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Been a fan of the John Wick franchise since the first one dropped back in 2014, so I was cautiously excited for this one to say the least. My biggest fears going in was the obvious absence of Keanu Reeves as the lead character, but mostly the lack of Chad Stahelski’s direction. Having watched the Peacock series ‘The Continental’ I was praying it wouldn’t end up being whatever that shit was.. and surprisingly enough, this wound up being an enjoyable, entertainingly worthy spin off that delivers a ton of unique action sequences/set pieces along with some new lore.

Since her brief appearance in ‘No Time to Die’ I already knew Ana De Armas would deliver on the action front and boy did she. One of my favorite things about the movie is how well they compensated for her size/weight disadvantages as a female assassin. The way she creatively handles herself in fight scenes is great. My favs involving grenades, a knife/pistol, ice skates, and that Flamethrower sequence!! That’s not to say the action is realistic though, because like many of the John Wick films before it, you are definitely gona be suspending your disbelief from time to time. Scenes where you’re questioning why she’s not missing a limb or her scalp.

Mixing the story in between John Wick 3 and 4 worked surprisingly well imo and didn’t seem forced or inconsistent. Seeing Keanu suit back up to take out the trash was just awesome. But.. given this is a film that firmly exists within the John Wick universe I would be remiss if I didn’t acknowledge the amount of JW influence this film wears on its sleeve, to a fault. From trying to make their own version of the nickname, ‘Baba Yaga’ to the final moments of the film mirroring the finale of John Wick 2 to set up its follow up almost exactly. Way too familiar for my taste. The first halfs pace is undeniably slower than the seconds with plenty of questionable dialogue from characters outside of the main roster.

At the end of the day, this movie isn’t breaking new ground. It is 1000% more of the same with a different protagonist and director. So as long as you welcome that formula, you will have a solid time like I did. All the action is 5/5 quality, its all the other stuff that feels lesser unfortunately. I can honestly imagine the same stunt and production team from the Stahelski crew being just as involved with this production as they were with every other one. Probably why I didnt mind Len Wiseman’s directing too much, you could still feel Chad Stahelski’s presence through all the stunt choreography and visuals/aesthetic. A pleasant surprise of a spin off. PS seeing Lance Reddick almost made me tear up.

“I thought you were retired?
I’m working on it.”

The final mission, whether or not I choose to accept it.. Man, what a sendoff! First and foremost, thank you Tom Cruise for this iconic era that has easily become one of the best franchises to exist in the medium. This was a more than fitting end for the saga and I am unapologetically glad I got to experience it in IMAX. 

Basically everything we’ve come to appreciate/expect from these movies is cranked up to 11 in this one. The stunts are crazier. The stakes are higher. And every single character is committed & locked in to see this final mission through. The 3rd act is genuinely a masterclass in tension & suspense, I kept catching myself gripping my hands too tightly it was so intense. There is so much to enjoy in this film, but plenty to criticize also dont get me wrong. This is not the same level of quality that both ‘Fallout’ & ‘Rogue Nation’ gave us. Especially ‘Fallout’ (Best MI and All Timer action movie period)

The first act is one of the most overwhelming displays of exposition dump I’ve seen in quite some time. Not even ‘Avengers: Endgame’ had this many flashbacks & flash forwards just to get the audience up to speed on whos who and whats going on. I fully understand that this franchise spans multiple decades, all the way back to the 90s, so most people aren’t gonna every little detail but it was honestly way too much at times. Another issue I had was the film not taking full advantage of its IMAX format. There was probably only one sequence (maybe 2?) that I truly appreciated the wider scope and larger aspect ratio. Why they didnt just keep cinematographer Rob Hardy (MI Fallout) instead of replacing him with Francis Taggart (MI Dead & Final Reckoning) I will never understand.

That said though, this movie is a nonstop thrill ride of high octane action and emotional story beats that made me feel more invested with these new characters than ‘Dead Reckoning’ managed to do. The story even felt more relevant now than it did in 2021 with its themes of a global AI takeover. Skynet comparisons be damned lmao. If this truly is Ethan Hunt’s last mission, I think this was a good way to go out. It strangely doesn’t feel like a finale tho, not sure why. Either way, you will be missed Ethan. (Until the inevitable sequel/reboot smh)

“For those we hold close, 
for those we’ll never meet”

Two words, SALLY HAWKINS! What a powerhouse lead performance. Both she & Jonah Wren Phillips absolutely delivered in their roles. Got to see an early screening for this one and let me just say that this movie is pure genre bliss for us horror fans. The Philippou brothers have killed it in their sophomore outing, following up ‘Talk to Me’ was never going to be easy.

There is something so strangely satisfying about a horror film that just goes for it, and this one definitely does. In more ways than just one. No cheap jump scares here, much more psychological with its fair share of graphic imagery/violence. Its not perfect by any means, but damn if that opening scene didn’t immediately sink its teeth into me. The atmosphere here feels oppressive in the best ways possible, you can almost feel the griminess seeping through the walls and the rotted filth beneath the floorboards. 

Unexpectedly funny at times too, the tone refused to be put in a box it would go from harrowing to playful. But when the themes of grief & guilt start to come into play, that’s when an eerie quietness starts to set in, they do a good job at making you feel like something unspeakable is lurking around the corner. Im all for slow burn horrors and this one is definitely in that lane. The makeup and practical gore moments were all chefs kiss, it’s not “gorey” per se, but it’s definitely graphic in its engaging second half.

The films pacing on the other hand? That’s a different story. Definitely my biggest gripe with the film. Something about it felt so sluggish toward the middle and for a movie with a 1 HR & 39 MIN runtime it felt longer weirdly, it for sure picks up though. And theres definitely some Hereditary influence going on here, but it still manages to be its own thing thankfully. Also for the record, I was 100% expecting a different ending but its fine.

I thought this was awesome despite its flaws, and a more than worthy follow up for the Philipous. A24 is so great at finding up and coming filmmakers with unique voices like these sickos. I look forward to their future work, hoping ‘Talk 2 Me’ delivers but I was honestly happy to see them going for something more original first before an immediate sequel. Best horror of the year so far.

“Pipe.. Grapefruit”

An undeniable classic thats easily one of the most influential thrillers ever made. Its bones & DNA can be found in everything from obvious projects like Sorcerer to less obvious ones like Mad Max: Fury Road. Clouzot manages to create nerve chilling tension not with music, but with complete silence, nervous sweat, and the ever so present threat of imminent death via a nitroglycerin explosion. It’s a masterclass in suspense, especially once the trucks finally hit the road.

But thats the thing.. actually getting to that road takes way too much time unfortunately. The first half, while it does establish important character and story elements, drags due to its over explained exposition that consequently softens the impact of the leaner and more engaging second half. And while the climax should be devastating, it landed with an empty thud for me making its final moments feel abrupt, and extremely dated by today’s standards.

Still though, when it’s finally going, it’s tremendous filmmaking, especially for its time. A pioneer in tension that more than deserves its place within the medium, even if some edges have dulled over time.

“When you ask for trouble, 
it always comes.”

Not the comeback I was hoping for as an MCU fan, but decent enough. If you get past the patented forced comedy, predictable story beats, and hollow connections to past projects, theres actually something kind of compelling going on here. In a weird way, its one of the darkest & most different MCU films that have come out in recent memory, if not ever.

When the movie isnt going for generic laughs or thrills it starts to explore themes of isolation & trauma through the lens of Sentry’s abilities. I appreciated the 2nd halfs commitment to depicting mental health and the void we all fall into that feels like an endless loop of fear/resentment. Don’t wanna give the story too much credit though because the dialogue and plot contrivances are borderline atrocious most times. As well as most of its “comedy” (Red Guardian im looking at you smh).

Oddly but unsurprisingly enough, this one’s a mixed bag of a few fresh ideas and regression to all too familiar tropes. This could’ve been something very interesting had they trimmed the excess/unnecessary fat. Chemistry between the cast was fun mostly, if you can ignore the cheap quips here and there, and a few action sequences were executed fairly well with some solid camerawork. For whatever it’s worth, the post-credit scene definitely got me excited for the MCU’s future.

“Righteousness without power,
 is just an opinion.”

First time watching this one and for context, I watched In the Mood for Love for the first time a few years ago and didn’t end up loving it the way so many do. This films a different story weirdly enough, Wong Kar Wai’s meditative, romantic noir of a film here was something I appreciated more than I thought I would. The film captures a throbbing pain of loneliness and unrequited love with a style thats almost hypnotizing. You can feel the heartache in practically every frame, along with this strange sense of nostalgia in the bustling underbelly of Hong Kong at night. The dynamic of having a split narrative landed for me as far as what it’s meant to do, contrast these different yet so similar scenarios of fleeting love & melancholy, marched to the drum of missed connections.

Wong Kar Wai has a true knack for capturing these fleeting emotions and fragmented moments in what can be perceived as a monotonous existence. Chungking Express feels much looser and more spontaneous than its more formal counterpart, In the Mood for Love, but that’s exactly its charm for me. Love isn’t slowly paced here, it’s messy, abrupt, and charmingly ridiculous. Wong crafts an alluring mood here through his use of music, color, and editing that shapes together a cityscape so alive within the confines of loneliness and possibility. I enjoyed the films splintered yet brisk pace compared to the precision and restraint of In the Mood for Love, they are both brilliant in their own ways without question, and I know most might lean the other way and maybe even not love love this one. But Chungking Express for me feels like an aching heart awkwardly beating out of rhythm, and I loved it all the more for it.

"If memories could be canned, 
would they also have expiry dates?
If so, I hope they last for centuries."

I am a massive Gareth Evans fan with both Raid 1 & 2 being some of my favorite actions films of all time, Raid 2 being my GOAT. So it should come as no surprise when I say that I have been eagerly looking forward to this one. Not to mention I freaking love Tom Hardy who’s unfortunately been wasting away at Sony with his Venom franchise lately. On that note, It’s also been 11 years since Raid 2 and 8 years since Apostle so Evans has been wasting away all the same. This movie serving as a sort of comeback for both of them makes me so happy, and they both undoubtedly brought and killed it.

Evans once again proves why he is the master of bone breaking, blood soaked action. Every single gunshot in this movie carries a deep seated/beyond intense weight behind it, with every bullets impact feeling HEAVY. Double tap? Try Quintuple tap! There is so much wonderful excessive violence to appreciate in the second half of the movie (first half takes quite a bit to get going). The violence here isn’t just stylized, it’s tangible, you can absolutely FEEL it, it’s both ugly and strangely beautiful. The choreography is brutal, its set design grimey, camerawork precise with a few minor CGI gripes (car chase scenes smh), a serviceable narrative, and action sequences that erupt with a ferocity that leaves you breathless while grinning from ear to ear at just how far Evans pushes it. 

Hardy was so great as the tank with a heart who gets shit done. At times it almost felt like he was harkening back to his Mad Max ways, just a thoroughbred badass without having to say anything. You know what you’re getting with movies like these, imperfect mayhem that isn't reaching for profundity. It’s honestly a mini miracle that Havoc even exists, let alone it turning out this good. This gritty crime drama was stuck in production hell for what honestly felt like forever. Evans was plagued by delays, countless reshoots, and rumors that it might never see the light of day. And yet somehow against all odds, the finished product blasts onto Netflix with an intensity that feels like it was almost fueled by that productions chaos. Is it groundbreaking? No. Is it what us Evans fans were hoping for? Most definitely.

God I love films like these, so human, so visceral, so pure! Mike Leigh is a master at crafting authentic realism and this one delivers that in spades, I’m still cleaning tears off my face. This film was like an emotional atom bomb for an empath like me. A beautifully quiet but aching portrait of identity, family, and the messy truths that we all carry.

Screenplay is incredible. I was hanging on every word of meaningful dialogue from these complex characters. The performances felt so raw it honestly felt like I was eavesdropping, especially Brenda Blethyn’s. She gave such a heart wrenching performance I wish I could’ve jumped through the screen to give her a hug. Leigh’s ability to hold a frame so the audience can soak in the scenes emotion was just amazing, the stillness of these shots worked perfectly for the film. It was just so honest, human storytelling at its peak.

“We’re all in pain. 
Why can’t we share our pain.”

It’s an incredibly tough task to bring something fresh to the vampire genre, one that has been bled dry (pun intended) by decades of films trying to reinvent the wheel. Coogler’s Sinners clearly wants to push boundaries, and at times it flirts with originality in really compelling ways. But for every bold idea it introduces, it seems hesitant to fully commit. The result is a well shot/well scored/well acted, culturally rich, genre mashup of a film that dances on the edge of something new without ever fully stepping into it. You can feel Coogler reaching for something different, but the execution left a bit to be desired for me.

That said, I have to give credit where it’s due this thing looks incredible. Shot in 70mm IMAX & Ultra Panavision 70 designed specifically for the format, the visual scope of Sinners is nothing short of stunning. There’s a grandeur to the way it’s framed. The intimacy of shadowy alleyways & the vastness of sun scorched deserts all give the film a real visual identity. As well as some awesome Tarantino esque levels of blood/violence. It’s just a shame the writing couldn’t keep up. The story lacks the sharpness and weight to match the powerful aesthetic it’s wrapped in. Regressing into tropey set pieces or cliche story beats that we’ve seen many times before like From Dusk til Dawn or even The Thing, just to name a few.

Still, I respect the ambition of this film. Using vampirism as a lens to metaphorically explore cultural appropriation was unique and welcomed. And in one specific, surreal, almost dreamlike sequence, Coogler gets very close to saying something truly profound. Unfortunately, the script never quite evolves beyond its broad strokes. Don’t get me wrong, the commentary is there, just not fully realized.. like the film itself: thoughtful in its concept, but never biting enough to draw real blood. An undeniably enjoyable & entertaining film overall with some great music, just not the masterpiece I was hoping for.

Culture Vulture? Nah..
Culture Vampire? Oh Yeah!

This co-directing venture by Alex Garland and Ray Mendoza is a brutal and unflinching experience of a film that drags the viewer headfirst into the harrowing chaos of combat. From its opening moments, the film establishes a nightmarish rhythm that is equal parts adrenaline and tension, masterfully heightened by some of the most intense sound design and mixing I’ve heard in recent memory. Every gunshot, distant mortar, and labored breath is rendered with such precision, immersing the audience in a sensory overload so visceral it borders on overwhelming (Especially in IMAX). It’s a genuinely well made film, one where the technical prowess behind the audio becomes a weapon in itself, pummeling the viewer with the cruel, unrelenting sounds of modern warfare.

What makes Warfare even more powerful is its refusal to editorialize. The story is stripped to its bones, simple and unvarnished. Set in one location we follow a group of soldiers with no grand mission beyond survival. There’s no overarching message, no emphasized political slant, it simply is. The facelessness of the opposing force is deliberate, articulating that the antagonist here isn’t a country or ideology, but war itself. By avoiding any romanticism or glorification, the film maintains an unwavering moral clarity, that war is horror, war is loss, war is dehumanization. Garland and Mendoza let that speak louder than any monologue or flag waving ever could. Felt more like a horror than a war film in all honesty. (Joseph Quinns performance had a lot to do with that)

In the end, Warfare stands not just as one of the year’s best films, but as a definitive modern war movie that is uncompromising, technically breathtaking, and emotionally resonant. It will be a crime if it isn’t recognized in categories like Best Sound Design, Mixing, and Editing at the Academy Awards. This is exactly the kind of film many were expecting when Garland released Civil War, myself included.. something more raw, more grounded, and more compelling in its authenticity. Warfare delivers that on all fronts, and then some, in a tightly packaged 90 min runtime. Watch this in IMAX if you can.

I knew next to nothing going into this, and I am beyond glad that was the case. Strange Darling is as gripping as thrillers get, only, it couldn’t be further from most films within its genre. The cat and mouse dynamic here is completely flipped on its head and the plot’s unpredictability is as incredible as the decision to deliver the story non sequentially is, its non linear structure was just genius. The way the films power dynamics and perspective shifts mirrored its themes of deceit and not everything seeming as it appears was chefs kiss.

I also want to take a moment to applaud the use of 35 mm, that coupled with the films color design elevated so much of it for me. Every single character was showered with either bruised blues or radiant reds that bled into the lens of every frame. So much of it was visually striking in a way that almost reflected the pleasure/pain dynamic the two leads shared; where theres warm tones of sun bathed landscapes theres also rough shadows with high color saturation creating an almost dream like, borderline nightmarish sensation.

Willa Fitzgerarld was genuinely outstanding as the lead character she gave so much of herself in this role and it’s undeniable. Just continues to show why the Academy should overlook their dumbass genre bias. Kyle Gallner continues to prove why hes the most reliable and arguably underrated actor in the horror/thriller genre full stop, he was fantastic. Both of them absolutely brought it and played off each other beautifully. ing cast were kind of just there and served as glorified bowling pins. Certain plot beats towards the end felt a little bit contrived for how unpredictable the film mostly is but regardless, it’s a unique experience that more than delivered for me.

This is the side of A24 thats hit or miss for me to be completely honest, and this movie landed somewhere in the middle. It has some decent moments of comedy and violence that I found entertaining enough I guess, but was also littered with generic tropes and cliche beats.

Main positives for me was the surprisingly interesting lore of Unicorns that im amazed more movies havent tapped into before, as well as Will Poulter’s hilarious comedic timing. Having watched Dopesick for the first time recently its awesome how he can switch between his dramatic and comedic chops. Jenna Ortega had some solid dramatic moments too, not so much comedy though. Weirdly enough, Poulter felt like the only guy who understood what kind of movie he was in. Richard E Grant & Tea Leoni being close seconds. Paul Rudd was just fine.

As I said earlier, the unicorn premise and the overall lore it introduces was very interesting and fun, I just wish the movies story structure complimented it more. Instead, the narrative and how it all plays out felt super formulaic and derivative to a fault. Not to mention the CGI was not great, plenty of daylight scenes gave off video game cutscene vibes. Also wish the graphic violence was more consistent, with some sequences shining way more than others. Either way, I was entertained once the first half was over and the better second half played out, regardless of its drawbacks.

Keeping this Soderbergh train running I guess. Having seen Black Bag recently it made me curious about his other project he put out not too long ago, Presence (The man does not sleep). I have mixed to positive thoughts. Right off the bat, id say the biggest thing working against this movie is me having watched A Ghost Story for the first time just last year. So much of what this movie tries to do pulls heavily from its older brothers influence who did it far better. Thats not to say Presence isnt original in its own right. From a filmmaking standpoint this movie is so creative and executed brilliantly with its narrative framing of a ghosts POV perspective. However, my issues were not in the camera/technical work but in the story beats that felt less substantive and more muddled by comparison.

The familial drama dynamic is definitely compelling enough to drive the plot forward, but never really takes a life of its own. Its honestly more like set decoration for the main presence narrative. That said though, long time Soderbergh collaborator Chris Sullivan brought an unexpected level of heart to his role as the father. His emotional beats are what resonated most for me. He sort of served as the connective tissue bridging all these family and their respective struggles together. Almost the entire cast is solid tbh, with one large oversight unfortunately. One that diminished an impactful moment of dialogue towards the end for me due to their acting.

Ultimately, this wound up being a well paced and well acted experiment of a movie that isnt really breaking new ground whatsoever. I can understand why so many were upset feeling it was mismarketed/d but I disagree that its a reason to hate on it. I am always up for unique and fresh takes on familiar tropes if done in an engaging and purposeful way. The themes of loss, identity, and memory are very much here. Even if they are diluted versions. In the closing moments of the movie, there is this pivotal scene that occurs that was genuinely powerful for a split second, only to be ruined by a character opening their mouth. Im a big believer of “Show me DONT Tell me” and sure enough.. the character does just that when it wasnt needed. Still a good moment, just wished it couldve breathed and existed on its own.

When people talk about intelligent spy thrillers with an old school tinge to it, Black Bag is exactly the type of film they’re referring to. This is easily Soderberghs best directing work since No Sudden Move for me, but even more engaging and enjoyable than that film was. The mans ability to light a scene is just incredible. I wound up appreciating so many stylistic/technical choices he made from the films set design, lighting, editing, its visual color palette etc.

Fassbender & Blanchette are fantastic in their respective roles with their chemistry shining right through the screen. The entire film hangs on their dynamic and is paramount to the overall plot, and although the narrative might seem low stakes or “not entertaining enough” for some, I found it to be a breath of fresh air since most films in this bloated genre try so hard to be grand in scope or spectacle driven. The action here is in the gripping exchanges between this cast of colorful characters, and the unraveling mystery that follows. Everyone does a great job, not just the two leads. 

From The Killer, to The Agency, and now Black Bag this marks the 3rd project ive now watched where Michael Fassbender plays a talented espionage fueled agent, and this was easily the best of the three. His character almost feels like an evolution after each one. The films pacing and writing all felt sharp and purposeful that the film flew right by. Sure the dialogue exchanges aren’t littered with philosophical quotables or compelling one liners but nevertheless I was intrigued and invested all the way through, and was very pleased once credits hit.

Bong Joon Ho has been one of my favorite filmmakers for quite some time, not just for his mastery as a genre filmmaker but for the intriguing social commentary he always seems to weave into his films. The Host for example brilliantly tackled environmental pollution through the lens of a monster movie, Snowpiercer explored classism and socioeconomic struggles within the confines of a dystopian train, and Okja shed light on corporate greed and animal cruelty through a surreal adventure of childlike wonder (Which I consider Bongs worst film btw). His ability to balance spectacle with substance is what makes his work so compelling to me, blending thrilling narratives with sharp critiques of real world issues. Naturally, I was excited to see what he would cook up with Mickey 17, given that its premise seemed ripe for his signature satirical edge.

Unfortunately.. Mickey 17 leans more toward the Okja side of Bong’s filmography, much more whimsical and surface level, ultimately lacking the depth I was honestly hoping for back when I saw the trailer. While Snowpiercer had a razor sharp focus on class warfare, Mickey 17 feels more preoccupied with its high concept premise rather than saying anything particularly meaningful. There are glimpses of interesting ideas about identity and expendability, but they never cut deep enough smh. Instead, the film gets bogged down by its own quirkiness with a tone that feels too light for the existential weight of its core concept. It’s frustrating to see Bong flirt with something profound, only to pull back in favor of more digestible crowd pleasing antics. Did the film manage to engage and entertain me for the most part? Yes. But was I expecting a more nuanced film that I know for a fact Bong is capable of making? Also yes.

The only glowing positives I have to say about this film are Robert Pattinsons performances as Mickey 17 & 18 and the VFX (mostly). Thats pretty much it. Pattinson is absolutely fantastic in this movie and is a true chameleon when it comes to acting. I don’t even know how many voices he’s created for all his roles by this point but its gotta be a record. He carried this movie 1000% and I cant wait to see what other crazy af role he takes on next. Rest of the cast on the other hand felt so flat and superficial with very little to offer. I didnt hate Mark Ruffalos performance like most seem to apparently, if anything he reminded me a lot of his role from Poor Things. That said though, he and Toni Collete felt far too cartoonish and one dimensional for my taste, almost ruining the dynamic they added to the story. All these strung together characters and their meaningless sub plots led to virtually nothing but a hammed together ending.

I still very much believe in Bong Joon Ho, and Mickey 17’s “averageness” doesn’t change that one bit. But I can’t help but hope he returns to the more grounded, substantive, and sharp storytelling of Memories of Murder, The Host, and Parasite. Those were outstanding films that didn’t just entertain but left a resonant impact that lingered long after credits rolled. Mickey 17 has its moments, but it ultimately feels like an inconsequential detour rather than a step forward in Bongs illustrious career. Shame.

Ive been trying to cover as many Oscar nominees as I can before Sunday and I honestly dont know how this movie was nominated for Best OG Screenplay.. September 5 is as formulaic as control room thrillers come with some occasional moments of suspense/tension that lead to virtually nothing worthy of its nomination. To think the films that couldve filled this nominee slot as opposed to this generically written drama. Kudos to its low budget sensibilities but thats about where it stops with me.

The cast is honestly just okay nobody stands out even a little bit, Peter Sarsgaard is so one note and no disrespect to John Magaro but hes no leading man. Some of the best moments ironically come from Peter Jennings archived footage. Some of the best lines even come from him too, his mention of Reality & Unreality. Archived footage shown are arguably the best moments within the film, and although I fully understand the point of its whole journalistic and thereby voyeuristic approach it still doesnt make for a fulfilling experience by the end in my opinion. 

Other than known historical outcomes or sorely telegraphed plot developments, depending on who you ask, there is virtually nothing that comes from the build up this movie desperately strives to create. In better hands perhaps a multi perspective almost Zodiac esque take couldve added more nuance or depth to the films foundation and create more free space for the screenplay. Ultimately we were left with a by the numbers of a terrorist attack with several political implications in a script that is far too simplistic to address them in any complex way.

Rewatching this for the IMAX re-release was amazing, such a special film that serves as a signifier of what filmmaking truly is and will always mean. A medium that allows people from all walks of life to connect with something, not through its ostensible plot or lead characters plight necessarily, but through its universal themes of isolation, identity, and indignity.

Barry Jenkins earned that screenplay Oscar because man does this movie know when to let a moment breathe and just let silence fill the scene, only for something profound to sneak up and be said thereafter. IMAX really helped elevate the already beautiful frames and color composition this film possesses, how it was all shot is just incredible. The way its all complimented by its undeniable score by Nicholas Britell is what propels it even further without question.

Genuinely appreciated this one more the second time around and in the new format especially. The enhanced sound, colors, aspect ratio are all things you might not expect to prove much a difference in a film like Moonlight but man it definitely does. The kind of film that inspires one to direct honestly, glad I was able to catch it.

Marvel just doesn’t hit like it used to I swear.. Been the case for a hot minute now. The fact that this movie shares the same name as some of the greatest Marvel movies OAT is so upsetting to me. Winter Soldier & Civil War were/remain absolutely GOATed while this one simply serves as a great example that we are lightyears away from that bygone era of bangers.

Unless you what happened in 2008’s The Incredible Hulk, or 2021s season of The Falcon & Winter Soldier Disney+ show, or the ending to 2021s Eternals for that matter, you will be absolutely lost at wtf is even going on in this Frankensteins monster of a plot. Not only is everything a mess narratively, but the things they choose to focus on aren’t even the semi decent aspects.

Harrison Ford as General Ross is literally the only interesting character in this entire movie and most of his screen time is relegated to moments we’ve already seen in the trailers. The Isaiah Bradley character was fringe interesting as well, his arc however was handled MUCH better in TFAWS D+ show and was diluted to death in this. Dont even get me started on Giancarlo Esposito playing another typecasted AF bad guy (Disney gotta own his soul by this point). 

Anthony Mackie as Captain America was so forgettable and sanitized its not even funny. Chris Evans is no high caliber actor and yet he could capture the essence and spirit of the character with ease, a commanding yet hopeful demeanor that always came off natural instead of feeling forced or contrived like Mackies moments do in this one.

This wannabe espionage movie along with its jumbled tone and shameless setup for future Marvel projects was just whatever in every sense of the word. Yea theres a cool third act action sequence that was flashy and engaging for a split second but then I woke up. Im already forgetting this movie as I type so I wont waste anymore time, and neither should you so dont watch it, SKIP.

After the promising but never fully realized Longlegs, I was interested to see what Os Perkins would cook up with his sophomore outing and man what a contrast this was compared to his debut. For a while now ive been wondering when the Final Destination movies would be making a comeback and wouldn’t you know? Here comes good ol’ Perkins to fill that void with his own twisted spin on the concept. Basically making Final Destination meets Annabelle.

First off, lemme say that this movie is a bloody romp full of laughs, satire, and cynicism. I was genuinely busting up at parts even though a good amount of jokes either didn’t land for me or overstayed their welcome. The tone is EVERYTHING in this one, Perkins decision to veer so off course from what Longlegs was is so refreshing to me and honestly makes me excited for his future projects. And like LL, I enjoyed the way it was shot and its overall visual look.

This movie is definitely not for everyone and most people might even hate it lmao, but im certain if you have a sick sense of humor and enjoy dark comedies like I do you will enjoy most of what this movie has in store. The dialogue is mind numbingly simple and plain and even though it was stupid most times, I can understand and appreciate its intention in how it connects to the overall vibe of the story. Despite that, I would’ve liked that the script had much more to offer.

Cast was mostly solid and did their thing ig, there were some unexpected but welcomed cameos that really added to the camp, and a few genuinely fun and creative kills despite me still wanting more after they were done (Shouldve been gorier honestly). The movie had a lot of 80s B horror DNA and I mean that in a good way, for the most part. Given that this was a Stephen King short story and not a full novelization I’d say Perkins did a solid job at adapting this given he had so little to work with.

If you are expecting this to be Longlegs 2 or even semi close to what that movie was in of narrative/tone, you’ll most likely be disappointed. But.. if you’re open to a complete subversion of that film, where the true horror lies in the tragic comedy of life and death, then you should have an enjoyable time. I’m def still more of a LLs fan id say after seeing this, more of what that film delivered worked for me as opposed to this one. But to know Perkins can pull a 180 like this and still manage to be entertaining makes me confident in his future as a filmmaker within the horror genre.

This was a slow burn character study done right.

What happens when a persons macabre fantasies start to take root into the irregularities of their life? All because of some sick obsession they have with a murder trial that ends up revealing more about them, than the actual person on trial.

Red Rooms or Les Chambres Rouges is a grimly effective portrayal of isolation, grey morality, and our constant need to be terminally online. Resulting in the inevitable degradation of our empathy, slowly eating away at every empathetic cell in our body. Juliette Gariépy as the lead nails this void of empathetic connection beautifully through her performance.

From the opening long shot/take I was already impressed with the level of patience and intent the film was displaying, not just from its intimate framing and cinematography but from its mysteriously intriguing and unraveling plot line, especially. Slow paced is one way to view this film, deliberately paced is another. I prefer the latter.

Normally I’m not the biggest fan of when films leave things up for imagination, especially when its genre matches its subject matter, such as this. But the films incredible use of sound design, claustrophobic framing, and its engaging story elevated the atmosphere enough for me where I could mostly forgive it.

I feel like we can all it to having a level of voyeuristic obsession in one way, shape, or form. The degrees in which we experience them however, will drastically vary.. and that is where the true ugly beauty lies for this film, in its ability to safely wander down to the darkest ends of that spectrum and try to empathize with those unburdened by empathy.

Let me start by saying this is my frontrunner for Best Picture at the Oscars. (Despite how much I’d love to see Dune 2 somehow take it)

The Brutalist is a hallmark of an achievement when it comes to independent filmmaking. The level of craftsmanship displayed from a production standpoint, directing, acting, framing, editing etc were all absolutely outstanding. Brady Corbet might as well have come out of nowhere just to cash in this incredible directorial project that I genuinely didnt know he had in him, on a $10 million budget ffs. There were levels of directing maturity I couldn’t believe I was seeing from him.

Along with acting showcases from both Adrien Brody & Guy Pearce who were absolutely magnificent, especially Brody. Both of them are my Oscar picks for BA & BSA. Felicity Jones also delivered a great performance, albeit not as consistent. The films enrapturing score was a standout aspect for me (My pick for BOS too). Composed by Daniel Blumberg who is another “out of nowhere” creator tied the film together beautifully both thematically and emotionally in such a resonant way. You can truly feel the monumental/grandiose nature of this journey simply by submitting yourself to this tremendous score.

Having said all that, I can now it that the majority of all the overwhelmingly positive things I have to say about this film are mostly limited to its first half. That isnt to say the second half is downright terrible, because it isn’t. In fact, the second half is still better than most films coming out today, or even some nominated alongside it for Best Picture for that matter. 

Where my true criticisms lie is in how painfully disted, misguided, and lesser it felt to its far superior, more focused and purposeful, first half. AI jokes aside, it honestly felt like the original director, editor, and screenwriter had all been replaced last minute and were told to imitate, best they could, the magic of that first half. Differences in pacing & substance were apparent. Second half is not without its fair share of moments though, there are 2 in total for me; an almost ethereal scene involving marbling, and a dramatic dinner scene involving Felicity Jones’s character that leads into something else. 

To close, I’d like to reference a quote that the film actually ends with. One that I find almost ironic looking back at the two halves that make up this film.
 “It is the Destination, not the Journey.”
Funny, I couldn’t disagree more with these words as it pertains to the film.. It was the journey of the first half that was the true magic of this project, and ultimately the disappointment was in its destination.. the second half/epilogue. Had its second half measured up to its first, this honestly could've been an all time masterpiece.

The duality of man, anxiety edition.

Solid watch that focuses on the pressures of life and how we choose to deal with them, and how those choices can affect those around us.

Jesse Eisenberg as an actor/director/writer combo was surprisingly effective and restrained. Having watched Succession recently, Kieren Culkin as a co-lead playing his eccentric self is what sold me, and he really is incredible as a less put together Roman Roy.

Not everything landed for me, most of what works is the contrast in personalities where both leads are concerned, and its subtlety on exploring mental health. The rest unfortunately felt like white noise.

Possibly the greatest love story ever put to television. I’m in shambles, my tear ducts are exhausted.

Unique, bold, colorful, emotional, and ambitious. 
Never watched anything quite like it and probably never will again.

GUNS. GLORY. SAD ENDINGS.

Leigh Whannel’s directing career has been something ive been an honest fan of ever since I watched Upgrade for the first time, genuinely thought it was a great/fresh low budget sci fi. Then when Invisible Man was announced I thought, yeah.. this is where he fumbles and it all goes to shit, and he ended up delivering a pretty solid remake. But now theres Wolf Man..

Just to get the positives out of the way; the lack of CGI/use of practical effects, shifts in perspective, and changes to the lore were all awesome. Thats it. Whats left? An uninspired script that delivers every cliche and predictable plot trope you can think of. A heavily disappointing transformation sequence (that I had high hopes for) A horrid kid actor who added nothing to the emotional weight of the movie. And a 1st half that drags way too long that when the much more entertaining 2nd half finally starts, you resent the beginning.

It’s not a terrible movie necessarily, its shot well, theres some good acting moments from Julia Garner but given my expectations for both Whannel’s capabilities and a modern day wolf man movie as a concept, I was very disappointed. Don’t waste your time unless you’re a diehard wolfman fan.

Well what a pleasant surprise this one was. Green Room was my first foray into Saulnier’s dark world of low budget/simple premise films that I was definitely a fan of, but didn’t stand out in any way for me tbh. This one however, is such a viscerally unique take on the revenge story dynamic that manages to keep you hooked as the slimy layers for this plots onion start to be peeled back slowly but surely. With several unexpected & creative bumps along the road.

Macon Blair gives an emotionally compelling yet subdued performance that works beautifully for the protagonist and his plight. The decision to cast normal looking, every day people is one of my favorite aspects of the film that helps ground its heartbreaking premise even deeper into reality. Violence with a purpose is the best way to sum up how graphic the movie can be at times, with several clever sequences that would humble anyone who thinks real life plays like it does in the movies. This is easily Saulniers best work and I can definitely see people enjoying it more with rewatches.

Cool to see Del Toros roots with this one, and how appropriate of a first film it was for his now familiar style of directing. The film is an interesting/unique take on the overly done vampire concept thats chock full of Del Toros vibrant eccentricities. Although unique, definitely flawed and almost B-movie level quality but it still manages to entertain with its original take on the sub genre. Also, seeing Ron Perlman speak Spanish was hilarious.

Longlegs man, this is a weird one for me, to say the hype was through the roof would be a massive understatement.. That being said, I promised myself I would go into this unfazed by outside opinions and judge it solely on its own merits. I can confidently say after finally watching it that Longlegs is a well crafted, thrilling, atmospheric film with 2 great performances with Cage being the standout and Maika as a close second, that.. unfortunately doesn’t breathe any new life to the horror genre, falls victim to predictable revelations (pun intended iykyk), and a strange sense of hardly any finality by the time credits roll. 

For what it lacks in originality and followthrough it definitely tries to make up for with its fantastic cinematography and acting. Aesthetically speaking, this film is flawless. Perkins use of the color red throughout the film was amazing, especially in how it contrasted with the bright whites of the occasional snowy scenery. The camera work was especially incredible in how it framed certain shots to emphasize an unrevealed plot point, constantly lingering to induce that palpable sense of dread. You will probably hear a lot of ppl complain this film wasn’t scary enough and frankly those ppl should understand this is an indie horror echoing superior greats like Silence of the Lambs. And like Lambs, there are hardly any jump scares which was something I very much loved.

Although the film may not be too scary, there is definitely a fair share of disturbing imagery, graphic violence, and a constant sense of impending doom hanging over you like a dark cloud. That cloud being the aforementioned atmosphere essentially, of which the film nails beautifully. Cage has always been known for his kooky/zany, over the top acting style so it goes without saying that this role was perfect and tailored made for him where he 100% delivered and then some for me. Pretty sure thats how Marilyn Manson looks these days btw. One of my fav horrors of the last 10 years was “It Follows” so I was happy to hear Maika was attached to this project and boy am I proud at how much she has grown as an actress since “IF”, she carried this movie very well.

This isnt a bad or mid film by any means, sure it may have an uninspired script and predictable twist, but this is still better than 80% of most horror films in existence. I can simply say that in my eyes, Longlegs is not a modern horror masterpiece. However, what can be found and valued here is its great direction, cinematography, anxiety inducing performances, and chilling/unnerving atmosphere, that all goes a route most might not expect. (Emphasis on most)

What if “The Raid” & “Train to Busan” had a twisted baby with semi Bollywood flair? Well.. you get this: a  hyper violent, graphically gory, action packed, quasi-slasher of a film that I thoroughly enjoyed. 

Let me just start by saying this had one of the most elaborate title card intros I have seen from a movie in a while! Once the title popped up on the screen I was fully invested for what was to come. To be clear, there is nothing to applaud here regarding any kind of layered storytelling, complex characters, or broader themes to be juggled, its premise is very simple and to the point. This is not that kind of movie. The intense action/graphic violence are the true stars here, and boy did they shine!

Friend of mine actually reminded me this had come out, and for those who know me, I will watch anything and everything that has ‘The Raid’ influence written all over it. Part of me was unsure how well India would do at tackling their own version, and I was pleasantly surprised at the final result to say the least. This movie is as gritty & grimy as it is brutal & bloody with just enough Bollywood winks and nods to appease its audience. Even at the beginning you get a brief sense of the “Bollywood formula” when introducing Amrit (the protagonist), only for it to become its own evolved thing, completely independent from the Bollywood look and feel.

For those who felt cheated by Monkey Man’s borderline deceitful marketing, this is 100% the movie you were most likely expecting. So much creativity is in full swing when watching the entertaining fight sequences and kill scenes the film produces. One element I actually appreciated a ton was how the bandits held such kinship for their fallen friends and family , calling out to them in grief, screaming their names in agony. It was something I genuinely don't think I've seen before in a film like this, usually they just treat them like Henchman #1 or #2, here you felt the weight of each persons loss.

Ultimately, this movie wound up being an awesome roundhouse kick to the abdomen that excels in every department of violence and action. With a badass protagonist who would rival the best of them if/when you piss him off. Pacing did feel shoddy at times but picked up when it needed to pick up. Definitely check this one out if you enjoy films like “The Raid” or “The Night Comes for Us”. Can it be cheesy or on the nose at times? Yes. Is that appropriate to the common tropes and cliches of the action genre the 80s popularized? Also yes. Don’t overthink it, and enjoy the mayhem.

Plenty of flaws that most im willing to overlook because of 2 main reasons: 
1. This film loves movies as much as I do (and)
2. The infectious chemistry between Gosling & Blunt.

I honestly did not expect to enjoy this one as much as I did. Wound up being an entertaining, funny, action packed, thoughtful love letter to the stunt community of Hollywood. Its a genre mash up through and through, its part rom com, part action, part suspense thriller, and although it is definitely bloated, where I would normally be put off by it trying to do too much, the central focus of Gosling & Blunts relationship somehow anchors the entire mess down and holds it together. Anybody who wanted more Kenergy out of Ryan Gosling will def get it here, he is non stop funny and charismatic. 

Theres a lot of fun meta commentary and self awareness going on here that’s effectively baked into common cinema tropes. My favorite was probably when two characters were discussing how to make split screen shots work in a modern film, and while they are talking it through it ends up becoming an effective split screen scene with relevant context that ends up furthering the plot. I also loved the ongoing gag of Winston Duke constantly citing movie quotes to Ryan Gosling for him to guess. Not perfect by any means, not winning any Oscars (although stunt people should) just a fun, albeit messy ride full of laughs and explosions. 

P.S. Why does the fake movie they are filming in it look like Zack Snyders Rebel Moon lmfaoo

The overwhelming amount of positive reception surrounding this movie legitimately boggles my mind after watching what I just watched.. Let me quickly say David Dasmalchian does absolutely terrific with the little bit he had to work with, he nails the late night talk show persona to a T. Other than that, man.. this is such a missed opportunity, for a concept that is genuinely interesting and unique no less, just executed terribly.

Confused is how I would best describe the overall tone and plot of this film, desperately trying to do/be so many things, only to come up short in virtually everything it tried. The script is bland, pacing is numbingly slow, every character felt uninspired and hollow, 3rd act basically gets possessed by the Devil and kills itself its so bad, and the decision to tell everything through the lens of a late night episode is commendable, but misguided. Had the film played out as a more narrative focused, character study centered around Dasmalchians plight with the occasional 70s grain late night segment, then MAYBE they wouldve had something here, what a shame.

After enjoying tf out of Love Lies Bleeding I figured it was about time I checked out Rose Glass's first outing. Went in completely blind for this one per my buddy Zack's long-awaited recommendation, and came out not only pleased but also fairly impressed. The genre and narrative blending going on in this film felt incredibly unique, then again for an A24 movie that's probably commonplace at this point. Is it a horror? Is it a character study? Is it a cautionary tale on the fragility of life? So many layers to an otherwise simple and grounded story; centered around one rather disturbed individual.

Morfydd Clark as Maud absolutely killed it as this socially disconnected, head in the clouds, religious fanatic whos troubled intentions are never really made clear. As the movie progresses you start to realize the films creative spin on the "unreliable narrator" trope in how Maud presents context for each ing scene. Having just recently seen Dune 2 and how that film explored the perils of religion and fanaticism, I am just as pleased to see that as a concept explored in a more individual/personal setting as it applies to this films central character.

Rose Glass hit the Cinema floor running with this one and it would've genuinely been lost on me if you had told me this was her directorial debut. An enticing screenplay that plays on our cinematic expectations, intimate and attentive shot placements, low lit sets with plenty of color graded contrasts that balances the films dark overtones. Even the films awesome use of visual (at times graphically violent) hyperbole to represent the main character's deteriorating state of mind. There is so much maturity to be observed and appreciated in this one from a filmmaking point of view, especially in the 3rd and final act! I continue to grow into a bigger Rose Glass fan, and I am here for it.

Tonally inconsistent mess of a film that surprises in spots with its fun/over the top moments. Jake Gyllenhal irably navigates through the aforementioned mess pretty well tbf, ing characters however all felt severely miscast. Mcgregor was unexpectedly watchable for his first ever acting gig and was used in smart doses, which I appreciated.

Action was entertaining but felt too frenetic at times (the Doug Liman specialty), with unnecessary digital splicing/use of CGI to blend certain action shots together. You can tell that most of this film was fully realized in post production smh. All in all this is a turn your brain off, semi faithful remake to a film that was already not gona win any awards, so dont expect much from the reboot. Just have fun and lose a few brain cells.

I am a huge A24 fan so ittedly I was already looking forward to this one, that being said, I’m new to Rose Glass as a director (still need to watch Saint Maude) so I was unsure what to expect exactly, and I am relieved to say she did not disappoint!

The best way I can describe it is that this film feels like a beautifully twisted slice of the 80s, and I don't just mean because its literally set in the 80s, I mean in of the movies narrative structure, look and feel, and even its pulpy atmosphere all felt like it was harkening back to a lost decade in cinema. As weird as it sounds, it reminded me a lot of the Coen bros “Blood Simple” with a much heavier emphasis on a romance dynamic. All these intersecting storylines and characters that all leads to a big bang of a finale.

Suffice it to say, I am a through and through Rose Glass fan now, her confidence as a filmmaker pierces right through the screen in how she handled this project. Scene to scene I felt the pacing was solid, nicely coupled with a fire soundtrack btw. Was unsure where it was going in the first half, but it was the second half that won me over, and then some. Not to mention Glass’s eye for graphic violence, and the lack of compromise was super welcomed by me. There are certain elements towards to final act that i’ll it may lose some people, but personally I thought it was fantastic and served the story appropriately.

Acting wise, Kristen Stewart killed it in her traditional neurotic archetype and I would probably say it’s the best i’ve seen her when it comes to those typical roles she takes on. The real stand out for me though was Katy O’Brien, she was absolutely incredible. This role genuinely feels like one that was tailored made for her, and to think she got this role by replying to a tweet on twitter (or X now smh) is insane. There is so much vulnerability and complex emotion being put on full display when it comes to the film's two leads and their respective performances. It was also a breath of fresh air to see Ed Harris actually trying again lmao.

My only gripe is that the surrounding characters (separate from the two leads & antagonist) all felt more like tools to drive the plot forward and nothing more, with little to no depth, background, or development. It didn’t detract too much for me thankfully since the main players all delivered.

Easily one of the best films I've seen so far this year and am now very excited to see what the future has in store for both Rose Glass, and Katy O’Brien. Whatever projects they are a part of, count me in!

Left entranced is the best way I can describe how I felt when credits rolled for this artistically refined, blockbuster oriented, cinematic experience of a film. Denis Villeneuve further cements his legacy as one of the most unique, ambitious, and talented visionaries in film today. 

My expectations were already insanely high for this one, not just because of the bar Villenueve has set for himself in not missing the mark in virtually any of his projects to date (Yes I enjoyed “Enemy”), but also due to the near unanimous praise from the publics reception/perception calling it the new “Empire Strikes Back” or “Two Towers” which had me cautiously optimistic to say the least. And yet.. somehow some way.. it still managed to meet, if not exceed my immensely high expectations. 

Full disclosure, I wasnt too big a fan of Dune 1, primarily due to its heavy exposition and ostensible set up for the now arrived sequel. A quality film nonetheless, but one that just didnt stand on its own as a complete film. This sequel has now paid dividends to the investment that was Dune 1, and then some, and has even elevated my appreciation for the first entry. The films world is as atmospheric as it is engrossing, complemented beautifully by this incredible cast who are now given the stage to truly flesh these characters out and make a long lasting impression for the audience. 

The biggest acting takeaways for me (aside from the leads) were easily Rebecca Ferguson and Austin Butler. They were both absolutely incredible in their respective roles. Butler was transformative and unlike anything ive ever seen from him, his performance impressed me more than anything Elvis had to offer (sorry not sorry). I would legitimately catch myself eagerly awaiting his return to screen any time he wasnt in a scene. The ever so beautiful Ferguson is magnetic in her role and almost serves as the cohesion between the films overarching narrative and the characters who inhabit it. As far as the leads are concerned, this is a star making performance through and through for both Chalamet and Zendaya, Chalamet commands every second of every scene he is in and perfectly toes the line between vulnerable and powerful. Paul Atredes as a protagonist will be known for several years to come as a result of his terrific realization of the titular character. Zendaya, who had a much more significant role this time around proves not only that she is a serious actress, but one who is here to stay. ing characters, returning and new alike, are all superb and share an appreciated level of importance in driving the story forward. 

One cannot talk about this film without praising the hyper stylized, technical aspects that were put on full display. From the palpable sound design, seamless VFX, encapturing set pieces, to the awe striking cinematography, everything from a technical side is firing on all cylinders here. Beautifully coupled with Zimmer’s dynamic and compelling score that is a noticeable evolution from its predecessor while still maintaining the integrity of the original. Zimmers use of flute’s in this follow up brought me right back to those ethereal synths he also created for BR2049s magical score. It genuinely blows my mind that Denis can make a 200Million dollar budget film feel like an art house project, the colosseum sequence immediately comes to mind. The pacing for this film is also flawless, not one scene felt unnecessary. Before I knew it, nearly 3 hours had flown by and I was still craving more. 

The spectacle of it all is what most will be quick to praise here, but in all honesty, the narrative and Villenueve’s masterful dissection of the lore is just as exceptional. There are important topics being referenced here that can be found everywhere throughout history, and even today. Philosophical themes of political outrage, conflicting ideologies, false prophets, and so much more. Please go see this on the biggest screen possible (70mm IMAX if you can swing it), this is a true moment in cinema, an event that we will happily look back on decades from now and why we love film so much, because of moments like this.

An emotionally devastating portrayal of loss in war that is as much a slow burn, as it is effective. Further solidifying why Denis Villenueve is one of the absolute best/most inspired filmmakers working today. Insane that this was just the early beginnings of his nearly unmatchable and diverse, filmography.

They don’t make them like this anymore I swear. Patient but purposeful filmmaking complimented by incredible color design and cinematography.

Watched on Friday January 26, 2024.

Words cannot begin to describe this profound philosophical discussion, wrapped in a technically refined 3 hour biopic. Right off the bat I’d like to crown this film as the best/most entertaining/tension ridden film of all time, for its sub-genre. Most biopics fall into the trap of becoming monotonous and formulaic oscar bait, but this film not only breaks that mold, it explodes it.

Oppenheimer is movie magic at its purest, finest and most effective. Several visual, editing, and special effect techniques put on full display all date back to a forgotten time in movie making. Meaning to say, this is a true example of dying art forms within the industry. Without question, this film is a technical marvel firing on all cylinders. From its well directed tension inducing sequences, surreal visual transitions, or lack of CGI and emphasis on practical, Oppenheimer is unapologetic with its assertive presence forcing its viewer to heavily contemplate the weight of its characters decisions. 

I am willing to bet a years worth of my salary that this is the most stacked cast, ever assembled. Not just the main players, not just the ing ones, but even the side characters who you would otherwise think would be inconsequential to the plot. Each time I would catch myself saying “Wait.. He’s in this too!?” Or “No way! Haven’t seen them in forever!” Thats a strong testament to Nolan and casting director, John Papsidera for creating such an iconic and capable cast, one full of talent and inspiration for the material. Feels almost weird to say, but everybody in this menagerie of personality had their moment of significance for the role they played.

As far as the leads are concerned, Cillian Murphy gives a hauntingly tortured yet reserved performance, with Robert Downey Jr. giving what is arguably his best performance of his entire career, certainly his best since 1992’s Chaplin. What Cillian was able to do with this character, with such ease and commitment at that, was truly remarkable. Something as simple as a wide eyed/dead stare off into the distance spoke volumes of emotion, all thanks to the complex nuance behind his incredible portrayal of the titular character. Florence Pugh & Emily Blunt were both magnetic in their respective love interest roles, alongside Cillians, Oppenheimer. Matt Damon was great and dependable as he always is, stepping back into an oddly familiar role in what feels like a “what if” situation where Carrol Shelby (Ford V Ferrari) ed the military and became a general.

Everybody knows by now that a Nolan film is a global event that people eagerly await to behold, and this film is of no exception. To say Oppenheimer delivered would be a massive understatement. From its technical prowess, awe striking visuals, masterful direction, to its palpable sound design and score that almost feels like it’s reverberating through your soul, keen eye cinematographer in Hoyte Van Hoytema, and an immensely talented cast who are cashing in all timer performances, this film has everything and more for someone to appreciate.

I honestly feeling a bit surprised when I heard this was Ben Affleck’s next project, simply because of how much of a deviation it felt when compared to other films he’s directed like, Gone Baby Gone, The Town, Argo etc. That being said, I’m glad he took this creative detour especially at this stage of his career, because it clearly paid off after the seeing the final product. 

What a pleasant, fun, and entertaining surprise. Air is a genuine feel good movie with lots of character and inspiring subject material. Set during the early years of Nike, this film focuses on the monumental acquisition of Michael Jordan for their shoe line, long before he solidified his legacy within the sport of basketball. 

This film had me smiling for 90% of its runtime. Each character played by this colorful cast were all quirky, memorable and surprisingly substantive. Jason Batemans character threw me off the most, I was not prepared for the layers of depth a specific scene added for him when it felt like he was a throwaway C character at first. Damon and Affleck kill it as always proving why they are some of hollywoods most reliable leading men. Genuinely not a dull moment or wasted scene to be found here, pacing was so solid that the movie felt like it had flown by.

Its important to note, you do NOT need to be a basketball fan, let alone a Michael Jordan one to enjoy what this film has to offer. Thankfully anyone can appreciate the themes of hopeless ambition, blind loyalty and obsessive determination this film inspiringly depicts, of which are all engagingly portrayed. Centered around such a historical moment, forever written in stone, in both sports and retail history. Extremely easy watch!

The final chapter to James Gunn’s Guardians of the Galaxy trilogy is here, but does it deliver? The short answer is yes, I was pleasantly surprised with what we got despite the fact that most of it felt like the all too familiar Marvel formula. Even though most of the story beats/plot structure is playing on familiar tropes, it still manages to be an enjoyable experience because of the chemistry we know and love from this group of characters. 

For starters, I was not a huge fan of Vol 2 when it came out. I thought it was a massive step back from what made the first Guardians so iconic and refreshing to the genre. Vol 3 thankfully harkens back to that level of quality, however just to be clear, Vol 1 is still hands down the best of the 3. This third installment adds welcomed depth for nearly every single character. The most notable one being Rocket Racoon of course. At its base, its Rockets and Nebulas movie, they both serve as the emotional anchor for this film. Themes of friendship, love, loyalty, and letting go are all explored in this story. All of which have a resonant but emotional effect that will leave some people tearing up, myself included.

There is so much that this film does right thats worth acknowledging, its VFX quality, its colorful and attention to detail set design, a fairly decent balance of comedic and dramatic tones, a semi-interesting antagonist in The High Evolutionary, and especially its ability to give every character their moment to shine. 
That being said, the movie is far from perfect and has plenty of elements that couldve been improved upon. Pacing is one of them, its non-linear story structure worked against it at times, with its occasional flashbacks and cuts to side characters. By the end it felt like they could’ve trimmed at least 20 minutes down. Another drawback was the aforementioned “familiar MCU formula”. Where characters are included simply for future set up and nothing more, and a plot line that felt like a throwaway/villain of the week/tv level threat that couldve been any villain honestly. One where the stakes felt deflated by the time the movie ended. Luckily, the characters and how they interact in this story mostly compensates for the plot’s simplicity. 

Overall, this was a worthy third and potentially final installment for the guardians of the galaxy as weve known them. After whats felt like a long stretch of subpar Marvel movies recently, this was exactly what we needed as fans of the brand. This film is as emotionally engaging as it is visually captivating. An entertaining experience thats littered with comedy, action, heart, drama and so much more. Even though it played things very safe, and felt familiar to prior comic book movies, it still manages to deliver a unique and enjoyable experience with yet another classic soundtrack. We will miss you James Gunn! Thanks for the memories.

Im very torn with this one im not gonna lie. Not sure if I enjoyed it or just found it average/serviceable as weird as that sounds. On one hand, its an eager to please semi faithful balance of OG ED & the 2013 version, with a solid intro sequence/title card. On the other hand, that balance act makes the film feel like its only delivering 50% on each unfortunately. Thats not to say it still isnt better than the majority of horror movies that come out today though, cause it is.

For context, I was a huge fan of the 2013 version. It was everything I felt the series needed, Fede brought a shift in tone, loads of unapologetic gore, and an off the rails finale that went there. So you can imagine my surprise when all Ive been hearing is how this new ED movie is insanely graphic and gorey, only to find out after watching it that the 2013 version is still much gorier and even more violent than this follow up was. I think the hype surrounding this movie for its supposedly overwhelming gore set it up to fail for me, I fell victim to expectation. That said, yes, this movie does have a lot of blood and “graphic scenes”, but even still, trust me when I tell you as someone who is desensitized from all the gorey horror movies he’s watched, it was not that bad. 

Story and setting were some of, if not the most refreshing changes they made for this installment. All taking place inside a high rise apartment complex in a darkly lit city, instead of the now cliche cabin in the woods was such a stark contrast to its predecessors that it added a new and welcomed dynamic to the atmosphere. The cast was serviceable but ultimately forgettable for me, other than the main deadite of course. Alyssa Surtherland kills it, and her makeup/overall look was menacingly iconic. I understand these movies arent character focused typically, but sometimes at least 1 or 2 will stand out where not everybody has the personality of a cardboard box. Something I appreciated were the moments that they used practical effects for the gore, unfortunately most of them are short lived and usually end up getting overshadowed by cgi/digital shots that brought most of the gore to life for the screen.

The movies saving grace is that it does not overstay its welcome, whatsoever. It starts on a high note right off jump, hits a momentary lull, but then picks back up until the movies over. Reduced to its core, it is a 90 min, sort of gorey, sort of funny, bloody ride with lots of voice distortion. Nothing special or reinvented here, just familiar genre tropes, references to past sequels, and a refreshing change in setting. Definitely check it out if you’re an Evil Dead fan, but also if you enjoy horror movies for the blood lust lmao.

I am almost 100% positive I just saw the greatest, American produced action film ever put to screen.. What an incredible thrill ride of non-stop excitement and violence. This 4th installment of the iconic John Wick franchise delivers the goods and then some, easily solidifying itself as the best of the entire series. From the moment it starts, to the very end of its final act, the film grabs hold of you and doesn’t let go. It is engaging and unrelenting in the purest ways imaginable.  

Let me start off by saying I have never seen an established IP tether its over arching narrative across its many sequels so seamlessly and creatively. You can feel the weight of each films outcome echo into the films that follow, and the large impact they have to their overall context, especially as it pertains to the titular character in John Wick. All 4 chapters take place in the span of a few weeks, with John Wick now facing his fight for freedom against the dark looming cloud that is, the High Table. 

The cast is chock full of colorful characters that are thankfully no longer one dimensional like the ones from Chapter 3. Donnie Yen as Caine & Bill Skarsgard as Marquis fill the antagonist role perfectly and are the most memorable villains out of the entire series, without question. The look and feel of these characters seem like they took a page from the greatest action movie ever made period, in the Raid 2. There was more noticeable influence where that GOAT of a film is concerned as well. Whether it be the captivating fight choreography, insanely bold action sequences, and so much more. Certain set pieces and shot placements were also noticeably inspired by classic Hong Kong action films and/or Japanese epics. 

The sheer scope for these moments of action, the iconic set design surrounding them, and the vibrant colors accentuating those grand sets is truly breathtaking. Only to be complimented beautifully and expertly by Oscar nominated cinematographer, Dan Laustsen. Director, Chad Stahelski has truly come into his own with this 4th film exemplifying how great of a director hes become throughout the course of this franchise. Gone are the days of him only being known for his stunt coordination in classics like The Matrix. The man is skilled, talented, ambitious, and intentional with his vision and this film serves as the proof in the pudding for that. Realism in of our main character’s vulnerability should not be a primary focus of criticism, let me just say that. He is JOHN WICK, he does the unimaginable and accomplishes the impossible, point, blank, period. 

For an almost 3 hour film, I did not feel its runtime once. The pacing is incredible with every ing scene holding importance for what is to come next. Not to mention, the script was surprisingly substantive with moments of depth and quotable dialogue. This was a masterclass action film with gorgeous imagery, jaw dropping sequences, adrenaline inducing fight choreography that not only demands, but earns every second of your attention.

I was hesitant going into this third installment of the Creed franchise for two reasons, it marking the first film without Rockys involvement, and freshmen Michael B Jorden taking on the intimidating task of directing it. Pleasantly surprised would be the best way to describe my feelings after watching it. This film felt important for the Creed franchise in its ability to separate itself from the Rocky Balboa of it all. Don't get me wrong, Rocky was still missed without any question, but what it lacked in his presence, more than made up for through its three-dimensional and substantive antagonist in Damien Anderson. 

Jonathan Majors screen presence as Damien is something to truly appreciate. His character is so complex and he translates that complexity incredibly well through his performance. Everyone brought their A game performance wise, MBJ, Tessa Thompson, which is to be expected after how well they’ve portrayed these characters before in the previous films. The story is simple, long lost childhood friend, brotherhood of trauma, resurfaces at a stage in Creeds life that brings those buried memories to a crashing halt. Simple but effective premise, however, it’s important to mention theres nothing worth note or high praise script wise or dialogue wise. Most of the dialogue is serviceable and nothing more, no words jump out at you that you will be quoting anytime soon like other Creed or even Rocky films. 

MBJ’s directing was a mixed bag for me, on one hand he did amazingly considering it’s his first ever directing venture, on the other hand there is a lot of formulaic/cliche techniques put on display. There was a lot of telegraphing from the camera or a moment of dialogue that would set up something going to happen. Just a lot of amateurish narrative tools that unnecessarily spoon feeds the viewer, which I guess is to be expected from a first time director. Where is his talent as a director shined the most for me was his obvious influence from Anime. MBJ is a known Anime nerd and so much of the fight sequences visual style can be attributed to that. The final fight between the two main characters being the best example of this.

The central family dynamic and interpersonal relationships between these characters is cute even if it mostly serves as a “aw look at this cute family over here” plot point. I don’t mean that to sound bitter, its just a very hard dynamic to portray without seeming corny or cliche. What It does do well though is furthering the storyline set up from Creed 2 regarding their deaf daughter all grown up now, and how she interacts with everyone as a deaf young girl, which was definitely unique and appreciated. There was also plenty suspension of disbelief moments throughout certain events that lead to Majors and Jordan facing off. As a boxing fan, I continually called Bs on how quickly and unrealistically things came to be, but hey its a movie at the end of the day, and most Rocky films weren’t that realistic either.

Creed III was a worthy third installment by a talented, yet still has much to learn, director in MBJ with easily the best “villain” archetype in the entire franchise who Jonathan Majors nails in spades. I still believe the first 2 are better, more well structured films overall but that doesn’t mean this one is far off the beaten path of quality. Entertaining, at times emotional, unique visual style, that packs a solid punch of enjoyability.

In his short, but already classic filmography full of substantive, mature and iconic stories, Damien Chazelle had yet to make a film that not only reminded us of how brilliant he is, but also of the fact that he is only 38 years old.. in comes Babylon. I am so impressed with how unabashedly in your face this film truly is, a cinematic punch to the stomach with an appreciated youthful injection of Chazelles signature directing, while still feeling dramatically different from his traditional style. 

Let me say right off the bat, I can definitely understand why there is such a divide between critics and audiences alike. So much of this film is towing the fine line of being brilliantly crafted and a consequence of its own ambition. The film is ridded with unfiltered and unyielding sequences full of vulgarity, debauchery, graphic violence, and so much more. Elements that are understandably polarizing but that I personally enjoyed, and thoroughly at that. The backdrop being the transition from the silent film era of Hollywood into when sound/audio was introduced is easily the most unique and intriguing thing about the plot. So many scenes are thrown at you at a rapid fire pace almost as if the film itself was high off a bump of cocaine like its characters. Even still, clocking in at 3 hrs and 9 min this film EARNS every minute of its runtime. Each and every scene is memorably unique and holds its own distinct identity.

One of the more impressive aspects was how well Chazelle infused comedy into this film. A complete 180 from his usual stomping grounds tone wise. Put plainly, this is Chazelles 1920s Wolf of Wall street. The characters were all vibrant and engaging, alluring but deeply flawed. Each person was hopelessly enamored by the otherworldly atmosphere that was Hollywood in its golden years. Although Hollywood is depicted beautifully in a young L.A., the twisted underbelly of the city surfaces in several unexpected moments that are unforgettable. Everyones performances are top notch, Margot, Pitt, Calva, its a crime that nobody received best actor nods, and especially no oscar nods for the film as a whole. Production design and costume design are a given, but screenplay, directing, cinematography, I just don’t understand it. The homages that this film pays is another incredible aspect, I saw quick flashes of Pulp Fiction and Boogie Nights. A true love letter to cinema. 

At the end of the day, this film is an experience in the purest sense of the word. A colorful and transformative tale about the constantly shifting landscape of cinema. Where the scope of each set piece consumes you, the thrust of energy and momentum for every sequence is infectious. A visual, emotional, and audible thrill ride with twists and turns constantly keeping you on your toes, completely unaware of what will happen next. Near perfect in every way, my only issue was the final shot/sequence to close the show. It took me by surprise and was a creative decision that I can understand why it was made, but in my opinion was unnecessary and borderline redundant. That being said, its a small blemish in an otherwise masterful piece of cinema. I have never seen another movie like this, original filmmaking at its finest that was criminally underrated and overlooked. Im sorry I doubted you Chazelle, never again.

A24 is always hit or miss for me. They undoubtedly have some of the highest highs, but also some of the lowest lows. This one for sure falls somewhere in the middle of that spectrum. Ive been meaning to get around to this one after hearing all the high praise its been getting, and was underwhelmed to say the least. Its not bad, it just isnt great or worth the hype that has surrounded it.

The plot is fairly simple, a struggling father vacationing with his precocious daughter on holiday. Their dynamic is the primary focus of the story; simplicity isnt always a negative, but when it fails to provide any flourishes to engage or captivate, it certainly can be. The script was arguably dull and uninspired for the most part, with some hints of complexity where the two leads are concerned. Most of that complexity revolves around themes of getting older, time ing you by, and what tomorrow will bring. 

Scene to scene the progression felt mish mashed and jumbled, most scenes were just not given enough time to breathe, ultimately comprising the films pacing for me. 30 min into the movie I had to honestly ask myself, whats even really happened so far? I can definitely appreciate some of the unique characteristics the leads were given to create a semi colorful and fleshed out personality/person. Even with that being said though, I didnt find either of them particularly interesting. The daughter easily had the more complex/intriguing arc, with glimpses of promise for the dads character towards the end. 

The cinematography is fine, nothing stunning or spectacular by any means, theres some decent reflection shots to sort of visualize us being on the outside, looking in on this relationship. One thing the camera work does well, is being intimate and careful with its placement. I enjoyed how the camera was used to highlight certain character development beats, like the daughters growing curiosity for the opposite sex, or the dads obvious fear that life has ed him by. 

By the end, it was a serviceable cautionary tale of depression and the strong connection we have with our past, especially our parents. As well as how much of an impact those experiences will have for the rest of our life. Nothing groundbreaking, iconic, or even memorable, just serviceable and not much more.

Nolan you cinematic GENIUS! This is what filmmaking is all about. One of my all time favorite sci fi films ever made. The mesmerizing visuals, incredible practical effects, gorgeous cinematography, perfect score from the GOAT of all composers, Mr. Hans Zimmer, topped with a compellingly unique story, and an all star cast makes this film an all around masterpiece. 

From the moment it starts, all the way to its end you’re engaged, invested, and captivated by everything it has in store for you. The unknown is a scary but beautiful concept, and diving in headfirst into the vastness and uncertainty of outer space is especially scary but also extremely exciting. 

This film put simply, is as memorable of an experience as they come, a nearly 3 hr roller coaster ride of emotion and iconic spectacle. I honestly wish I could delete my memory of watching this movie just to watch it again for the first time.

What a strange yet oddly fascinating movie. This depiction of privileged entitlement and the superficial facade it creates was alluring to say the least. Those who have everything, generally appreciate nothing and this film, above all else, captures that. 

The story is fairly straightforward and simple, highlighting the eccentricities of the wealthy, juxtaposed with normality and a means for survival, and most especially, how they struggle to fit into that mold. So many dialogue moments ties into pretentiousness, pampered behavior in a funny but unique way that makes you realize how disconnected these people are.

The film progresses at a steady pace to start, nothing too eventful happens for the first half but THANKFULLY picks up and then some with its balls to the wall second half! Its script is darkly humorous, grimly cynical, and hilariously ironic. If I had to make one criticism it would be the film abandoning the 2 characters who you think are the leads. Their overall importance/relevance was lost by its ladder half. That being said tho, the characters who end up replacing them are far more interesting, hilarious and entertaining. By the end, most of the cast effectively played their role and part for the films overall message.

The score is great, pushing the momentum of emotion forward, you can feel it with each violin strum. The technical aspects are especially fantastic. A color palette and refined gloss masked over the film that creates an appreciated visual look, almost intended to look like a perfume or clothing brand ad. Nice to look at, easy on the eyes, but something ostentatiously hollow about it. The camera work was also incredible, zoomed out layouts, focused shots that took their time, no quick cuts, no choppy editing or anything like that. I also loved how the staging and spacing incorporated the unpredictable nature of the ocean with the ships swaying/shifting in mind.

I honestly enjoyed this film and what it offered, a unique story, a layered message, an INSANE & UNPREDICTABLE second half, and a backdrop setting with both wealthy and average people finding themselves in a situation that forces them to be equals in a less than ideal circumstance. A situation that allows them to drop the facade of their external selves, letting their inner fears/joys/anxietys come to the surface.

To say this movie was hyped up to the max for me going in would be an incredible understatement. I am extremely pleased to say that it was not only properly hyped, but exceeded every one of my expectations. For context lemme just say right off the bat that I am a huge fan of Aronofsky’s work, this film holds authentically true to what is expected from him in every way, shape, and form. Most films are intended to be escapism from the harsh realities of everyday life, the exact opposite can be said whenever he is at the directors helm. Every one of his films forces the audience to face the ugliness of reality and humanities internal struggles, with this one being no exception.

Brendan Frazer is an absolute power house throughout every minute of screen time. The sincere expression of vulnerability from his eyes alone moved me, and had me deep in my feels. He delivers an intimately beautiful performance portraying such a tender soul that has been unfortunately affected by not just the lock step of society’s expectations, but his own selfish decisions as well. This story is deeply rooted in a tale of humanity and regret. I can honestly say this film is more than just a performance piece, the entire cast added layers of depth to not only the narrative of the story but the emotional weight that this story is carrying. There were scenes that evoked every possible spectrum of emotion out of me. ESPECIALLY the final 20 min. 

The film is originally based on a play and is structured like one as well, all taking place within the confines of Charlies apartment. To some, that may sound boring or uneventful but trust me.. there was not one dull moment, the writing is sharp, the pacing is intentional, and every ing scene demands your attention. There were full circle story beats that immediately brought me to my knees emotionally speaking. The claustrophobic atmosphere of his apartment is perfectly designed to represent his recluse lifestyle, and closed off connection with the outside world.

By the end I was floored, and needed a minute or two to compose myself from the experience I had just been a part of. An air of silence filled the theater when credits started rolling, leading me to take a deep breath and simply say, “what an effing film”. At the end of the day, this is why we go to the movies, to feel.. and not one second went by where it failed in doing so. Give Brendan his OSCAR already!!

What an unexpected and pleasant surprise. This satirical yet layered cautionary tale of far gone artistic ambition is entertaining in so many different/notable ways. Not a single scene es by that failed to engage me or grab my attention in some way.

The plot was surprisingly deep with its overall theme and message in mind. Almost serving as an artistic metaphor for overconsumption, the perils of ego, and  mediocrity disguised as success. Its fluid tone is to be appreciated, constantly towing the line between comedy, suspense drama, and even horror. The gradual escalation of its pacing was another highlight, with scenes commendably pushing beyond the moments that came before it. The ambiguous plot serves well for the aforementioned build up of events complimented only by the menagerie of characters where the cast is concerned. 

On that note, Ralph Feinnes is absolutely incredible. He plays the prototypical tortured artist who’s harboring the weight of all his expectations perfectly. The ing cast is actually decent. Every character isnt complex by any means, but not one dimensional either. Each character has a serviceable amount of depth to their arc that makes them colorful enough to not be completely forgettable. As well, the decision to structure the film in chapters titled by each course served was chefs kiss. (pun intended)

One major gripe I had, that i’ll preface with saying I fully understand, and even recognized earlier that this film balances comedy along with its sparse’d horror elements, was that it didnt go further into that realm of horror. This concept truly lends itself to that kinda potential and could’ve been a vessel that goes all the way there. Definitely shouldve doubled down on it in my opinion. It genuinely feels like a semi missed opportunity that is mostly compensated by the things it does well (especially the ending).

All of that being said, it was a fun watch with a solid concept that left me wanting a little more from it, but not dissatisfied with what I got whatsoever. Its probably the die hard horror fan in me who makes that complaint, but I could totally see someone thinking this had the perfect amount of shock value/violence/horror.

An undeniable artistic fever dream of a film that thankfully, did not disappoint. Inarritu’s recent outing is his most experimental venture yet. One in which looks and feels like a deeply personal, ion project that he finally got to bring to life. 

Allegorical explorations of social & cultural dynamics, allegiant nationalism, cynicism, classism, and so much more are shown through metaphorical imagery that honestly might confuse the uninitiated. The script is incredibly substantive and rich. So many important themes are conveyed ingly and effortlessly. Themes of maturity, self identity, and self importance interwoven with intriguingly eye capturing visuals.

That being said, this is without question Inarritus most visually stunning film to date, with technical elements that rivals the technical prowess of Birdman. Visuals that are packaged in creatively visceral hyperbole to drive its message home. The cinematography and camera work is absolutely breathtaking, further accentuated by its captivating set design. Every set is alluring, vibrant and iconic in its spacing and structure. Commendably enough, each set piece has its own distinct personality adding a certain level of depth to the emotional context the scene is describing. 

Strong performances throughout from a cast of relative unknowns. Especially where the lead actor is concerned. One drawback i’ll point out where the aforementioned visuals are concerned is the films use of VFX, some of the VFX elements (not all) looked noticeably fake creating that uncanny valley feeling that took me out of the scene in spurts, something just felt off about its look, feel, and motion. Luckily it was only 1 or 2 scenes at most.

Since there are so many layers to this onion of a film, the central plot/premise might be lost on some as the film progresses, understandably so. But if u can read between the lines and try to follow along, its cathartic impact is worth it. This film is deeply human with profound nuance to its reliability. Any father, husband, son, citizen etc can find something here to grab onto and connect with.

A task almost as impossible as Ethan Hunt keeping the same haircut

• Mission: Impossible – Fallout
• Mission: Impossible – Rogue Nation
• Mission: Impossible – Ghost Protocol
• Mission: Impossible
• Mission: Impossible III
• Mission: Impossible – The Final Reckoning
• Mission: Impossible – Dead Reckoning
• Mission: Impossible II

Easily the best anthology series since the twilight zone, on its way to become the best (if they effin release the new season already!)

• Black Mirror: White Christmas
• Black Mirror: White Bear
• Black Mirror: The Entire History of You
• Black Mirror: Eulogy
• Black Mirror: San Junipero
• Black Mirror: Fifteen Million Merits
• Black Mirror: Playtest
• Black Mirror: Black Museum
• Black Mirror: USS Callister
• Black Mirror: Nosedive

...plus 13 more. View the full list on Letterboxd.

• Fight Club
• Zodiac
• Se7en
• The Social Network
• Gone Girl
• The Game
• The Girl with the Dragon Tattoo
• Panic Room
• Alien³
• The Curious Case of Benjamin Button

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

• Arrival
• Sicario
• Dune: Part Two
• Blade Runner 2049
• Prisoners
• Incendies
• Dune
• Enemy

• Interstellar
• Inception
• The Dark Knight
• Oppenheimer
• Memento
• The Dark Knight Rises
• The Prestige
• Batman Begins
• Dunkirk
• Tenet

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

• Inglourious Basterds
• Pulp Fiction
• Once Upon a Time... in Hollywood
• Kill Bill: Vol. 1
• Kill Bill: Vol. 2
• Django Unchained
• The Hateful Eight
• Jackie Brown
• Reservoir Dogs
• Death Proof

• Oppenheimer
• Past Lives
• Godzilla Minus One
• Killers of the Flower Moon
• John Wick: Chapter 4
• The Holdovers
• Barbie
• Spider-Man: Across the Spider-Verse
• The Creator
• Talk to Me

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

Arguably the greatest year of film in quite some time, especially for the horror genre

• Top Gun: Maverick
• BARDO, False Chronicle of a Handful of Truths
• Everything Everywhere All at Once
• Babylon
• Terrifier 2
• Speak No Evil
• Triangle of Sadness
• The Whale
• The Sadness
• Avatar: The Way of Water

...plus 34 more. View the full list on Letterboxd.