinged (Mickey 17) and greatly angry (Mickey 18). His brilliance lies in his ability to distinguish his characters so effectively that their carbon-copy physical forms never prevents their vastly different personalities from shining on their own. As Mickey 17, Pattinson leans into exaggerated weirdness, being both hilarious yet pitiful. This is the role where he’s recklessly performing without a care in the world. Meanwhile, as Mickey 18, he rendered the character’s resounding violence and anger completely sympathetic and even making it something to satisfyingly root for as the film progresses. Through his excellent performance, Pattinson breathes great depth and distinction to an otherwise same character. He’s having fun; I’m having fun; Mickey 17 becomes a whole lot more fun with him in the helm.

Overall, Mickey 17 never truly piqued my interest narratively until its very end. The visuals were amazing, some jokes landed well, and Pattinson certainly elevated the experience—but it was too messy, underdeveloped and unfulfilling. Instead, we have to settle for a fun time. That said, a fun time with Bong and Rob is still better than what most can deliver in modern cinema.

“Who cares about sleep when you can snooze in school? You'll never get to college but you'll sure look cool!”

Based on the 2002 Broadway musical and John Waters’ 1988 comedy, both of the same name, Hairspray follows pleasantly plump teenager Tracy Turnblad as she gains newfound fame after achieving her lifelong dream of becoming a regular on The Corny Collins Show. While the film bursts with infectious enthusiasm, its true brilliance lies in its unapologetic exploration of some of America’s most defining social issues.
 
Much of the film’s excellent writing can definitely be credited to John Waters’ 1988 classic of the same name. Hairspray playfully tackles beauty standards and racism with a palpable approach that borders on the satirical, yet also with a heavy dose of unabashedness and sincerity on top of it that makes its themes both timeless and compelling. Brilliantly set against the backdrop of one of America’s most turbulent yet progressive decades, the story expertly explores all of its issues within the confines of Baltimore and its most popular TV entertainment and beauty pageant program, wherein the cast of captivating characters come to understand the significances of encouraging coexistence and appreciating inner beauty. Everything about it remains very simple, but Adam Shankman’s rendition presents the story with a beautiful and energetic musical direction that elevates Hairspray into one of the most irresistibly entertaining films of all time.

As mentioned above, the story is genius, but the visuals is an entire beast of its own. First and foremost, Hairspray absolutely triumphs in its musical. It’s a total sensation of bold lyricism, wonderful melodies and electrifying choreography. Not to mention, it’s helped by an outstanding visual department that dazzlingly delivered on all fronts. The 60’s aesthetic was achieved with pure expertise, through set designs, makeup and costumes that are all thoroughly beautiful. Baltimore was a vibrant, transfixing and rich tapestry of human complexities and experiences. In addition, Hairspray also has a flawless cast. It helps that they’re comprised of many all-star talents, but they all seem to be so thoroughly in love with their roles that their performances ended up being sincerely zestful. It was an ensemble of pure committed talents and the result is one of my favorite casts in cinematic history.

Overall, I absolutely loved Hairspray. It’s shocking to be honest, but I’m starting to think that musicals are slowly becoming one of my favorite film genres. Great ones like this always remind me just how fun and captivating they can be in offering a lens through which stories come to life. One last thing, if I had to pick a personal favorite from the incredible soundtrack, it would be The Nicest Kids In Town, Welcome To The 60’s, Run And Tell That, and You Can’t Stop The Beat.

“You need carbs!“

Former stunt performer David Leitch channels his deep ion for the art of stunts onto the screen in his fifth directorial effort, The Fall Guy. It’s as heartfelt, sincere and explosive as a tribute to moviemaking and its unsung stunt performers can get. Not only that, the movie also features a pretty entertaining action-romance narrative. The set pieces are wildly impressive, with a heavy emphasis on practical effects that make certain moments look and feel truly beautiful. Both Ryan Gosling and Emily Blunt also spectacularly shine and their lovely chemistry left me wanting more of them as co-stars. The Fall Guy is exactly the kind of summer blockbuster that Hollywood should aspire to make more often.

Overall, The Fall Guy is as overlooked as the overlooked heroes it celebrates. It’s disappointing that David Leitch’s exhilarating action piece didn’t receive the mainstream recognition it deserves, especially when it offers so many fascinating insights into moviemaking that general audiences could greatly benefit from. Not to mention, it also has ion—great, explosive ion.

“They hate us because they ain't us!”

It’s absolutely impressive the way Seth Rogen and Evan Goldberg’s The Interview rapidly gets better as its story unfolds. What begins as an overly political and painfully cringe display of humour gradually ascends into a genius comedy, second to none. The humour slowly peels off its layer to reveal a style not attempting to appeal to anyone, but, instead, fearlessly committing only to the pure craziness of its own stupidity. The result is a work of art whose idiocracy and hilarity stands unparalleled to anything I’ve seen in modern comedy. At the end of the day, the story triumphs; along with the wonderful pacing, the endlessly entertaining Randall Park, and James Franco at his absolute best.

Overall, The Interview remains wildly charming and entertaining in delivering its controversial story. While I initially hoped for a sharp and witty satire in the same vein of Waititi’s Jojo Rabbit, I found myself much preferring this absurdly hilarious buddy-spy flick. It’s gloriously over-the-top, and the fact that it even exists is nothing short of mind-blowing.

Watched on Saturday March 15, 2025.

Watched on Saturday March 15, 2025.

Watched on Sunday March 9, 2025.

Watched on Wednesday March 5, 2025.

Watched on Saturday March 1, 2025.

“Our faith is a living thing precisely because it walks hand-in-hand with doubt. If there was only certainty and no doubt, there would be no mystery. And therefore no need for faith. Let us pray that God will grant us a Pope who doubts. And let him grant us a Pope who sins and asks for forgiveness and who carries on.”

One of the undoubtedly strongest contenders this awards season. As the title suggests, Edward Berger’s Vatican Thriller delves into the greatly renowned and secretive election of a new pope, known as the Conclave. Berger offers a rare glimpse into a world seen only to a select few, and converts what is thought to be a holy tradition into a malicious and high-stake power struggle for the most influential position in the Catholic Church.

Conclave flawlessly unravels as a meticulously written and stylized dialogue-driven drama that feels like a direct descendant of the golden age of talkative cinema. Each pivotal story beats and revelations are laid out and revealed with immaculate precision, leading into a thoroughly intricate and satisfying political thriller that’s ripped straight out of the ‘50s or ‘90s. However, it is Berger’s choice to frame the papal election in the lens of a thriller that reveals the heartbreaking genius of Conclave. It explores the corrupting influence of power—the same one we usually find in politics and elections—and how it became the main driving force behind this pathetic decline of a sacred and orderly process. The Conclave is gradually tainted with webs of lies, deception and toxicity, stripping it of its holy essence and everything good that it initially stands for.

In addition to the story, Conclave also excels in legitimately every other aspect. For starters, Berger’s religious thriller looks absolutely stunning. Stéphane Fontaine’s cinematography captures beautiful shots and compositions, while the meticulous recreation of costumes and locations expertly immerses viewers in this secretive world. The latter’s excellence definitely stems largely from the genius of their real-life inspirations, but I still can’t help but be amazed by the results. From the richness of the materials to the intricacy of the designs and colors, it’s all truly mesmerizing. There’s also no denying that Conclave has one of the best cast of the year. The big names—Fiennes, Tucci, Lithgow and Rossellini—all delivered fine performances, but it’s newcomer Carlos Diehz who surprisingly stole the screen on multiple occasions through his mysterious and restrained presence.

Overall, Conclave is an absolute delight to witness. A profoundly compelling and visually striking piece of religious cinema, all about exploring how even the holiest individuals and institutions are still as vulnerable to evil and sin as the average man. It’s one of the most thought-provoking works of the year, dare I say.

Watched on Thursday February 13, 2025.

“We are here encountering the undead plague carrier... the Vampyr... Nosferatu!”

Previously conceived into the screen by Murnau and Herzog, Robert Eggers’ Nosferatu marks the second imagining of Henrik Galeen and F.W Murnau’s unauthorized adaptation of Bram Stoker’s Dracula. Eggers masterfully breathes new life into the tale with an ambience as richly haunting as the works of the legendary German filmmakers before him. As a result, the infamous Count Orlok rises once more with a nightmarish presence ready to haunt a new generation.

Before diving into Nosferatu, we must talk about its director. Robert Eggers is, in every sense, a filmmaking legend in the works. His deep fascination with folklore and the occult, combined with an unwavering dedication to historical accuracy, has secured him an unparalleled place in modern cinema. Moreover, there’s also his preferable and consistent effort in conjuring fear through atmosphere, rather than cheap jumpscares, that makes his films feel like a return to form for the genre. Eggers always provides a work that allows the audiences to be fully immersed in, whether it’s through the exteriors, the language, the ambience, or the potent combination of the three. He’s truly climbing up the ranks among horror’s best of the best, and Nosferatu might have accelerated his pace to an all-time high. 

From the opening scene to the final shot, Nosferatu is engraved with an overwhelming sense of dread and fear. Eggers always emphasizes the possibility of unseen forces lurking just beyond the frame. Even where it wouldn’t make sense, the masterful blend of camerawork and lighting always implants those unsettling ideas in the viewer’s mind. The editing relentlessly bombards and unsettles the experience, while the costume and production design creates a truly beautiful gothic aesthetic. Count Orlok himself is a force of immense presence, particularly terrifying from form to voice. The makeup work, specifically, was an extremely impressive effort as it remarkably hides the man beneath and completely transforms him into the titular vampire.

Its themes of infatuation also gave the film a disturbingly perverted touch, elevating the discomfort to a physical level that cements the film as more unapologetic in displaying its horrors. However, it’s important to note that, through all its terror and repulsion, Nosferatu remains unquestionably engrossing. The images it conjures are always horrific, but it’s carried with such grace from the filmmaking that it makes your eyes constantly glued to the screen.

In addition, the star-studded cast of Nosferatu rises brilliantly to the occasion. Hoult, Ineson, Dafoe, Corrin, and Taylor-Johnson all deliver a performance brimming with depth and verisimilitude. They embodied their respective character with such stunning authenticity that it’s easy to forget that these are familiar faces from modern cinema, and not figures belonging in the early 18th century.

However, it’s safe to say that Nosferatu is ultimately dominated by just two actors: Bill Skarsgård and Lily-Rose Depp. In many ways, they don’t just perform their roles—they become wholly possessed by them. Skarsgård, as mentioned before, disappears completely into his role with truly no sight of his natural mannerisms, voice and physicality. What emerges instead is an infatuated creature of pure nightmare, whose looming presence sends shivers down the spine long before he even fully appears on the screen. However, it’s safe to say that Skarsgård has sort of cemented himself as a reliable icon of horror, and performances of this caliber have truly become his standard. The real surprise, however, was his co-star, Lily-Rose Depp. Few in the industry are brave enough to look as ugly, pathetic and unhinged as Lily-Rose Depp does here. Yet, not only is she unafraid—she fully revels in the idea. Her seizure and possession scenes are executed with astonishing expertise; from her expressions, to her voice, to the sheer physicality of her movements, Depp embracingly emotes with such intensity that it becomes almost impossible to look away. It was a physical and psychological performance that involved her entire heart and soul, and it left me utterly dumbfounded.

Overall, Nosferatu remains nothing short of a nightmarish masterpiece. Eggers’ continues to impress with his idea and style, while the cast are chock-full of revelations. It’s haunting; it’s odd; it’s unsettling; it’s beautiful; it’s perverse; it’s my favorite film of 2024.

“Live from New York, it's Saturday Night!”

Set on the night of October 11, 1975, Saturday Night concerns a team of brilliant yet egotistical young minds as they frantically prepare for the live premiere of their late-night television show. As the title suggests, this is a dramatized retelling of the inception of America’s most beloved sketch comedy series, Saturday Night Live—particularly the mentally-exhausting and frenzy-filled final 90 minutes before the show’s first ever airing.

As I immersed myself in this masterfully directed, acted and produced reinterpretation of SNL’s chaotic first night, Saturday Night started to reveal itself to me as a film about the powerful process of creating art. With art, we are engaging in an act of faith as we build something that has the potential to outgrow ourselves. In the case of Saturday Night, we are actively witnessing the birth of a cultural phenomenon that the characters haven’t even begun to grasp and comprehend yet still throw themselves into with unwavering conviction. I started to see the process of creating art like raising a child, uncertain of its future yet determined to nurture it. And there’s something chilling about hearing Lorne Michael’s poetic and gargantuan descriptions of the show he doesn't even know the true meaning of, becoming nothing short of a reality in the present day. It starts to feel as if the true source of chaos behind the show’s frantic preparation isn’t a result of incompetence, but rather the sheer weight of SNL itself. I know all of this may sound overly vague for a film that, on the surface, is so straightforward, but that’s precisely the beauty of Saturday Night. It captures the raw, all-consuming ion that drives artists to pour their blood, sweat, and tears into something whose meaning they haven’t even fully grasped.

Additionally, the cast was by far the best aspect that Saturday Night had to offer. In of accuracy, I can’t personally vouch for how well they embody their real-life figures—for I barely recognize most of them—but what I can say with certainty is that they’re as fun as an ensemble can be. It truly feels like I’m witnessing a group of Hollywood’s brightest young talents coming together to retell the story of the night their predecessors achieve the same thing. Cory Michael Smith and Dylan O’Brien emerge as standouts for me as each delivers an effortlessly hilarious performance through their quirky mannerisms, addicting voices and great expressions. However, the true highlight of Saturday Night still remains its lead, Gabriel LaBelle. He is the glue that holds everything together and his ability to easily allow us to get into his character’s chaotic headspace remains so incredible and effortless. This was, without a doubt, LaBelle’s film through and through.

Overall, Saturday Night was a blast to watch. Its recreation of SNL’s first night remains so impressive and addicting that I’m willing to watch many more projects involving these creative minds—especially with the actors, who were all so well-casted that I long to see them once again embodying their real-life figures. Nothing but a simple topsy-turvy story that’ll guarantee to amuse you until its very end.

“We here to become human again, to put on nice clothes and dance around and enjoy the things that is not in our reality.”

Sing Sing follows a group of incarcerated individuals as they find purpose by acting in a small theatre community within their confining conditions. Through a shared need for escapism and transformation, they have forged a place filled with joy, camaraderie and opportunities. This film is heavily based on a true story, and the community shown throughout the film is known as Rehabilitation Through The Arts (RTA).

Before we dive into the beauty of Sing Sing, we must acknowledge the ugly. Director Greg Kwedar has undeniably created one of the most lovely and heartfelt films of the year, but one aspect that he also totally excels at is consistently underlying a depressive reminder regarding the true states of our characters. He always makes the viewer aware of the harsh exteriors and daily oppressions that reside within the film’s setting. After multiple touching scenes, we are always pulled back and forced to witness the cruelty that the characters endure outside the trouble-free confines of the group. Sing Sing is just as powerful in showing a grueling reality as it is in offering glimpses of hope, purpose and serenity.

I also found Sing Sing to be a piece of art that greatly asks the age old question of the significance of anything and everything. Fueled by the harsh conditions, these characters are constantly asking whether what they are doing in the group (and in life) will make any difference. In the face of life’s omnipresent struggles and heartbreaks, does anything we do even matter? As a teenager who is currently doing nothing but preparing for an uncertain future, these thoughts constantly popped into my head and I have barely even managed to find an answer for it. However, after the credits roll, it’s beyond wonderful to see how undeniably fulfilling RTA has become to its —so much so that they are willing to relive it all over again.

But through it all, Sing Sing masterfully chooses to resolve every sorrow that the characters endure through the power of art. Art gives; art heals; art liberates; art transforms. It’s a touching reminder that we are beings deserving of second chances and how those second chances are always given a place to flourish in art and in community. It’s a beautiful declaration of the transformative capability of the artistic expression, made all the more powerful as the credits roll and we see just how real the impact that it brought about. Nearly every scene in Sing Sing had me moved by the understanding it displays regarding the healing beauty of art.

Throughout my viewing, I’m always thoroughly impressed by the acting from the entire ensemble. It boggles my mind just how real and genuine these actors are at performing their roles. Is it just because they are talented actors? and if so, how come I’ve never seen any of them in other works before? (excluding Domingo, of course). Fortunately, my curiosities are answered as the words “as himself” appears multiple times while the credits roll. This is a genuinely eye-opening, emotional and impactful discovery for me, since I believe this gives Sing Sing a slight edge in the world of biographical cinema. Many fine performances in here, especially Colman Domingo, who proves himself to be a bonafide movie star, and Clarence Maclin, whose vulnerable performance might end up as one of my personal favorites of the year. In addition, Bryce Dessner piano score deserves an undeniable shout as it tenderly and lovingly carries the viewers throughout the whole film.

Overall, Sing Sing is easily one of my favorites of the year. It’s built on such a simple premise and many moviegoers will undoubtedly guess some of the story beats that the film would encounter. And yet, they all still land with the force of a bullet train. This is the film that will, for sure, deepen your love for art more than you could ever imagine.

Watched on Sunday January 26, 2025.

Watched on Friday January 24, 2025.

Watched on Sunday January 5, 2025.

Watched on Saturday January 4, 2025.

Watched on Friday January 3, 2025.

“You know, you really don't need a forensics team to get to the bottom of this. If you guys were the inventors of Facebook, you'd have invented Facebook.”

After multiple rewatches and reflections, I think this might just be my favorite film of all time.

Full review for The Social Network here.

Watched on Wednesday January 1, 2025.

“I love you guys.“

Probably has the most problems out of the entire trilogy—especially in its first and second act. It’s not as consistently good at its predecessor, but my god does it have one of the most beautifully written, magnificently crafted, gorgeously acted and emotionally charged third acts in comic book movie history.

Full review for Guardians of the Galaxy Vol. 3 here.

Watched on Monday December 30, 2024.

“I cannot write my name.”
“I will guide thy hand.”

A patient exercise in horror and the occult. The VVitch emerges as a remarkable folk-horror work, carried by, not cheap jumpscares and endless thrills, but a steady and forbearing storytelling. It steadily escalates the tension to eventually deliver a deranged exploration of religion and witchcraft. It’s also a truly fine achievement in period piece filmmaking, as Robert Eggers has truly crafted an alluring film with a commitment to its era as strong and unwavering as the Puritan’s family devotion to their god. The world of 17th-century England is vividly brought to life with meticulous detail—evident in the set designs, casting choices, costumes, and, perhaps most impressively, the dialogues.

Performances were nothing short of spectacular too. Each actor greatly embodies the Puritan behaviour, while also perfectly capturing the characters’ horrifying descent into madness. They perfectly teeter between reality and unreality, as there are moments where I truly question whether the characters’ actions and grief are of human quality or driven by something otherworldly. At times, the true horror of The VVitch feels like it lies in watching these people spiraling closer to the brink of insanity.

Too good to be a debut.

Watched on Saturday December 28, 2024.

“Do you think I want to be babysitting you? Oh, no, no, I was praying to the god I don't even believe in that your mother would pick up the phone or your father would arrive in a helicopter or a submarine or a flying fucking saucer to take you...”

Merry Christmas!

Full review for The Holdovers here.

“They want N.W.A, let's give em N.W.A.”

What sets Straight Outta Compton apart in the often despised, especially as of recent, genre of musical biopics is that it vocally stands as something much larger than just the telling of an iconic group’s rise to fame.

Straight Outta Compton is as much about N.W.A as it is a powerful exploration and critique of relevant societal issues. The rise of N.W.A symbolizes the rise of power and voice for the minority. Their existence was the turning point and their controversial music has evolved into an anthem for the discriminated, the harassed, and the oppressed. And F. Gary Gray as well as the whole crew understands this—it’s what drives the whole film. They are well-aware that their story is standing at a great and important moment in black history and therefore carries the weight that the story holds to deliver an electrifying, confident, rich, and ruthless experience. It’s a hip-hop epic whose dynamic storytelling, overflowing with ecstasy and emotion, makes its great runtime of 147 minutes simply unfelt.

The performances in Straight Outta Compton were also nothing short of spectacular. It’s no easy task portraying these larger-than-life icons, but the cast truly rises to the occasion with great ion—especially O’Shea Jackson Jr as the crazy motherfucker named Ice Cube. He embodies Ice Cube through and through. While he undoubtedly has the advantage by being Ice Cube’s real-life son, Jackson’s performances transcends mere resemblance. He truly reaches and captures the energy, presence, and soul of his father with astonishing precision. The standout of the whole goddamn film. Corey Hawkins and Jason Mitchell also deliver wonderful and dedicated performances and render their real-life roles amazingly, while Paul Giamatti gives a really entertaining and compelling output as Jerry Heller.

Overall, Straight Outta Compton’s scrumptious mix of explosive aspects has truly cemented its place as one of my newly found favorites. F. Gary Gray and the crew have really created one dope ass film.

“Where we are, death is not. Where death is, we are not.”

Clearly lacks the authenticity, the crisp, the shakespearean and the splendor that Gladiator presented flawlessly. Gladiator 2 is nowhere near as perfect as its predecessor, but, through it all, I believe Ridley Scott still delivers a work of great value and significance, bolstered with wonderful performances and substantial ecstasy.

Mixed feelings about the script right now, since it teeters between being good and bad for me. On one hand, it clearly borrows a huge amount of elements and story beats from its predecessor to the point that it sometimes feels laughably unoriginal and devoid of effort. Yet, on the other hand, it kind of manages to deliver a deeply satisfying sequel narrative that feels purposeful and worth telling, at least for me. Lucius serves as a fantastic continuation of Maximus and even feels like the culmination of his character. Same holds true for the writing, which I felt gave the first installment’s themes and ideas much more polishing and a great conclusion. It very much feels like the epilogue that the Gladiator story needed. Much of my enjoyment may likely originate from the story implementing many elements I loved from the original, but I remain optimistic in saying that this is the story that Ridley Scott really envisioned as the closure to his Gladiator duology.

The script may be inconsistent in of quality, but the same cannot be said for the action sequences and performances—they are both thoroughly amazing. Gladiator 2 is undeniably more audacious than its predecessor, which definitely stems largely from Ridley Scott’s far refined ability in directing action. The Colosseum matches alone are all truly a spectacle to behold, showcasing intense choreography, thrilling circumstances, and delighting gore. The performances are also equally outstanding, with nobody from the cast truly underperforming. The clear and absolute standout of the bunch was definitely Denzel Washington, who emerged as an uncontrollable force and true performer that, throughout the whole story, continuously commands every scene he’s in as well as flaunts his magnificence and intelligence at every opportunity he gets. Paul Mescal, Pedro Pascal, Joseph Quinn, and Fred Hechinger also deliver exceptional performances, but, truthfully, this is Denzel’s show through and through.

Overall, I know I’m in the minority when it comes to enjoying Gladiator 2. It’s far from the disaster I assumed it would be, featuring enough strong elements that makes it worth the watch. There’s still a special touch of quality that only a filmmaker as seasoned as Scott could bring to the table. A true auteur of cinema—live long and prosper, Ridley Scott!

“Strength and honor.”

One of the most epic films of the last century emerges extremely better on a rewatch.

In Ridley Scott’s Gladiator, ancient Rome is brought to life with breathtaking scale and splendor, while battles are shown with such excruciating brutality and intensity that you can legitimately feel every scratch and bruises of the characters. This film is showcasing some of the finest craftsmanship in filmmaking history, particularly in the fields of production design, costumes, and cinematography. Every frame feels raw, tangible, and exquisitely crafted. It possesses a level of detail and beauty that only a director as ambitious and experienced as Ridley Scott could achieve. In the current decade where films are saturated with overly unappealing and noticeable CGI, watching Gladiator genuinely feels like a breath of fresh air—and I, personally, can’t help but feel a genuine sense of satisfaction from watching a period piece with such authenticity and crisp poured into its images.

In addition to its marvelous visuals, the same series of praises could also be applied into its storytelling. The magnificent efforts in bringing Rome to life would crumble without a strong story anchoring it, but the writers definitely rise greatly to the challenge by delivering a tale so profoundly beautiful, complex, tragic, larger-than-life and Shakespearean. It’s truly the quintessential hero’s journey if you ask me. The performances certainly also lend a hand in enriching the story and characters. Both Russell Crowe and Joaquin Phoenix were extremely outstanding in their roles and their performances here definitely deserves to be hailed as one of the most iconic in cinematic history.

Overall, I’ve grown to absolutely adore Gladiator. Whether it'd be the beautiful story or the overly authentic look, something just clicked with me in this viewing that made me appreciate more of what Ridley Scott achieved. Can’t wait to see Gladiator 2, and, hopefully, Scott still has the special touch that makes its predecessor one of the best period piece films of all time.

“If I show you the rest, you have to promise not to run away.”

Reaches a perfect balance between spooky and wondrous that can only be achieved by Burton’s unique directorial touch. Fascinating world and concepts brought to life by surprisingly great CGI and embellished even more with beautiful costumes and makeup. Eva Green was a standout as the titular Miss Peregrine, followed by other amazing performances in Ella Purnell and Samuel L. Jackson. In addition, if I were to point out a dissatisfaction, it would definitely be the lack of deeper exploration of the world, especially given how the story builds it up to be much bigger than what is ultimately shown. Though, what is shown was still perfectly fun enough that I could still sometimes overlook that singular shortcoming.

Overall, Miss Peregrine’s Home for Peculiar Children ultimately stands as nothing more than just an average Tim Burton piece—and, honestly, there’s absolutely nothing wrong with that. Even in his simpler works, Burton’s unique ability to deliver marvel and joy still remains unmatched in the filmmaking field.

Watched on Sunday December 8, 2024.

Watched on Sunday December 8, 2024.

Watched on Wednesday November 27, 2024.

films where the greatness ranges more than just the experience of when we were watching it

• Everything Everywhere All at Once
• Aftersun
• Spencer
• The Texas Chain Saw Massacre
• The Truman Show
• 2001: A Space Odyssey
• Inception
• Evil Dead II
• Before Sunset
• Shutter Island

...plus 27 more. View the full list on Letterboxd.

INDONESIA 🔛🔝

1. Photocopier
2. Falling in Love Like in Movies
3. Joni's Promise
4. Andragogy
5. Satan's Slaves
6. A Brother and 7 Siblings
7. Two Blue Stripes
8. One Day We'll Talk About Today
9. 5 cm
10. Stealing Raden Saleh

...plus 17 more. View the full list on Letterboxd.

in my opinion, of course

• Ready Player One
• Don't Look Up
• Phone Booth
• The Martian
• Elvis
• Yesterday
• Petite Maman
• Prey
• The Chronicles of Narnia: Prince Caspian

...plus 36 more. View the full list on Letterboxd.

times where the music and the filmmaking mashed up together like peanut butter and jelly

• Baby Driver
• Juno
• The Social Network
• Pulp Fiction
• Whiplash
• Spencer
• Spider-Man: Into the Spider-Verse
• Oppenheimer
• Star Wars
• Fantasia

...plus 51 more. View the full list on Letterboxd.

2020/2021 releases are excluded from the list

• Baby Driver
• Forrest Gump
• Batman Begins
• The Dark Knight
• The Dark Knight Rises
• Inception
• Dunkirk
• Interstellar
• Whiplash
• The Prestige

...plus 126 more. View the full list on Letterboxd.

films that taught me a lot about filmmaking as well as making my youthful self excited about filmmaking

• Spencer
• Whiplash
• The Evil Dead
• Evil Dead II
• Inception
• The Social Network
• 2001: A Space Odyssey
• The Thing
• Everything Everywhere All at Once
• Oppenheimer

...plus 46 more. View the full list on Letterboxd.

partially-accurate; loose; ever-changing

1. The Social Network

   the dialogues in here are literal bullets being delivered in fast pace

2. Inception

   films are the best media ever and this is the proof

3. Back to the Future

   YEA the most fun film ever, not even kidding

4. 2001: A Space Odyssey

   i'm convinced kubrick shot this in the future and time travel his way back to '68

5. Good Will Hunting

   i wanna hug will

6. Whiplash

   ik omni-man is a straight up psychopath but this is still J.K Simmons scariest character that he ever played

7. Before Sunset

   shit, love is hard

8. The Shining

   no words could describe the feeling this movie gave

9. Spider-Man: Into the Spider-Verse

   influence the animation medium in ways only the first toy story movie had done. fucking spectacular man

10. Alien

    i hate this place and i don't ever wanna return to it

...plus 40 more. View the full list on Letterboxd.

movies/series that made me cry

• Whisper of the Heart
• Coco
• Avengers: Endgame
• Toy Story 3
• Marley & Me
• Titanic
• Warrior
• Good Will Hunting
• Forrest Gump

...plus 24 more. View the full list on Letterboxd.

1. Everything Everywhere All at Once
2. Civil War
3. Past Lives
4. Bodies Bodies Bodies
5. Aftersun
6. Ex Machina
7. The Iron Claw
8. Lady Bird
9. Sing Sing
10. Talk to Me

...plus 8 more. View the full list on Letterboxd.

as an overly generous film lover, I'm looking forward on expanding this list

• Bride of Frankenstein
• Batman
• Dead Poets Society
• The Breakfast Club
• The Boy and the Heron
• Léon: The Professional
• Predator
• Mission: Impossible
• From Up on Poppy Hill
• Entergalactic

...plus 4 more. View the full list on Letterboxd.

2023/2024 releases are excluded from the list

• Hamilton
• Last Night in Soho
• Petite Maman
• Brief Encounter
• Bodies Bodies Bodies
• Raging Bull
• Two Blue Stripes
• Vantage Point
• Zombieland
• Rise of the Planet of the Apes

...plus 14 more. View the full list on Letterboxd.

2022/2023 releases are excluded from the list

• Army of Darkness
• The Fallout
• Bride of Frankenstein
• Nobody
• Scream 2
• Star Wars: Episode I – The Phantom Menace
• The Hunger Games
• The Hunger Games: Catching Fire
• The Hunger Games: Mockingjay – Part 1
• The Hunger Games: Mockingjay – Part 2

...plus 22 more. View the full list on Letterboxd.

2021/2022 releases are excluded from the list

• Phantom Thread
• From Up on Poppy Hill
• The Secret World of Arrietty
• Batman: Mask of the Phantasm
• The Texas Chain Saw Massacre
• When Marnie Was There
• Watchmen
• The Wind Rises
• Twilight
• The Twilight Saga: New Moon

...plus 30 more. View the full list on Letterboxd.

some are hits some are misses

1. The Social Network
2. Oppenheimer
3. Spencer
4. Straight Outta Compton
5. Zodiac
6. Jackie
7. The Iron Claw
8. Raging Bull
9. Malcolm X
10. Sing Sing

...plus 12 more. View the full list on Letterboxd.

1. Nosferatu
2. Civil War
3. Dune: Part Two
4. Challengers
5. Conclave
6. Wicked
7. Transformers One
8. How to Make Millions Before Grandma Dies
9. Saturday Night
10. Sing Sing

...plus 23 more. View the full list on Letterboxd.

good af year

1. Everything Everywhere All at Once
2. The Batman
3. Top Gun: Maverick
4. The Fabelmans
5. The Banshees of Inisherin
6. Bodies Bodies Bodies
7. Aftersun
8. Nope
9. Athena
10. Scream

...plus 39 more. View the full list on Letterboxd.

probably a good year but didn't watch a lot of that came

1. Spencer
2. Photocopier
3. Spider-Man: No Way Home
4. Dune
5. The Fallout
6. West Side Story
7. The Summit of the Gods
8. Petite Maman
9. The Suicide Squad
10. Fear Street: 1666

...plus 24 more. View the full list on Letterboxd.

the barbenheimer year

1. Oppenheimer
2. The Holdovers
3. Spider-Man: Across the Spider-Verse
4. May December
5. Past Lives
6. Dungeons & Dragons: Honor Among Thieves
7. Evil Dead Rise
8. Godzilla Minus One
9. Barbie
10. Bottoms

...plus 33 more. View the full list on Letterboxd.

rewatches that changes my rating for a movie, good or bad

• 2001: A Space Odyssey

  First watch: 3.5/5
  Rewatch: 5/5

• Dune

  First Watch: 4/5
  Rewatch: 4.5/5

• Panic Room

  First Watch: 2.5/5
  Rewatch: 3/5

• Jurassic Park

  First Watch: 4/5
  Rewatch: 5/5

• Die Hard

  First Watch: 3.5/5
  Rewatch: 4/5

• The Empire Strikes Back

  First Watch: 4/5
  Rewatch: 4.5/5

• Kill Bill: Vol. 1

  First Watch: 4/5
  Rewatch: 5/5

• Spencer

  First Watch: 4.5/5
  Rewatch: 5/5

• The Lion King

  First Watch: 4.5/5
  Rewatch: 5/5

• The Sound of Music

  First Watch: 3.5/5
  Rewatch: 4.5/5

...plus 9 more. View the full list on Letterboxd.

best studio? BEST STUDIO!

1. My Neighbor Totoro
2. Spirited Away
3. Whisper of the Heart
4. Ponyo
5. Grave of the Fireflies
6. Princess Mononoke
7. Kiki's Delivery Service
8. Howl's Moving Castle
9. Porco Rosso
10. The Secret World of Arrietty

...plus 8 more. View the full list on Letterboxd.

the peak of dystopian genre

1. The Hunger Games: Catching Fire
2. The Hunger Games
3. The Hunger Games: The Ballad of Songbirds & Snakes
4. The Hunger Games: Mockingjay – Part 1
5. The Hunger Games: Mockingjay – Part 2

one of the most consistent auteur in cinema

1. The Social Network
2. Fight Club
3. Se7en
4. Zodiac
5. Gone Girl
6. The Game
7. The Killer
8. The Curious Case of Benjamin Button
9. Panic Room

favourite director of all time and it's not even close

1. Inception
2. Interstellar
3. Oppenheimer
4. The Dark Knight
5. Memento
6. Dunkirk
7. The Dark Knight Rises
8. The Prestige
9. Batman Begins
10. Following

...plus 1 more. View the full list on Letterboxd.

does whatever a spider can!

1. Spider-Man: Into the Spider-Verse
2. Spider-Man: Across the Spider-Verse
3. Spider-Man: No Way Home
4. Spider-Man 2
5. Spider-Man: Homecoming
6. Spider-Man
7. The Amazing Spider-Man
8. The Amazing Spider-Man 2
9. Spider-Man 3
10. Spider-Man: Far From Home

keanu is him

1. John Wick: Chapter 3 – Parabellum
2. John Wick: Chapter 4
3. John Wick: Chapter 2
4. John Wick

which was more culturally significant? the renaissance or spider-man: into the spider-verse? (it's the latter)

• Spider-Man: Into the Spider-Verse
• Spider-Man: Across the Spider-Verse
• Puss in Boots: The Last Wish
• The Mitchells vs. the Machines
• The Bad Guys
• Entergalactic
• Teenage Mutant Ninja Turtles: Mutant Mayhem

the legend himself

1. Jurassic Park
2. The Fabelmans
3. Duel
4. Saving Private Ryan
5. West Side Story
6. E.T. the Extra-Terrestrial
7. Catch Me If You Can
8. Ready Player One
9. Raiders of the Lost Ark
10. Jaws

...plus 2 more. View the full list on Letterboxd.

effortlessly directed two exceptional trilogy, how did he do that

1. Evil Dead II
2. The Evil Dead
3. Spider-Man 2
4. Spider-Man
5. Spider-Man 3
6. Army of Darkness
7. Doctor Strange in the Multiverse of Madness
8. Oz the Great and Powerful

an undisputed genius in blockbuster horror!

1. Us
2. Nope
3. Get Out

the sci-fi king!

1. Terminator 2: Judgment Day
2. Titanic
3. Aliens
4. The Terminator
5. Avatar
6. Avatar: The Way of Water

the twilight saga is not that bad guys 🤷

1. The Twilight Saga: Breaking Dawn – Part 1
2. The Twilight Saga: Breaking Dawn – Part 2
3. The Twilight Saga: Eclipse
4. Twilight
5. The Twilight Saga: New Moon