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Nichols performs an incredible balancing here, as he masterfully weaves between laugh out loud comedy, and really heartfelt drama. You hear about films handling two different tones, but rarely do you see it done so well. The humour undoubtably works for me here, with Hank Azaria and Nathan Lane being standouts, but Gene Hackman was certainly the MVP. I absolutely loved the dry delivery of his lines; “It’s the most intelligent show on earth.”, gold!!! It was refreshing to see Robin Williams in a straight man role (no pun intended), as he essentially took a back seat and allowed his co-stars to perform whatever zany antics were required of them, whilst he took leading charge of the picture’s more heartfelt moments, which I don’t think would’ve worked as well if not for his incredibly versatile and multifaceted performance. Also some incredible visual gags here; Azeria’s straight look just being a tank-top saying ‘Straight Look’, that one receptionist reading Nietzsche! There’s so much to love!!!!! Absolute all timer!!
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Some really subpar character work and truly horrendous pacing on display here. You’re never really given any reason to care for these characters at all, and the film doesn’t develop them in any meaningful way either. Still a visually gorgeous looking picture though, and I’d be lying if I said that Andor’s series finale didn’t increase my enjoyment of this. Those last 15 minutes were electric.
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Log for Season 2:
The sword of fascism spares no one. Beautiful and riveting storytelling. The most politically in touch this franchise has ever been. Absolutely generational.
yeah it’s pretty good
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The first Lucas-less 'Star Wars' venture, and you can most definitely tell. Whilst George Lucas would consistently push the medium, seeing what uncharted territories he could take his story in, and what new visual tools he could use at his disposal, Abrams seems far more content in reusing the Star Wars creator's old toys. I've never been one of those people who blindly praise the prequels (I've always had my fair share of problems with them), but you have to respect how committed Lucas was to realising such a bold and interesting vision. The Prequels are just so abstract for Hollywood blockbusters, and that's why they've aged so well. They're these incredibly strange romance epics, with moments of dense political jargon, and a fair share of both religious and Shakespearean symbolism/iconography. Whilst the latter two sequels still spark debate and discussion, this one has seemingly fallen off the radar. In response to the unbridled hate that Lucas' second trilogy in this universe received, Disney attempted to create a definitive 'Star Wars' movie. And for all intents and purposes, they got what they wanted. You've got X-Wings and Tie Fighters, a rat-tag group of heroes up against an unstoppable fascist regime, and a planet killing space station. These are all quintessential staples of the Star Wars brand. But what Disney doesn't recognise (or didn't at the time) is that such a large part of the franchise is its uniqueness and its creativity. If you strip Star Wars from its inherent ability to push the medium forward, it is really Star Wars?
There's also just a plethora of odd choices and decisions made here. Finn almost immediately turning against the First Order, and feeling comfortable killing stormtroopers (his former co-workers) really struck me as strange here. We probably could've spent half of the movie seeing his growing disillusionment with the order, and witnessing just how awful they are, not only in their military conduct, but in their dehumanisation of those within the regime. In my opinion, it would have been far more interesting if they took their time with his arc, as it really did show incredible promise and intrigue. Have him unlearn a lot of the shit the First Order hammered into him, or maybe delve into the trauma and PTSD he has to deal with following his desertion. Furthermore, I think the character of Rey was really odd here. It's such an annoying talking point, and I hate the people who constantly whine on about it, but she really is such an infallible character here to such a distracting degree. She doesn't have any character flaws (except when she briefly alludes to her abandonment issues in ing, only for the film to strangely never touch on them again) and can seemingly do everything perfectly. At least both Anakin and Luke were whiny and overconfident, Rey doesn't have any of that. I'll it that this issue is rectified in 'The Last Jedi', which really delves deep into her trauma and personal issues, but I don't think that really excuses Abram's poor scriptwriting here.
However, it certainly isn't all bad, as I found Adam Driver's 'Kylo Ren' to be just as intriguing and interesting as he was the first time I had watched this film. Ren is just such a mopey loser, and very similar to Anakin in that regard. I also really dig how conflicted and emotional he is here, just the complete inverse of Vader in every way. Driver provides just an absolutely incredible and emotionally fuelled performance here, which just gets better as the movies progress. I can't get enough of this hormonal, rage fuelled loser, and he's undeniably one of my favourite Star Wars characters.
At the end of the day, it's 'Star Wars', so it's always going to be special to me. I being up at the Gold Coast and staying up past my bedtime to watch 'Star Trek: Into Darkness' on Channel 7 with my Dad, because they kept on advertising it as 'From the Director of the Star Wars'. We fell asleep in the first 4 minutes after trying to stay up for hours, but I got a good memory out of it. These films mean something to me and they always will, despite the fact that I really love like maybe only two of them.
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Impossible to enjoy whilst sober. The highlight was meeting my friend’s wonderful coworkers, and having one of them describe the entire plot of ‘The Running Man’ in remarkable detail. God bless Lido Cinemas.
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One of the greatest visual exercises I’ve watched in a looong time. So so so immersive, with just some absolutely jaw dropping visuals and landscapes. When our protagonist encountered like the fourth whimsical character of the movie, I knew this was going to be Alice in Wonderland coded up the wazoo. It’s essentially that scene from A New Hope where C-3PO and R2 D2 explore Tatooine but just stretched out into a feature length film. A man exploring hell. Everything’s turned to shit, and no one knows what to do. My brother said they should’ve explored the world more, and showcased something like a village. I disagreed wholeheartedly. This world has gone to ruins, the only ensemble of characters we see in this picture are cowering for their lives after one of them murdered the other. Camaraderie and friendships are impossibilities here. My only wish was that there was more variety in the cast of cooky characters our protagonist encountered. I loved the old wizard and witch-like characters, but the three erratic and dirty peasants in a row was kind of crazy. There were also just some absolutely insane shots here, including:
- that title drop. holy fuck
- close up on the skull of the first corpse we see
- the scene where a woman shoots an arrow into the night sky, where it becomes a star and gradually increases in size until it turns into the sun. The greatest night to day transition ever made.
- panning up into the night sky, revealing that what we thought was the light of moon is actually coming from the glowing eyes of some omnipresent God.
- that burning corpse. Such a long shot. So haunting and terrifying. We see the destruction of a man before our very eyes.
- the guy in the white hood showing us colour for the first time - “”
So incredibly inspiring. Probably my most scattered review in a long time. Very poorly written and unorganised, but I’m just buzzing. Very important movie. LOVED IT!
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Pretty fun, but less than what Marvel needs in order to restore the goodwill they once had. It’s very whelming, with some moments reminding you that this studio used to make actual films at some point, but it’s all just so bland for most of its duration.
- Bucky didn’t need to be in this film and added absolutely nothing.
- that one-shot scene with Sentry where he (minor spoilers) melts John Walker’s gun was so freaking epic.
- it was well shot and written, but that’s just such a bare minimum expectation, and it’s absurd that Marvel has been failing to meet that criteria for God knows how long now.
BLAND AND BORING!!! WHAT ARE WE DOING??? WHO ARE THESE MOVIES FOR AT THIS POINT???
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Talked about this one with the wonderful people at film club, where I essentially said that Besson finds himself in this beautiful world with elaborate sets and complex, Gaultier designed costumes, yet doesn’t know what to do with it. His direction lacks purpose, with the camera never really capturing the scope and scale of this world. You never feel the grit of this version of New York, or whatever other feeling it’s meant to evoke! The composition of shots isn’t meaningful, and doesn’t inform the audiences about anything really. Made worse by the fact that it’s so similar to ‘Blade Runner’, by way of not only visual design, but also sound design, with the score feeling ripped from Ridley Scott’s classic at times. This film will always have a special place in my heart, as my Dad would always talk about this picture being Luc Besson’s childhood dream, with him always reminding me how the realising of these dreams is always within arm’s reach. Regardless though, wildly disappointing!
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“You’re blinded by love”
Completely insane to me that this film garnered such a strangely conservative fanbase (both artistically and creatively) when it constantly has these remarkably abstract and alternative filmmaking techniques and means of presentation. The split-diopters were unreal, and the completely digital landscape of which our characters inhabit pushed the medium to lengths it really hasn’t been taken to since. The direction on display here is also just remarkable. Lucas is continually highlighting his obsession with Shakespearean tragedy through this somber, pensive and reflective camera work. There’s this one scene where Anakin ponders on what he should do following the revelation of Palpatine’s true nature, in which Lucas chooses to keep the scene free of dialogue, with the director instead cutting between the beautiful digital landscape of our character, and his face of unmistakable conflict, with a disturbingly eerie score blaring over it all. It’s a beautiful scene (being one of my favourites from the whole saga), and it really encapsulates what is at the core of Anakin’s arc. It’s this conflict between his selfish and selfless desires, as he is tested as to what lengths he is willing to go in order to realise his wish to keep all those around him eternally safe. His love for Pe blinds him from the atrocities he commits, even against his love. It’s an excellent premise, yet falls short in some places due to Pe’s little screen time and agency in the plot. She’s less of an actual character, and more of a device for the male characters to talk about. It makes it even more evident that everything we’ve come to love about Princess Leia came from Carrie Fisher’s adjustments to the screenplay, because Lucas cannot write female characters at all! Still an eternally interesting picture though, and a beautifully tale about how right wing grifters can corrupt angst ridden, yet well meaning, men.
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An ode to living, a love letter to life itself. Do more than go through the motions, or simply survive. You are alive. Stand for something. Be something. Mean something.
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I actually really enjoyed the first hour or so, which I found to be both shot and edited in a really interesting and dreamlike manner. It was the film’s presentation of a surreal subversion of real life which really hooked me, something which was especially prominent in the picture’s first half, and exacerbated through its use of musical numbers (most of which were really hit or miss). However, after the one hour mark, the film just becomes really stagnant. Characters never really progress, and the charm of its musical nature wears out pretty quickly, making it almost a chore to watch. Then there’s the whole thing with Emilia’s organisation which never really goes anywhere, or does anything, or contributes to the plot in any meaningful way. It’s all very weird. And then it all just ends in such a bizarre and anti-climatic fashion. It’s such a strange ordeal, and it’s a shame because I was really digging that first half! It’s such an interesting concept with some genuinely phenomenal individual moments (Emilia singing with her child got me a little emotional), but it’s back half refuses to progress any of the established themes, or say anything meaningful! Damn!!
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Really cute!! I found this to be an incredibly charming, whilst occasionally self indulgent, picture that really provides an insight into who Pharrell sees himself as. However, there were so many instances where Williams would spout these empty monologues regarding humanity’s place in the universe and whatnot which just felt so disingenuous. He’s like those white guys who use “:3”, claim they listen to Deftones and act all whimsical, but deep down you can see that their whimsy is a facade to mask their nature as like the most evil person ever. I also would’ve loved if they focused more on Pharrell’s relationship with Chad Hugo, but we all know why they didn’t include that.
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I loved when the movie just completely put a pause on the story to show a montage of at least one thousand horses galloping in the fields! Thank you C!! Very cool!!
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Great individual moments lost amongst a generally unfocused narrative. Guy Pearce is an absolute force of nature though.
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Despite being remarkably well shot and acted, I couldn’t help but feel that this picture lacked any thematic through-line to justify its runtime. There isn’t a consistent idea it’s exploring. Sometimes it’s a deconstruction of the American Dream, but the film doesn’t commit to that concept nearly enough to say anything interesting, or something that hasn’t been said before. Guy Pearce is the greatest of all time though.
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The prevention of the apocalypse would still require a boardroom meeting
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SO FUCKING FUNNY + EVERYONE WAS LAUGHING + I HAD SUCH A GOOD TIME + ITS EVERYTHING I’VE EVER WANTED AND MORE + I’VE BEEN WAITING FOR THIS MOVIE SINCE 2013 + THIS ISNT THE END OF WESTERN CIVILISATION ITS JUST NAPOLEON DYNAMITE WITH JACK BLACK IN A CGI HELLSCAPE AND IT FUCKING ROCKS
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Ryan Gosling……what are we doing man…..
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Conner O’Malley is a genius
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A wildly important picture, with absolutely incredible subtext. It’s so special that a film like this exists, and even more so that trans people have such an amazing piece of work to identify with. Every facet of this picture relates to the trans experience, with a looming fear of running out of time essentially defining Schoenbrun’s film, as the angst of living as someone else haunts our protagonist, as the years ruthlessly move on, and Owen loses sight of the person he is to be on the other side of the TV. It’s an incredibly profound message about the importance of transitioning and living your truth, however, I don’t know how much of it worked for me as an actual film. I found the pacing to be rather slow and aimless, whilst the characters were (in my opinion) not particularly likeable, making it difficult to care about their meandering. Regardless though, Jane Schoenbrun’s ‘I Saw the TV Glow’ is indescribably important, especially regarding our current political climate. Transitioning saves lives.
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The importance of stories. Stories bind us together. Stories make us who we are.
After watching this movie, I went to a burger place with my friends. It was empty and they were playing the new carti album. We sat down and shared our stories, both good and bad. We articulated every aspect of our week, not missing even an inconsequential detail. We immersed each other in our lives. We shared our stories with one another. This is what makes us. This is what we are ed as. We are always just the stories we leave behind.
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On rewatch, 1988’s ‘Neco Z Alenky’ solidifies itself as one of the most faithful adaptations of Lewis Carroll’s original works. Here, director Jan Švankmajer highlights his understanding of Wonderland’s very essence, as he exemplifies that it is the dream world’s uncanny nature which makes it so memorable.
In Carroll’s original novels, Wonderland is essentially a recreation of Alice’s natural surroundings (that being the 19th century English country side) however, it is only upon closer inspection that things begin to seem off. An English Hatter obeys dream logic, whilst animals converse with each other and people’s size change on a whim. It’s a dream world devoid of all logic, yet that isn’t apparent from afar. At first glance, Wonderland is to seem as ordinary as anywhere else. Carroll essentially replicates the happenings of a dream, as he repurposes a relatively mundane setting, and fills it with a plethora of nonsensical characters, who echo the cultural zeitgeist of the time (even more prominent in his sequel, ‘Alice Through the Looking Glass!). Whilst, on paper, changing Wonderland’s setting from luscious green meadows to a bleak and abandoned warehouse seems like a generous departure from the source material, it this which actually solidifies the film as being remarkably faithful to the text. Švankmajer uses the philosophy of Carroll, as he repurposes Central European iconography, setting his picture almost entirely in a derelict apartment block (something commonly found in the former Czech Republic), yet fills it with an array of kooky characters. From afar, this industrial wonderland looks no different to the surroundings of many Czech nations, however much like Carroll’s original vision of wonderland, it takes a closer look to realise that everything isn’t as it should be. It’s this almost dream-like logic, in which actors are aware that something is off, yet are unable to identify what it is. Everything seems to be as it should, but there’s something scratching that back of your neck telling you that something isn’t right. Maybe you never fully realise what’s wrong, but you know that something is. It’s only until the dream concludes that you realise the uncanny nature of your voyage. Or is this too a dream? Švankmajer masterfully creates this uncanny feeling in his rendition of wonderland, carefully acknowledging that the surreal cannot exist without the real, and evoking the dreamy feelings present within Sir John Tenniel’s original illustrations, despite wholly altering the realm’s visual language. Beautifully uncanny.
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The version I watched was for some reason completely desaturated and devoid of colour, making really difficult to immerse myself in this picture. Regardless though, still a fantastic debut. Whilst I still prefer Kelly’s later works, he solidifies himself as an incredible force of talent here, and despite being a bit heavy with the Lynch influence, he still manages to carve out his own distinct creative voice. An absolute emo classic.
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Scorsese at his post avant-garde, drawing inspiration from Bergman and Tarkovsky rather this his Western contemporaries. The ways in which he strips back the myth of these stories, ridding them of their spectacle in favour for an emphasis on character and human nature is just incredible. A career best.
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Died for our sins. The reluctant saviour. Hallelujah.
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That final half hour was crazy how do you even make this
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Watched on Sunday March 16, 2025.
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A kaleidoscope of memories viewed through a looking glass. Reflective, pensive and technically impressive. Some of the shots here had me speechless. How Tarkovsky made a movie like this in 1975 is absolutely beyond me.
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A very solid and well crafted 90 minute character study, which is almost reminiscent of the dramas which dominated the film medium all throughout the 90's and 2000's. In his picture, 'A Real Pain', Eisenberg harks back to an almost 'by-gone' era of Hollywood, a period in which creatives would create short and concise dramas, with an emphasis on 'performance' rather than 'plot'. This is something that is efficiently accomplished here, as both Jesse Eisenberg and Kieran Culkin shine as Benji and David Kaplan. However, there were times where I felt that this emphasis was almost a detriment to the picture, as the plot would come to a grinding halt in order to give Culkin space to essentially do whatever he wanted, giving the film an unfocused perspective which especially plagued the first act and a half. Still great though! Eisenberg might be pretty good at this whole directing thing!
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I can’t coherently express my thoughts on this one just yet (this needs a few more watches for me to be able to do that), but I think I enjoyed. It’s certainly not what I was expecting, but when is that ever the case with Kelly? The way he transforms this relatively simple premise into a sprawling story riddled with paranoia and angst is just marvellous. There were times when it felt like a never ending nightmare, as the stakes got higher and higher, and our characters’ reality got weirder and weirder. “Hell is other people”. Purgatory in suburbia. Space age devils. Kelly is one of our generation’s finest creatives, and it’s an absolute travesty that he hasn’t released a picture since 2009.
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It looks like shit, it’s shot for shit, and almost every character is unbelievably one-note and boring, but by-god did Marvel know how to make a crowd pleaser back in the day. There’s absolutely no ambition present within any frame of this picture, no evidence of ion or care for the craft; it’s undeniably a studio made product rather than a creator driven film. There’s a formula at play here. Yet, the formula works. It hits all the expected beats, sure they lack in emotion, but it succeeds in making kids go “that was cool!”, and that’s seemingly all it wants to achieve. It’s a theme park film where they traded spectacle for ensemble, and that seems to have worked in the picture’s favour. I can see why these were so big. That airport battle was the talk of the town when I was a kid. They don’t make them like this more!
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YEAH THATS WHAT IM TALKING ABOUT 🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥
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Everything I ever wanted and more
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Its hard to tell what’s real in the land of dreams
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Those last ten minutes had me absolutely dying of laughter, just impeccable comedic timing on all fronts.
I really enjoyed this picture, O’Malley clearly has a great understanding on how to capture the essence of an era, and he does so with such relative ease. It’s a strangely warm film, with a calming nostalgia radiating from every facet of it. Just incredible building of atmosphere on display here. Takes me back to the time I tried to make a rap album and a making-of documentary with one of my best friends when we were 14, (he was great, I wasn’t). Maybe there’s a little bit of Matt in all of us.
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Absolutely great concept, and incredibly well shot. However, I feel as if this didn’t do as much with its imaginative premise as it could have. What was set up to be an almost ‘Orwellian’ exploration of the psychology of propaganda mouthpieces, instead becomes an hour of a balding, white guy aimlessly walking around Poland. With the exception of the film’s last 20 minutes, the potential of this picture is never fully reached. Loved the designs of the Martians though!
Edit: It was also beyond frustrating how this film expressed every theme and idea out loud to the audience, rather than taking the time to depict these concepts with the subtlety and patience they deserve. SHOW DON’T TELL!!!
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Dreamy and inspiring. Hope radiates from every facet of this picture. The hope for a better tomorrow. The hope to better ourselves. “If you can’t change the world, change yourself.” I’m beyond excited to show this to all of my friends. Francis knew what he was doing here.
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I love how the camera behaves in this picture. The way it subtly moves and shakes throughout scenes. Even in standard ‘shot-reverse-shots’, the camera sways and rattles. It’s almost as if there’s someone watching these events transpire, another being acting as observer, trying to get closer and see the view. Yet, you never know if you’re watching dream or reality.
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Sympathy for the devil.
Retains all of the sexuality, longing and horror present within Stoker’s original novel, yet by making ‘Dracula’ a sympathetic character, Coppola interjects a whole new layer of tragedy throughout this already heartbreaking story.
At the heart of 1897 epistolary novel is the inherently gothic idea of the past coming back to haunt the present, and as someone as obsessed with time as Coppola, it seems a match made in heaven for the ‘Godfather’ director to adapt such a piece of fiction. However, the auteur creator isn’t as interested in idea of ‘the past haunting the presenting’, as he in posing the question ‘can the past co-exist with present?’. We see a Dracula whose loneliness and grief has pushed him to sheer madness, yet he still remains as comionate and loving as we saw him in his previous life. This all makes it even more heartbreaking when Coppola finally answers his initial question with a solemn ‘no’, yet epilogued with a reminder that true love can heal all wounds. Our titular character is not only from a different time, but he is a different beast all together, and resents the idea of creating others like him to fulfil his own desires. His relationship with Mina was doomed from the very beginning. It was a bold move to translate Dracula into a sympathetic and heartbroken lover, yet it most definitely paid off. I’ll never forget when the realisation sinked in, and I finally comprehended that I wasn’t watching Harker’s story unfold, but Dracula’s. Beautiful!!
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“I’m a robber, a manslaughter-er. I’m wild at heart.”
Whilst occasionally muddled, and at often times unfocused, David Lynch’s ‘Wild at Heart’ proves itself as an optimistic and magical ode to the power of true love. Laura Dern and Nicolas Cage shine as the troubled Sailor and Lula, with the pair really putting their absolute all into these performances, as they effortlessly switch from a solemn gravitas to almost cartoon-like theatrics within the same scene. Dafoe also brings an absolute all timer performance, as he expertly moulds himself into the sleazy ‘Bobby Peru’, altering his mannerisms to almost mimic that of a rodent, echoing the off putting nature of his character.
Lynch's frequent allusions to 'The Wizard of Oz' most certainly assisted in the creation of the picture's magical essence, with the constant callbacks and recreations of scenes from the 1939 classic helping to spice up the film’s ‘Americana’ setting. It’s evident that Lynch has always had an affinity for ‘The Wizard of Oz’, as such a large majority of his work involves other dimensions of some sort, but it truly is wonderful to see him express this obsession with absolutely no limits. Truly magical!!!
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I much prefer Lynch when he’s exploring the uncanny, delving deep into the uncomfortable similarities between the real and the surreal, and exposing the strange underbelly lying dormant beneath reality. However, this voyage into an entirely surrealist landscape still serves as an incredibly interesting visual exercise for Lynch, as he expertly slows down this 1 hour and 30 minute picture to an absolute snail pace, really letting audiences feel the utter hell that our character is going through. Whilst this wasn’t particularly what I expected, and lacked that truely incredible character work that I have come to love from Lynch (something he rarely gets enough credit for!), the auteur’s directorial debut still remains just as innovative and visually interesting as it was when it first premiered in 1977.
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In my opinion, Godzilla is one of cinema’s most beautiful and versatile characters. The way different creatives use him (or her, depending on the adaptation) to represent the struggles, turmoils and anxieties of their generation highlights the complex yet flexible nature of cinema’s most iconic kaiju. He’s been an allegory for climate change, a metaphor for the sins of the past, a representation of a government’s failures, amongst many others. There’s never been a character so versatile before, who can be used to talk about contemporary woes in an artistic way. King Kong, who I know far less about, also has the potential to reach the heights of his Japanese counterpart. Peter Jackson’s interpretation of the character saw the titular character being used to represent the ‘unattainable’ heights of artistry, and the ‘untameable’ nature that man constantly attempts to conquer. He’s an interesting character who, when handled well, can be used to tell incredible stories. This movie is not interested in these versions of the characters. This movie is not interested in anything. It isn’t even defendable in a ‘dumb fun’ way. Widely disappointing.
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Far funnier than I was expecting, with some scenes having the whole theatre in a chokehold of laughter. I’m far too sleepy to say anything profound about this one, but it almost feels like a less refined version of ‘Uncut Gems’. Really funny though, I’ll give it that.
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Strange, raunchy and campy, but also incredibly charming. Raimi injects the same heart and soul into this one as he did the previous entires in this series, and whilst some of the studio mandates negatively impact the picture (namely Venom’s inclusion), the director’s energetic style still continues to shine through. So many of the action sequences here are genuinely remarkable, as Raimi completely disregards any sense of realism and, using new CGI technology, takes the camera and his characters into situations previously only seen on the pages of comic books. That first fight sequence was particularly breathtaking, especially in a cinema. Sam Raimi is without a doubt a master of his craft, and with these new tools at his disposal, he makes it clearer than ever.
Also, I really enjoyed Topher Grace in this. I found his performance to be hilarious, and thought it really funny that Raimi essentially made him the ‘Frank Grimes’ of this universe.
“See...photography, it's not just about, no offence, flagpoles, or whatever.”
I was dying every time he had banter with the Bugle staff. God bless Edward Brock Jr.
To talk about the Munich Massacre whilst completely ignoring the context of Israel’s occupation of Palestine is absolutely ludicrous. I can see the picture’s attempt to take an approach similar to Alex Garland’s ‘Civil War’ when tackling this subject matter, specifically with the reluctance to acknowledge anything even remotely political, but it comes off as pathetic at best, and propaganda-like at worst. Utterly appalling how disinterested it is in the Palestinian perspective, never even considering why Black September would want to attack the Israeli Athletes. Absolutely unreal. As a movie itself, it’s incredibly uninteresting, tensionless, flat and one note. I have nothing more to say. Free Palestine.
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Using this as my log for the whole show
The best one of these in a while. It’s a been a long time since Star Wars has felt this energetic and magical. More stuff like this please!!!
I watched this as God intended, in a cinema filled with old people
Some pretty great stuff on display here. Raph Fiennes is undoubtedly one of our greatest working actors, and he only further solidifies himself as such in this picture. The way he carries himself here is so interesting to me, seemingly filled with decades of knowledge and experience, yet at moments, on the edge of breakdown and burdened by increasing uncertainty. A genuinely fantastic performance. Furthermore, the screenplay was absolutely phenomenal. It’s almost sublime in the way it tackles these religious themes, and harks back to such pictures as ‘The Last Temptation of Christ’, specifically in way of its endorsement of faith, yet critique of man’s ego in the way of it. FANTASTIC STUFF!!!
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Pretty damn good!! I didn’t enjoy this one as much as ‘Mulholland Drive’, but there’s still a lot to love here. In specific, the way Lynch just effortlessly creates these dream like atmospheres with such ease is truly a feat, and whilst it can get a bit self indulgent at points, it’s still an absolute wonder to explore these surreal worlds he creates. Great stuff!!!
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A sprawling and almost magical emotional odyssey. Flawed and messy for sure, lacking an overall direction in some moments, but still both an emotionally triumphant and devastating picture. Anyone who says that the Aaron Copland score is out of place is objectively wrong.
]]>favourites
- Reservoir Dogs
- Whiplash
- The Apprentice
- Kill Bill: Vol. 1
- Sorry to Bother You
- Death Proof
- The Miseducation of Cameron Post
- Fallen Angels
- The Matrix
- Scott Pilgrim vs. the World
...plus 66 more. View the full list on Letterboxd.
]]>- Ulysses' Gaze
- The Travelling Players
- Eternity and a Day
- Landscape in the Mist
- Uncle Boonmee Who Can Recall His Past Lives
- An Elephant Sitting Still
- Broken Flowers
- The Anabasis of May and Fusako Shigenobu, Masao Adachi, and 27 Years Without Images
- Cabaret
- Wavelength
...plus 428 more. View the full list on Letterboxd.
]]>Most hyped films without a release date
]]>- The Apprentice
- Challengers
- A Different Man
- Furiosa: A Mad Max Saga
- Dune: Part Two
- Megalopolis
- The Substance
- Civil War
- Bad Boys: Ride or Die
- Anora
...plus 36 more. View the full list on Letterboxd.
]]>- The Green Knight
- Licorice Pizza
- Spider-Man: No Way Home
- The Batman
- Guillermo del Toro's Pinocchio
- Peter Pan & Wendy
- Bottoms
- Barbie
- They Cloned Tyrone
- Godzilla Minus One
...plus 9 more. View the full list on Letterboxd.
]]>Movies that I love. Movies that changed me. Movies that give me life. Movies that give me ion. Movies that remind me why I love movies. Movies movies movies movies
- Blade Runner
- Mulholland Drive
- Punch-Drunk Love
- The Green Knight
- The Last Temptation of Christ
- The Place Beyond the Pines
- Under the Silver Lake
- Star Wars
- The Empire Strikes Back
- Uncut Gems
...plus 1 more. View the full list on Letterboxd.
]]>- Ed Wood
- Big Fish
- Beetlejuice
- Batman
- Batman Returns
- Edward Scissorhands
- Charlie and the Chocolate Factory
- Mars Attacks!
- Beetlejuice Beetlejuice
- Planet of the Apes
...plus 1 more. View the full list on Letterboxd.
]]>- The Green Knight
- Dune
- The French Dispatch
- Licorice Pizza
- Spencer
- The Batman
- Drive My Car
- The Northman
- Nope
- Glass Onion
...plus 17 more. View the full list on Letterboxd.
]]>- Godzilla Minus One
- Killers of the Flower Moon
- Poor Things
- Shin Kamen Rider
- Asteroid City
- The Wonderful Story of Henry Sugar
- The Zone of Interest
- Knock at the Cabin
- Bottoms
- Barbie
...plus 63 more. View the full list on Letterboxd.
]]>otherwise known as ‘Zack Snyder Ranked’
]]>S Tier - Rocky, Creed, Rocky Balboa, Rocky 2
A Tier - Creed 2, Rocky 5, Rocky 4, Rocky 3
All films are pretty much interchangeable with the others in their respective tiers
- Schindler's List
- Indiana Jones and the Temple of Doom
- Indiana Jones and the Last Crusade
- Jaws
- The Fabelmans
- Indiana Jones and the Kingdom of the Crystal Skull
- Catch Me If You Can
- Jurassic Park
- Raiders of the Lost Ark
- Hook
...plus 4 more. View the full list on Letterboxd.
]]>- Neon Genesis Evangelion
- Neon Genesis Evangelion: The End of Evangelion
- Evangelion: 3.0+1.0 Thrice Upon a Time
- Evangelion: 2.0 You Can (Not) Advance
- Shin Kamen Rider
- Shin Godzilla
- Evangelion: 1.0 You Are (Not) Alone
- Neon Genesis Evangelion: Theatrical Edition #26 Live Action Part (Special Rush Edit Version)
- Evangelion: 3.0 You Can (Not) Redo
In chronological order
]]>- Babylon
- The Batman
- Andor: A Disney+ Day Special Look
- Nope
- RRR
- Everything Everywhere All at Once
- jeen-yuhs: A Kanye Trilogy
- Avatar: The Way of Water
- Guillermo del Toro's Pinocchio
- The Fabelmans
...plus 45 more. View the full list on Letterboxd.
]]>Bonus points for featuring a reimagining of the opening scene in the original Matrix
]]>Stopped Editing this in March 2021
- Drive My Car
- Spider-Man: No Way Home
- The Green Knight
- Licorice Pizza
- Dune
- Spencer
- The Suicide Squad
- The French Dispatch
- Squid Game
- Bo Burnham: Inside
...plus 39 more. View the full list on Letterboxd.
]]>- Faust
- The Man Who Laughs
- Un Chien Andalou
- The Cabinet of Dr. Caligari
- Dante's Inferno
- The Phantom of the Opera
- A Page of Madness
- Nosferatu
- The Texas Chain Saw Massacre
- Creep
...plus 19 more. View the full list on Letterboxd.
]]>- The Thing
- Halloween
- Scooby-Doo
- A Nightmare on Elm Street
- Atman
- Beetlejuice
- Child's Play
- Scary Movie
- Black Mirror: Bandersnatch
- Friday the 13th
...plus 2 more. View the full list on Letterboxd.
]]>Genuinely one of my favourite trilogies
]]>MID ASS FRANCHISE
]]>films that impacted how I tell stories
]]>Ari, Kiran, Luca and I try to watch a movie every week. Here they are ranked
]]>Generic Spider-Man fanboy tier list coming your way
]]>