4v291o

53/100
While it is faithful, it's still worse in every possible way. The costume design is incredibly cartoony and doesn't look worn at all, the line deliveries are often quite cringe, the pacing is off, and the necessity for this to be made is nonexistent.

67/100
Positively surprised me, and did actually make me laugh a few times, but in the end it was just a bit too lame for me. Loved Emma Stone as usual, she really has been extremely talented from the start, and the same goes for Michael Cera.

86/100

71/100
It's no secret that Peppa Pig is one of the best children's show ever, and despite the drastic changes these episodes make to the show, it never looses that cozy familiar magic we know and love.

My biggest problem was the huge amount of poor songs that were mashed in-between some of the episodes, but I'm sure all the children didn't mind.

And no, I didn't watch this alone, I watched it with my little sister :)

63/100
Nepo-baby or not, Saleka brings this film to life.

90/100
I feel like returning from my brief film hiatus with Alex Garland's Warfare (2025) was an amazing decision, as it is one of those films that remind us of how powerful a medium film is.

From the beginning, Alex Garland has been really vocal about attempting to make an almost 1:1 war film, based solely on the testemonies of the soldiers who witnessed it, and to put it simply: he succeeded. Throughout the entire film I felt like I was almost a part of it. It feels raw and real. Everything from the cinematography to the acting to the audio design contributes to that experience, and it's just executed on such a high level.

Before watching this film, I was worried that it'd be US propaganda, trying to justify the war in Iraq, however that wasn't the case at all. Garland's film instead serves us the raw reality of war, no bullshit, no glorification - just pure war. It shows us the perspective of the civilians, it shows us the horror of a reality the soldiers are living through, making the viewer decide for themselves what this war was.

This film is a raw look at how war truly is. It's amazing.

87/100
Can Peter Jackson direct a cinematic universe based on A Song of Ice and Fire please?

90/100
Jane Austen is likely the most famous - and perhaps even the most talented - female author that has ever lived. Her novels have generated millions of hopeless romantics throughout time whilst also having indirectly paved the path for a plethora of female authors.

So naturally it was quite the task Joe Wright decided to take on, when adapting her most famous work, Pride and Prejudice (1813). But spurred on by incredible performances from the cast, and some stunning visuals (cinematography, locations, costumes, makeup, etc.) he managed to produce the most beloved motion picture adaptation of Austen's work ever.

So much of this film is done on such a high level, that it would take ages for me to discuss it all. However I do feel the cinematography especially deserves to be highlighted. Because it truly felt like the cinematography was participating directly in the story, with it's yearning panning and the amazing motivated camera movement that's used so much. Wright's film is in truth a sentiment to how the camera can be the most important actor, even without having to produce mind-blowing Nolan-esque shots.

But as an avid classic litterature fan, I do have one criticism. I feel like a lot of the yearning that Austen's novel contains gets lost with the film's fast pacing. However one could ask if any film could do that part of Pride and Prejudice justice.

In conclusion, Pride & Prejudice (2005) is a monumental film that's sure to extend the lifetime of Austen's unmatched romance for at least a couple more generations.

81/100
Some wack dude beside me was scrolling on his phone during the second half of the film. Why?

82/100

82/100
Coolio

80/100
Frodo is just built different

76/100
An incredibly powerful ending, especially thanks to the amazing build up.

82/100
Visually, narratively and aurally superior to its two predecessors. The dialogue is still a bit weird at times, and the film would've benefited from some small breaks in the action to allow the viewers to be more emotionally impacted.

72/100
Star Wars: Episode II – Attack of the Clones (2002) is a clear improvement over the first of the three prequels. Whilst it's by no means pretty, it is way less ugly than it's predecessor, and even features slightly less boring cinematography. Furthermore, and this is the biggest improvement, the pacing is improved drastically. Sure, there's still some weird scenes that spew important information in an immersive-breaking way, but overall the film manages to stay on track and doesn't get nearly as distracted as Episode I tended to get. Something that's very welcomed as the story is just as intriguing as was the case for Episode I. The only thing I'd say is worse than it's predecessor, would be the dialogue, as Anakin just comes off as weird and random. But that's a minor thing.

So overall, Star Wars: Episode II – Attack of the Clones (2002) is an improvement over its predecessor in just about every way, even though it still isn't an amazing or even great film.

65/100 (Rounded Up)
I finally decided to review Star Wars: Episode I – The Phantom Menace (1999), considering I'll soon be watching Star Wars: Episode III – Revenge of the Sith (2005) in my local theatre. I haven't watched any Star Wars project in a while, so it was definitely about time.

Quite quickly I was rather positively surprised by the writing, and that remained a fact throughout. I think the story is really good, with a nice balance between action and politics. Unfortunately the film is just plain ugly. Even the original trilogy looks WAY better, which does say a lot. The CGI is really poor, making me wish they would've just used miniatures. Furthermore the cinematography is also just boring. And even though some great performances help the film, the visuals are not the only thing holding it back. Because holy shit it's paved irregularly. There's a whole lot of stuff that's really important, that's just dropped in there in such an unnatural and borderline immersive breaking way. Therefore it's just that much weirder that the film decides to spend so much time on the most irrelevant things ever. Throughout the pacing constantly changes and it's not great.

In , Star Wars: Episode I – The Phantom Menace, probably did deserve the bad reviews it got upon release with it being so ugly and poorly paced that not even the interesting story and great performances make up for it.

84/100
I'm not sure how, but this film just completely hooked me. Great story, great writing.

This review may contain spoilers.

73/100
The score is absolutely insane here. Though not quite on par with Sinners (2025), it's one of the best scores of the year. I think the performances are just as stellar, and I really enjoyed the cinematography as well. But I'm not quite sure what to think of that ending. It's a bit too ”annoying“ for me as we've just spent the entire film watching him try to hunt down these people, only for the resolution to have absolutely nothing to do with all that hunting. Furthermore the plot twist was just a bit meh. I reckon I would've enjoyed it a lot more if she had already killed his nephew or if he himself was murdered in place of his nephew. However, none of that happened, and they end it off with a sequel tease.

There's a lot of potential here, and in so many areas it's great. I really hope the sequel, if one is made, manages to produce a better ending, because that really is the only thing that's keeping this film away from 4 or even 4½ stars.

43/100
Really lame to seperate the only two female protagaonsists from the main part of the plot for such a long time.

81/100
Crazy how y'all love The Substance (2024) but hate The Neon Demon (2016)... Also wild to call Refn misogynistic when y'all call Lars von Trier the best danish director ever...

Commentary is not endorsement or glorification. I'm kind of tired of having to say this, because man it was the exact same with Poor Things (2023). Refn's style isn't for everybody, I mean especially this is really "art-housey" so it's understandable to critique stuff like that. But calling it misogynistic when you don't have any better arguments than "showing things is glorifying them!" is such a joke.

NWR's filmography is simply unmatched when it comes to visual style and soundtrack.

Thank god we have him. Haters are gonna hate.

This review may contain spoilers.

52/100
Despite the cringe name, iHostage (2025) isn't all terrible. It's obviously the type of film made to entertain its audience rather than make them reflect, with it's heavy emphasis on both suspense and danger.

At times the film showed a desire to want to unravel the hostage taker, Ammar Ajar, perhaps trying to make us, the audience, reflect on who really is to blame when a mentally ill man feels let down by the system meant to save him. Unfortunately director Bobby Boermans never really dares to go beyond the surface with that, making it seem more like he only has it in the film to make Ammar Ajar's motive fit with the motive of the real life situation it's all based on.

Even though I was a bit disappointed with that decision, I have to it that Boermans really does a great job with building up the suspense throughout the film. It's truly impressive, and only makes the ending that much more frustrating. I mean, Boermans has spent around 1½ hours building up the suspense, showing gunmen pointing at the building, teasing that the special forces are willing to rush the building despite the danger of it, and yet it all ends so anticlimactically with the hostage just running away.

Of course that was done to make the plot coincide with the real life event, but come on, it's not a documentary. I just don't see why the film has to be so shallow and suspense-focused in it's build up to finally be melancholic in the end, trying to get us to mourn the entire situation. Perhaps that ending would've worked if Boermans had dared to divert from the real life story, and humanize Ammar Ajar a bit, before the ending. Pretty hard to feel bad for a guy that never reveals his motives.

In the end the film just realizes too late that it wants to convey a deeper message, and that's a damn shame.

91/100
What an experience. This is definitely the surprise of the year, and a huge contender for Best Original Score at the Academy Awards. Ludwig Göransson never ceases to amaze me. Ryan Coogler's story is incredibly solid, and so is the cast that only help making this film an absolute must watch. Even though it's early, this film is looking good for a Best Picture nomination as well. I'm very happy I got to experience this - especially that one scene where the score just goes wild.

94/100
12 Angry Men (1957) is a testament to the fact that a higher budget doesn't necessarily mean a better film. I find it reasonable to assume that 80% of the budget likely went to salaries, and still this film is almost perfect. Absolutely impressive.

74/100
State of Play (2009) is one of those great slow-paced political thrillers that keep you right on the edge of your seat. The plot is definitely quite a ride. Russel Crowe does a great job alongside Rachel McAdams throughout, making for a great experience. Or - at least up until the end. Because I do find it really unfortunate that the investigation that's been brewing throughout the entire film, is discarded for a twist, which in means that we get a boring "he killed her so he's bad" ending, rather than the exposure of a company about to monopolize homeland security. Really a bad choice which is also what keeps this film from four stars.

78/100
The overarching plot works really well, but the subplot that tries to look into power dynamics in relationships really just doesn't work that well. Great film though.

79/100
It's way too late for me to write a good review, but I will say that Juror #2 is an incredible thriller that leaves the viewer with the exact right questions. Great acting throughout from Nicholas Hoult, Toni Collette and - of course - J. K. Simmons. The pacing is rather slow, but it never got boring to me - kind of like was the case with Ides of March (2011). Speaking of political thrillers, this - as a legal thriller - for sure has a lot of the same elements that make me love that genre. It's definitely worth a watch, even though the events are a bit far fetched.

76/100
I honestly think it's a shame that Tetris (2023) didn't get a chance in theaters. I'm sure it would've been grand on the big screen. Obviously it's not a perfect film, and it suffers a lot from the classic Hollywood-syndrome where stories are polarized. Though I do appreciate a more nuanced representation of the Soviet Union, something that is as rare as the Hollywood-syndrome is common. Personally, I don't know what to think of the pacing. It's really fast in the beginning, before it settles into its plot - kind of like A Minecraft Movie (2025). But even though it may not be a masterpiece, and even though it may be a very Hollywood-esque film, I enjoyed it a lot. Likely because I'm a huge sucker for Tetris, and the story behind it.

47/100
Thor (2011) more like Green Screen.

52/100
The Incredible Hulk (2008) more like The Incredible Panning Shot 💀

38/100
Another unoriginal rom-com with boring music, boring cinematography, boring everything. Sydney Sweeney is good, Glenn Powell is okay, the rest is questionable. A part from GaTa, that's as amazing as he always is.

52/100
Going into this, I har no idea about what to expect. Now, leaving the theatre again, I'm still not sure exactly what to say. It's just a very safe action film with the whole tech element. The plot isn't particularly good but it also isn't particularly bad. At tiles it was played do safe that it got boring, which is without mentioning how predictable the entire plot is. The whole underappreciated nerd thing is also just lame, which in turn made Rami Malek's performance seem as off as his character.

So being brutally honest, there's nothing original about this, but it's regardless a film that action lovers will enjoy.

54/100
Toscana (2022) was the very first Danish Netflix film, so it understandably played a rather big role in the media back then. To many, it was a positive sign for the Danish film industry that Netflix were going to enter the market, as they thought it would bring a lot more nuance and originality to the industry. Unfortunately, >Toscana is not a great example of that. The acting from Anders Matthesen is certainly not bad, and I'd even say that the overall acting between the two leads, Matthesen and Cristiana Dell'Anna, is rather good. Furthermore it's clear that director Mehdi Avaz wanted to create a very scenic film. Sensual music, delicious food and scenic views all play a big role in the film - something I really do appreciate. Unfortunately these sensual scenes just don't have the same impact with the writing that's present. Both main characters are decent characters, but the story is just so cliché and honestly hard to connect to. It's just too surface level for me. Adding some pretty average acting performances from the other actors on top of that, and those slow paced sensual scenes become more boring than beautiful.

In the end, it's just a basic romance film that tries too hard to be sensual and beautiful. Something that hurts to say, as I think there were a lot of good aspects hidden in here.

46/100
Why's this a film?

33/100
Plain ugly to look at and some really bad writing on display. Way better when I was like 8.

88/100
Coziest Christmas film around.

43/100
I assume that midway through the production, everyone realized how shit this was going to be, and they then just decided to focus on the memes.

35/100
Google propaganda does not go hard.

25/100
High-key ass.

83/100
Zinnini Elkingtons første film er nok den stærkeste debutspillefilm jeg har set siden Mads HedegaardsFremmed: Det første opgør (2025). Ja, jeg er faktisk tilbøjelig til at sige den er bedre.

Filmen starter ud med en helt vanvittig one-take sekvens der virkelig tager os ind i hovedet af den fantastiske læge Alex. Hun har styr på det hele, og det ses tydeligt med det flow som one-take sekvensen giver. Men da en hændelse pludselig for jorden under hendes selvværd til at ryste skifter filmen markant karakter. Klipningen går på et splitsekund fra at være ikke-eksisterende til altoverskyggende. Der klippes hele tiden, og det er tydeligt at Alex knap selv kan holde styr på hvad der sker hvornår, præcis som os der ser filmen.

Jeg elsker også kameraarbejdet er helt absurd godt. Ligesom klipningen afspejler det konrraster i Alex og hendes verden på en vildt fed måde. Det er faktisk imponerende at en film med så meget "kaos" kan virke så kontrolleret og sublimt fortalt. Selvfølgelig hjælper det kun når skuespillerne gør et helt fænomenalt stykke arbejde; herinde især Özlem Saglanmak der virkelig leverer noget fra den aller øverste hylde.

Til sidst vil jeg runde af med at rose filmens soundtrack, og generelle lydarbejde der tilføjer endnu et lag til filmen.

En virkelig stærk og samfundsrelevant debutfilm der klart er værd at se.p

88/100

50/100
I finally gave into watch As Above, So Below (2014) after it being hyped to absurd amounts on TikTok. I first want to credit the filmmakers for making this on such a small budget, but the praise also kinda ends there. The visual representation of "hell" was an absolute snoozefest, as most of the cinematography was. It felt lazy to give all the characters POV cameras, almost as if the filmmakers didn't feel like working within the restrictions of a single person carrying the camera. The sound department is also rather odd, as the characters sometimes hear what we hear, and other times simply don't react to these loud sound effects I suspect were mostly added to scare us, the audience.

In of horror, the film relies a lot on atmosphere. This atmosphere is so boring visually, but at the same time so rich in of audio (ignoring the inconsistencies). I really do believe this film could've been something great, if it dared to rely on something else than jumpscares. Besides, that hope is completely put to bed with that absurdly underwhelming ending.

A great concept, executed poorly.

95/100
Today I was privileged enough to go back to 2010 for approximately 140 minutes. Inception (2010), was back in cinemas throughout my country, and I was only further privileged by the fact that I haven't watched Inception for many years. Actually, today, I felt as I would've done had I caught this in cinemas 15 years ago. Barely knowing anything of the plot and getting to watch an absolute masterpiece. So much about this film, is practically perfect. That's everything from the score, to the cinematography, to the writing and so on. I left the cinema completely beside myself, knowing nothing but the fact that I had just experienced one of the greatest endings in one of the greatest masterpieces ever.

55/100
In this lighthearted coming of age film, we follow Margaret, a tween who's trying to figure out who god is, and how he can help her become an adult as fast as possible. Throughout the classically structured coming of age story, Margaret not only grows physically, she also becomes a better person who feels more comfortable with being torn between religions. I do wish that the story was a bit more fleshed out, and I believe the cinematography and especially the score (soundtrack?) could use a lot of work. It is however, still quite nice.

62/100
Jonah Hill's directorial debut is certainly not terrible. There's multiple times where it actually feels like a nice coming of age story, though it obviously doesn't reinvent the wheel, and I did personally find the cinematography, mixing and editing to be extremely uninspiring.

On the other hand, the music was decent, and the prop work, costume work as well as the settings were all really good with a lot of nice attention to detail. There's definitely something in here, even though it isn't the greatest coming of age film of all time.

93/100
The story of Seita and Setsuko is so heartbreaking and unique all at once. It's not just a film about the consequences of World War 2, but it's also a film about family and classism. Both Seita and Setsuko feel so incredible real, that it's impossible not to get attached to them. Absolutely stunning writing, and great animation. An amazing film.

85/100
Rounded Up
There really just is some absolutely amazing cinematography in here, so even without mentioning the AMAZING writing, this is most definitely worth a watch.

38/100
Snow White (2025) is supposedly an attempt at modernizing Snow White and the Seven Dwarfs (1937). But it honestly just isn't a modernization at all. Sure, there's way less dependence for Snow White on the "prince" (rebel captain) in this film, so kudos for that. Still, it only barely es the Bechdel test (if it even does), and judging from the very diverse criticism the film has received throughout development from the little people community, lack of gender diversity was far from the only problem with this "modernization". One could definitely wonder why Disney didn't leave this story on the shelf, if they truly wanted to be progressive. And the only reason I can think of, for them not to, is corporate greed.

Focusing a bit on the film itself, the plot is simply horrible. I appreciate the fact that Disney wanted to change the story so it didn't become a 1:1 remake, but oh my, it's a bad attempt. The plot follows roughly the same major plot points as the original, with some extra put on at the end. However, to make the film more "realistic" or "appealing" (honestly, i don't know what they went for), they added som extra lore. Not a bad idea, but the problem is that none of it is explained... The lore, instead of being shown to us, is just thrown around as remarks like: "She made the people into a loyal army" (paraphrasing), without an explanation of how. This is repeated many times, somehow making the plot feel rushed and even less informative than the original.

Rachel Zegler does a great job, no surprise there and her singing is great too. The same cannot be said about Gal Gadot. Her acting is decent, but for some reason her g was just not my cup of tea. Finally moving on to a big chunk of the cast, the seven "CGI-people" (that are called dwarfs in the original), I'm honestly speechless. It's so wrong to look at in every single way. Like, the more I looked at them, the more uncomfortable I got. This is kinda the theme for all CGI throughout the film, which is a major letdown, just like the entire film is.

Do not watch this under any circumstances. Or corporate greed will win.

88/100
La Jetée (1963) is a film only consisting of still images, a part from one single moment. It's a really cool tool that allows Chris Marker to not only challenge the norm, but also control exactly what us viewers focus on. Furthermore the narrator is poetic in a way that gladly reminded me of literary works from the Modern Breakthrough. Definitely one of the biggest science fiction works ever.

66/100
The amazing performances from the equally well-casted ensemble almost manages to hide how poorly written the film really is. Cinematography is also quite uninspiring like the score is. It's honestly rather unfortunate, because in the first two acts, the great concept actually does shine through, but in the final act stuff just starts to fall a part. Also the dialogue was so odd (cringe) at times. But hey, at least it was really progressive and sweet.

85/100
Whiplash (2014) is absolutely amazing. The cinematography is out of this world and J.K. Simmons is phenomenal. That final scene is unreal as well.

• Speed Racer
• The Neon Demon
• 2001: A Space Odyssey
• The Wizard of Oz
• Dekalog
• Evangelion: 1.0 You Are (Not) Alone
• Another Round
• Jigoku
• My Dinner with Andre
• House

...plus 32 more. View the full list on Letterboxd.

I want to watch at least 365 unique films in 2025 with an average length of 90 minutes. So whilst shorts are accepted, the total runtime of the movies I watch should be at least 32850 Minutes.

In the notes I will put the total number of minutes watched at the time of the entry, the average length of every film watched at the time of the entry, as well as the date of watching.

1. Saltburn

   Jan 2nd
   131/32850 minutes (avg: 131 minutes)

2. Civil War

   Jan 3rd
   240/32850 minutes (avg: 120 minutes)

3. The Ides of March

   Jan 3rd
   341/32850 minutes (avg: 113.7 minutes)

4. The Death of Stalin

   Jan 3rd
   447/32850 minutes (avg: 111.8 minutes)

5. IKEA elsker træ

   Jan 4th
   506/32850 minutes (avg: 101.2 minutes)

6. When the Wind Blows

   Jan 5th
   590/32850 minutes (avg: 98.3 minutes)

7. Fatherland

   Jan 6th
   696/32850 minutes (avg: 99.4 minutes)

8. The Wonderful Story of Henry Sugar

   Jan 6th
   735/32850 minutes (avg: 91.9 minutes)

9. The Rat Catcher

   Jan 7th
   752/32850 minutes (avg: 83.6 minutes)

10. The Swan

    Jan 9th
    769/32850 minutes (avg: 76.9 minutes)

...plus 95 more. View the full list on Letterboxd.

All films I've watched (as of the end of the showdown) eligible for the 210th Letterboxd Showdown. The list is ranked by their position on my media ranking as of the end of the showdown.

The criteria for Showdown №210 are the following:
- The films must be named after a landmark, neighborhood, city, state, country, or continent.
- The films must be named after a specific place.

Note: It's quite ambiguous whether the films are allowed to be named after "fake" locations, e.g. The Grand Budapest Hotel (2014), so I decided to keep it to real life locations.

1. Straight Outta Compton
2. The Florida Project
3. Notting Hill
4. Paddington in Peru

Every movie/show/short I've ranked, by score (out of 100) in 2025. Tiebreaker is my personal preference.

1. Oppenheimer

   98/100

2. Inception

   95/100

3. Past Lives

   94/100

4. La La Land

   94/100

5. The Brutalist

   94/100

6. Grave of the Fireflies

   93/100

7. Dune: Part Two

   93/100

8. A Different Man

   92/100

9. La Jetée

   88/100

10. Tenet

    88/100

...plus 81 more. View the full list on Letterboxd.

Every movie/show/short I've ranked, by score (out of 100). Tiebreaker is my personal preference.

1. Oppenheimer

   98/100

2. Interstellar

   96/100

3. Whisper of the Heart

   95/100

4. Drive

   95/100

5. Inception

   95/100

6. Past Lives

   94/100

7. La La Land

   94/100

8. The Brutalist

   94/100

9. Loving Vincent

   93/100

10. Grave of the Fireflies

    93/100

...plus 230 more. View the full list on Letterboxd.

✔️: 12/20

The following list is my predictions for who will win what at the 97th Academy Awards (minus shorts). The notes have each film's predicted total academy awards, as well as what categories i think the film will win.

For my wishlist of winners, I've made another list

• The Brutalist

  Total Academy Awards: 5

  Among them:
  - Actor in a Leading Role (✔️)
  - Cinematography (✔️)
  - Music (Original Score) (✖️)
  - Best Picture (✖️)
  - Production Design (✖️)

• Anora

  Total Academy Awards: 2

  Among them:
  - Directing (✔️)
  - Writing (Original Screenplay) (✔️)

• Conclave

  Total Academy Awards: 2

  Among them:
  - Film Editing (✖️)
  - Writing (Adapted Screenplay) (✔️)

• Dune: Part Two

  Total Academy Awards: 2

  Among them:
  - Sound (✔️)
  - Visual Effects (✔️)

• Wicked

  Total Academy Awards: 2

  Among them:
  - Costume Design (✔️)
  - Makeup and Hairstyling (✖️)

• A Real Pain

  Total Academy Awards: 1

  Among them:
  - Actor in a ing Role (✔️)

• Emilia Pérez

  Total Academy Awards: 1

  Among them:
  - Actress in a ing Role (✔️)

• Flow

  Total Academy Awards: 1

  Among them:
  - Animated Feature Film (✔️)

• I'm Still Here

  Total Academy Awards: 1

  Among them:
  - International Feature Film (✔️)

• Sing Sing

  Total Academy Awards: 1

  Among them:
  - Music (Original Song) (✖️)

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

The following list is my hopes for who will win what at the 97th Academy Awards (minus shorts). The notes have each film's predicted total academy awards, as well as what categories i think the film will win.

For my predictions of winners, I've made another list

• The Brutalist

  Total Academy Awards: 6

  Among them:
  - Actress in a ing Role
  - Cinematography
  - Music (Original Score)
  - Best Picture
  - Production Design
  - Writing (Original Screenplay)

• Conclave

  Total Academy Awards: 3

  Among them:
  - Actor in a Leading Role
  - Film Editing
  - Writing (Adapted Screenplay)

• Anora

  Total Academy Awards: 2

  Among them:
  - Actress in a Leading Role
  - Directing

• Dune: Part Two

  Total Academy Awards: 2

  Among them:
  - Sound
  - Visual Effects

• A Different Man

  Total Academy Awards: 1

  Among them:
  - Makeup and Hairstyling

• A Real Pain

  Total Academy Awards: 1

  Among them:
  - Actor in a ing Role (✔️)

• Flow

  Total Academy Awards: 1

  Among them:
  - Animated Feature Film (✔️)

• Gladiator II

  Total Academy Awards: 1

  Among them:
  - Costume Design (✖️)

• Sing Sing

  Total Academy Awards: 1

  Among them:
  - Music (Original Song)

• Soundtrack to a Coup d'Etat

  Total Academy Awards: 1

  Among them:
  - Documentary Feature Film

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

Genres that are so specifc that no more than 50 Hollywood budget films exist within it.

The lists has my favourite film from each genre, and the note has the name of the genre.

• Drive

  Neon Noir

• The Da Vinci Code

  Theological Thriller

• Profile

  Screenlife

The top 20 movie/show/short I've ranked, by score (out of 100) in 2023. Tiebreaker is my personal preference.

1. Interstellar

   96/100

2. Whisper of the Heart

   95/100

3. Drive

   95/100

4. Shutter Island

   92/100

5. Neon Genesis Evangelion: The End of Evangelion

   89/100

6. The Truman Show

   88/100

7. The Grand Budapest Hotel

   88/100

8. Barbie

   87/100

9. Eternal Sunshine of the Spotless Mind

   86/100

10. Baby Driver

    85/100

...plus 10 more. View the full list on Letterboxd.

The top 20 movie/show/short I've ranked, by score (out of 100) in 2024. Tiebreaker is my personal preference.

1. Oppenheimer

   98/100

2. Whisper of the Heart

   95/100

3. La La Land

   94/100

4. Loving Vincent

   93/100

5. Dune: Part Two

   93/100

6. Dead Poets Society

   92/100

7. Dune

   89/100

8. The Holdovers

   88/100

9. The Truman Show

   88/100

10. Everything Everywhere All at Once

    88/100

...plus 10 more. View the full list on Letterboxd.

• The Holdovers

Screenlife or computer screen films is a form of film in which events are shown entirely on a computer, tablet or smartphone screen. It became popular in the 2010s owing to the growing impact of the Internet and mobile devices.

• Missing
• Thomas in Love
• The Collingswood Story
• CTRL

• Shutter Island
• Bridge to Terabithia
• Pearl
• Coraline
• Pride & Prejudice
• Clueless
• Whisper of the Heart
• The Social Network
• Drive
• Damsel

...plus 10 more. View the full list on Letterboxd.

• Drive