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Obviously leans more into action AND horror while Night is more directly horror, and I think it benefits Dawn of the Dead as a result. Just campy enough while still having serious threats present themselves to oppose the protagonists. The fear doesn't come from a lone zombie, as they can easily be dispatched. The fear comes from the unending hordes of undead and the perversion of life they represent and turn others to.

There's the tiniest monotonous rut in the middle, but it feels completely natural in the film; if you could get away with playing with everything in and around an entire mall consequence-free, of course you'd do just that and get confident as a result. Ultimately it's in part due to this sense of overconfidence that leads to the fate of some of the characters, so that alone justifies this segment completely for me.

A B-movie monolith.

The Legend of Hell House surprised me with how good it was, considering the average reviews on this site. I am partial to a good haunted house and the one here is killer, but a great haunted house does not a good haunted house film make. Fortunately, it is a good haunted house film as well.

The aspect that stood out the most positively to me was the cinematography. It was primarily wide shots and close-ups, or shots that switch between the two. The close-ups capture the fear and emotion of the characters, while the wide shots showcase the house and make it feel like it's exerting a foreboding presence on the characters inside. The actors are all quite solid as well despite the characters being a tad wooden, with Pamela Franklin being the best of the lot.

Inversely, the aspect that stood out in a negative way was that right after each direct "jump"scare, it would immediately change scenes or would move away from the character too quickly. It flees from the responsibility of those few seconds after the scare where it jolt of fear lingers, instead going cold right after. A minor gripe, but a repeated one.

Not a classic horror film necessarily, but an undervalued one I'd say.

Same review as last time, with some edits and updates:

Viewed in Cinema. Still looks just as low-res on the big screen!

28 Days Later is a really great take on a zombie/infection film. Definitely takes a little from Dawn and Day of the Dead, but it really is its own thing that became a blueprint for more contemporary zombie films. It hooked me right from the beginning, waned ever so slightly in the middle, but brought it back full-force by the end. By the final act, the greatest threat is no longer the infected but rather what has become of the humans themselves.

I feel some people complain about the low resolution that the film is stuck at, but I think it improved the overall experience. Along with the disturbingly mellow score, I feel it made the atmosphere more evocative, adding to the desolation and tragedy and violence of the film. At the very least, it made the final portion in the rain *that* much more intense.

Cillian Murphy is great in the lead (as he often is in any role), and the ing cast is pretty great too. The desperation on everyone is consistently palpable with only fragments of hope and joy shining through, and makes for a seriously bleak watch.

Loved this again. Really hope the sequels will be half as good as this was.

P.S. This was easily the most quiet theatre going experience I've ever had and I totally loved that. It was also the loudest theatre going experience I've ever had whenever the infected screamed; my ears bled.

Hard Rain does just that: it rains. Hard. And to my pleasure, it uses the flooding conceit much to its advantage and crafts some really good setpieces out of it. Like the rain, it never really lets up once it gets going. While the same tense situations do pop up a few times across the film, like being trapped in a flooding [location] or a boat chase gunfight, they are still executed differently each time to keep things fresh. And of course, the mood is to die for.

An underseen 90s pleasure.

Even though I realise I've already seen half of this special through YouTube shorts, Mulaney is still pretty damn good at the funny.

From the literal opening shot, you can immediately tell that The Big Heat is no ordinary film noir. It is mean-spirited and cruel, a truly dark film especially for when it came out. But then again, Lang has always been pushing cinematic boundaries in one way or another.

Traditional gender roles for film noirs get flipped here to great effect: the men are one-dimensional, hard-headed, and don't do a lot that significantly impact the story; the women, at least in the latter half, seem to be the most complex characters and shapers of the plot. It really does add to the film to make it stand out in a relatively indirect way, as the film still takes place from the male lead's perspective. The entire main cast is in high gear as well, none giving a less-than-solid performance and at the best being a genre-high portrayal (*cough* Gloria Grahame *cough*).

Real cold, real good noir.

Ridiculous concept played pretty straight. I may eventually fall away from the conceit for the final setpiece, but the ride that Live Wire provides is a lot of fun anyways. With peak 90s Brosnan at the helm and a sufficient amount of action, you can't go too far wrong.

While calling Happy Birthday to Me a slasher wouldn't exactly be a misnomer, it doesn't quite feel right either. It has influences of it no doubt, but it is more respectable, more refined. It flickers between the past and the present, uncovering past trauma as the present unfolds. No overt directorial style from J. Lee Thompson is present, though he directs competently and the lack of a style makes the film feel more realistic, more brutal, more harsh.

Doesn't do anything especially great, but it never really falters either. Just a large slice of decent 80s horror.

What road rage does to a mf

In all seriousness, this is a very impressive debut but I expect no less from Spielberg. Keeps the tension high the whole time and keeps the concept fresh. Not much scarier than a faceless force with one sole purpose to kill you. Real good stuff.

Seen as something of a return to form for Argento after the nineties, Sleepless is a classic giallo shifted into the 21st century. And while I cannot attest to his apparent lack of quality in the 90s, I can attest to the quality of Sleepless.

The opening segment is possibly the best part of the film: the cold rainy night, the apartment, the blue-tinted train, and the bloody windows. It's 80s Argento in the (then) modern day, and done as smoothly as you could imagine. Afterwards it becomes a murder mystery with a killer dwarf and a fragmented memory at the core, typical giallo stuff. All the murders are well executed and vicious, but it's the final one that is by far the most shocking and memorable (to say the least). It's a surprise but a pleasure to see someone like Max Von Sydow in a film like this, and he does a great job.

The Goblin score is excellent and unmistakable, and without it I think wouldn't be nearly as good. I think the film would only be separate from other contemporary thrillers by the relatively slight aesthetic distinction if it weren't for the score.

Weaker than Argento's '75 - '87 run, but such is obviously inevitable. Even still, Sleepless is a very solid horror/thriller in its own right.

An atmospheric moodpiece slasher.

Just Before Dawn really commits to the ambiance, whether that may be looming sunlit dread or nocturnal terrors. It is a film seemingly focused on where the characters inhabit as much as the characters themselves, and for the better. The ambient score certainly helps the film break into this mild unreality, the overwhelmingness of nature in contrast to the horror found within.

Above all else, the film seems to understand that the horror of the film comes not from the presence of the antagonist but rather the suspense of the buildup, and it continuously uses this to great effect. The antagonist, by slasher standards, really isn't anything special but it doesn't matter; they are made terrifying by the work the film puts in to make their presence felt far before they appear.

Definitely underrated and forgotten, Just Before Dawn is worthy of more love.

Slick as all hell. District B13 is a damn good action film, with two really solid leads and a lot of really good action. I mean, if you cast the creator of parkour in your film it's not hard to expect him to deliver some top-notch athleticism in the action scenes. Obviously the action is the best part of the film; it's kinetic, fast-paced, well choreographed, and just so exhilarating to watch. Raffaelli and Belle are electric and have really good on-screen chemistry. They're humour lands, and their dynamic is really believable for the entire film.

Really great stuff. A damn good French actioner that never stops to catch its breath.

Short and sweet. Commits to the bit commendably hard, and I have to appreciate how far it goes. Gruesome, but comically so in order to keep a lighter tone which ultimately makes the viewing experience more fun. WolfCop is ridiculous in just about all facets, but comes together into modern B-movie glory. Love me some Canadian representation as well.

Very fun.

Creeping green fog, magenta glipses of the city of the dead, paint red blood spewing from the necks of his victims. A grand homage to all the horror that came before it, while itself being a bizarro melting pot of infinite ideas. Traces of Murnau's shadows, Argento's palate, and Fulci's ethereal landscapes are all found in spirit within Ernest R. Dickerson's Bones.

Realistically, I don't know how great of a film this is. I goes from brutal murders to slapstick blood splatter silhouettes to a 70s blaxploitation flick, all accented by Snoop Dogg's distinct charisma. I tries to be so much at once, and while it doesn't all work I love the experience just the same. At the very least it is made with a competent eye and a sense of style that so many horror films of this era lacked. The practical effects are on point, as well as the incredible sets including one hell of a haunted house; they are probably the best part of the film.

I have a soft spot for this immaculate mess of a film, in all of it's haunting, cheesy glory. Simply a blast.

An unnatural evolution from the first Tremors, and miraculously a welcome one. The second half is much better than the first since it actually has stakes as opposed to the nearly Duck Hunt first half, and the new-and-improved graboids make for a fun if not a little off-putting reinvention from the OGs. It is more comedy and action than horror, and while the departure leaves a bit to be desired it still delivers enough to work. Resourcefulness is the name of the game with Tremors, and there are still some damn inventive solutions that the film comes up with that are really satisfying.

Considering the first is one of few films that my whole family seems to like, I'm happy that Tremors 2: Aftershocks was as solid as it was.

As much as I enjoy Carpenter's original, I definitely don't have the same reverence to it as many others. As such, I was open-minded to a remake, especially with a cast like this one; the crazy combo of Hawke, Fishburne, and Byrne really helps the film out, and I always enjoy when Leguizamo pops up.

It is less stylish, more direct, has a few more twists for better or worse, and very clearly from the 2000s for multiple reasons, but even then it's a solid enough action thriller once separated from the original product. Solid action, solid performances, and I'm always a sucker for (primarily) single-location films. I had a good time, all y'all out there who hate this solely by virtue of comparison need to lighten up!

Night of the Living Dead still holds up quite well, even beyond the obvious gargantuan influence it had. Gets to the point almost immediately, slows down to build up tension and make the undead threat all the more serious, and comes to a climax with one final grand release. The ending is still absolutely devistating.

Romero has a clear vision and style to the film which makes it feel distinct from the hordes of other horror films from this time. It has intent and messages, it has an agenda beyond raw terror, and above all it's smart. A lot of the time the characters make decisions that you'd want or expect them to make, at least the smart characters that is.

Definitely deserving of its status.

The Brothers Quay have that magic touch to get under your skin as quickly and precisely as possible. Effortlessly unnerving.

Subverted my expectations in a good way. Alec Baldwin is wild in the film, almost manically so at times, and makes the film worth watching alone but with Fred Ward and Jennifer Jason Leigh the whole main cast is thoroughly entertaining. The moments of explosive violence contrasted to the relative tenderness of Baldwin and Leigh's relationship make the film feel almost disted at times, yet that sharp juxtaposition also elevates the film in a way as well. It takes a bit to find its footing at the beginning, but once the pieces are in motion it gets going real well.

At the very least, Miami Blues is a wild ride.

So many ridiculous WTF moments in Angel of H.E.A.T. that I struggled to keep up with whatever this film was doing while watching. Mud wrestling, the world's shallowest river, and the fate of the villain to name a few of the many moments. Not even all the boobs in the world can save this...

Flow was way more stressful than I could've imagined it being even though I knew it was supposed to be stressful going in. Great film, great atmosphere and ambient score, but I had better not see that cat in danger ever again.

This movie sucks, it's awesome.

Was Fritz Lang always just ahead of his time? He made the sci-fi monolith Metropolis which took film nearly 50 years for other sci-fi films to catch up to and is still massively influential, he made M which is essentially the first modern serial killer film, and he made The Testament of Dr. Mabuse which seems to be a template for contemporary crime thrillers. But beyond this template, there is still unique, elevated ideas and executions present here.

The shadowy, all-controlling mastermind that is Dr. Mabuse looms over the film and an intangible dark presence. For the whole film the police are chasing after this unknown figure, inching closer and closer and closer to the source. Crime not created from direct action but rather influenced from afar, a written testament of crime coming true as the brain lies in a cell spreading his roots and expanding its domain. Hypnosis, phantasmal guides, and detatched voices; nothing ever in plain sight.

As an experience, The Testament of Dr. Mabuse is not dissimilar to many current thriller films. It has a cold open, a solidly tense shootout, explosions, an unraveling mystery at the core, and a sense of danger piercing almost any given moment. Naturally, under Fritz Lang's eye the film comes to life and becomes greater than the sum of its parts. As an early example of sound cinema, it is very interesting to see how it plays with sound in regards to filmmaking and within the film itself; recordings of the human voice are used maliciously, and seem to be a warning for the future of film from Lang himself.

A fascinating film, and one that I'm sure revisits will favour.

The moments of serenity punctured by kaleidoscopic, fragmented barrages. Like the film is tearing itself apart but taking moments to mend itself. A bizarre juxtaposition from Brakhage, but a nonetheless intriguing one.

*I am writing this way too late at night. If any of this review doesn't make sense, I attribute it to this fact.*

Classic Hollywood comedies really don't make me laugh often. They can be funny, witty, sharp, regardless; my sense of humour is far too fried for that, so how I evaluate films like this is by my appreciation of the humour. In the case of Sullivan's Travels, not only do I appreciate the humour, but it made me laugh as well. A commendable feat.

The film is a comedy, but also to some degree a character study for John L. Sullivan. He is self-serious, decidedly going to absurd lengths for the understanding of an impoverished life to make a film only for him to change as a person and empathize with the people he tries to imitate. There's irony in that his cyclical journey(s) only serve to torment him in one way or another before ultimately make his outlook brighter. But Sturges knows this; the whole film feels like a metacommentary on the necessity of comedy in cinema to contrast serious films, presented in the form of a comedy about the realisation that comedies are necessary to counterbalance serious dramas. It's a damn good way to make a point.

P.S. If Veronica Lake called me "Big Boy," I think I would literally turn into a pile of pudding.

Slow burn existential dread with a decent enough payoff. I found Pickman's Model to be one of the weakest episodes of the series so far, but it has one of the best atmospheres so far. It goes a little too overkill sometimes and is over-reliant with the non-painting imagery, and is at its best when it plays with dread instead of shock.

This review may contain spoilers.

There's a lot to dissect with Us, but I truly do think I have a good grasp on it. I don't easily pick up on subtext, but once I was made aware that the film seems to be about the class divide I got to putting the pieces together nice and quick.

A literal representation of upper and lower classes, how the former neglects the latter, how the shadows introduce themselves to the upper class as "Americans." Red's speech sums it all up quite succinctly. The escalator down below only goes down, but on the surface the stairs can go both ways. The shadows only ever aim for the necks of the surface dwellers in their killing blows, and I can't help but see a parallel to the French Revolution there. The uniting of the people in one massive demonstration finally gets the eyes of the surface upon them. That VHS of C.H.U.D. at the beginning was no coincidence.

The setup for the twist at the end is very subtly hinted at throughout, and I thought the final execution was well done. However, I don't know if I can say with certainty that I loved the twist itself, however well done it was.

If Get Out was the masterpiece debut for Peele, then Us feels like his shot at a magnum opus. And for my money? He got a lot closer than what I'd expect.

Tony Scott + Shane Black + Early 90s Bruce Willis = An Obvious Good Time

Yeah, I really enjoyed The Last Boy Scout. It has a bunch of explosions, great action, witty dialogue, and solid chemistry between Willis and Wayans. Not too complex, but not without a few good turns. A very solid fun watch.

How hot of a take is it to say The Verdict is my new favourite Sidney Lumet film? Lumet's direct style mixed with Mamet's direct dialogue filtered through Paul Newman's immaculate performance, what's not to love? The film creeps along, but every moment felt engaging, every revelation intriguing, every twist interesting, and each scene cutting away from any frivolous dialogue. Never flashy even in the most intense scenes, and always for the better. I pretty much fell into a trance by the end, mystified by how smooth every element of the film was.

Holy Hell, Paul Newman is so damn good in this.

This isn't even a joke. That's just how geese are.

I thought that Two Evil Eyes was a very solid twin feature. Seeing the directors alone assured me of that before going in, but the ratings had me hesitate. Safe to say, however, that I was satisfied.

The Facts in the Case of Mr. Valdemar:
An almost slow-burn release from Romero, giving out just enough dread to keep us pulled in. It's an interesting concept for a film that I feel was reasonably explored within the tight time constraints. It does fall into almost archtypical Romero for the climax and ending, but I don't really care that much considering just how cool it is. A pretty good payoff for the setup as well.

The Black Cat:
While not bearing the typical kaleidoscopic colour palate of Argento, it does still keep his trademark style. Harvey Keitel is perpetually irritated as usual, and fun to watch being as conspicuous as possible. Even though I was familiar with the ending of the story, I still thought I was well done here with a couple solid psyche-outs.

Bluelit neon 80s trash cinema, almost bordering on experimental at times and full scuzz the rest of the time. A blunt yet surprisingly well-done and encoming allegory for drug addiction, withdrawal, and a perceived lack of free will, but also a thoroughly ridiculous watch in every conceivable facet as well.

What a blast.

A fun 90 minutes. A bit of an odd balancing act in the tone of Vamp between the lighter moments and the serious/terrifying ones, but at least when it's on it's on. Grace Jones silently dominates all of her scenes and is definitely the best part of the film, whether she's tearing into victims or doing an avant-garde striptease. The lighting is also really great here, making for a great nocturnal vibe.

A good film, but a great late-night watch.

Less atmospheric, more direct. Honestly on par with the first film for me, Death Wish II being more of an actual revenge film than the original was. The fights in the film have an actual sense of realism to them, whether it's Bronson taking time to aim or him getting visibly injured. My major, MAJOR complaint is just how damn gratuitous the opening rape scene is, so much so that it really brings down my enjoyment of the overall film. It is a solid 3½-star film, but that scene makes it a 3.

A razor-sharp critique of bureaucracy. Far more scathing than the works that would come to define Kieślowski's career, but just as visually splendid and dense relative to the runtime.

I've said it before, but even as early as his student films, Krzysztof Kieślowski is one of the finest directors in all of cinema.

Only further proves that Norman McLaren was a wizard. This was made in 1940, 1940!!! Literally unfathomable. Anyways, really cool little exercise in directly-on-film drawing from one of the greats of experimental short films.

Induction of dread in the most simplistic of ways. The audio-visual medium utilised for maximum effect. A thoroughly commendable piece of experimental filmmaking.

Not a crashing Brakhage wave, but a low tide creeping in to slowly overtake the shoreline. Let it wash over you.

The transfiguration of work into rhythmic bliss. Labour birthing art, labour becoming art, and labour as art itself.

A pretty solid Die Hard riff. Van Damme kicking some terrorists led my a slick Powers Boothe. Not too inventive, but not without a few good ideas and moments. With Hyams at the helm, however, you know something like Sudden Death'll be a fun watch, and it was.

Short, simple, surreal, and thoroughly disturbing. Masterfully executes its concept with such ease and precision. A damn fine horror short that actually gets under the skin.

I love a good siege film. Movies like Seven Samurai, Return of the Living Dead, Mad Max 2: The Road Warrior, The Mist, even something like Signs. Have some characters be stuck in a single location and have to fend off attacking forces / fight their way out, and I'll have a good time. Assault on Precinct 13 feels like a staple and reference point for this subgenre.

45 minutes of setup, and 45 minutes of release. John Carpenter takes all the moving pieces at the beginning and sews them together into an action tapestry by the halfway point. Somehow a precursor to both his future action and horror efforts. I'm surprised by how (relatively) sparse the action was, not to say that it IS sparse but just less present than I recalled. However, it is made up for with brooding tension waiting to snap at any second. The desperation, the lack of resources, the wait; it all comes together very well in the end to make a rather memorable action-thriller that feels a little ahead of its time.

While Split Second is essentially just a melting pot of of other films fused together, it is still a fun little action-horror film. Hauer and Duncan make for a fun leading duo, and the film moves fast enough so that it doesn't get dull. The sci-fi city underbelly that the film inhabits makes for a very good setting as well. The (mostly) unseen serial killer also adds a solid layer of unease to the film in the wait for their reveal. Short, simple, fun.

I want to get my main complaints out of the way first. The pacing is whack: the first half / two-thirds are very well paced, slow and methodic, but the last third or so moves so fast and leaves out so much that the whiplash is a bit hard to stomach. Second, there is an egregious amount of exposition that, while it may be necessary to understand anything, really feels gratuitous. Lastly, while the practical effects are great, all the effects added in post (forcefields, explosions, etc.) are not very good at all. Product of the era or budget perhaps, but still quite middling.

Anyways, I really liked like David Lynch's Dune. It's a positively bizarre film with absurd choices, an experimental edge, and a near-singular visual style; I commend it for that.

The setwork and costuming, first and foremost, is excellent. Everyone and everything has such a specific, unique vibe to them that makes every scene, every moment feel distinct. Everything to do with the Harkonnens in particular: they're absolutely repulsive and grotesque in every way, cannibalistic fiends more akin to something like Fury Road's Immortan Joe and his children than Villeneuve's visionary take on the characters.

Naturally, Lynch imbues the film with numerous experimental quirks. Paul's recurring visions, the repeated dripping of the water, the experience of drinking the water of life, Alia in the womb; even ordinary interactions have at least a surrealist bend to them. It makes the mood of the film unmistakably Lynchian, and as far as I'm concerned, it's for the better.

Also, the cast of this film is really unbelievable. Even beyond the (massive list of) big names, I feel like almost everyone fit their role well, sans Duncan Idaho. How they dealt with their dialogue is a different story, but the characters themselves were well-fit by their actors.

I'm not really sure how to fully articulate my feelings on why Dune just *works* for me. It is such a twisted, almost avant-garde vision of a sci-fi blockbuster that I feel it needs commending. Such a peculiar piece of media.

A cold, cynical anti-noir/anti-prodecural. Mamet's dialogue and direction is forward and direct, never completely spelling out every move and motion he chooses to make. At times the film feels stilted or off-putting, but at others it punches and twists in really slick ways. Kilmer definitely gives one of his better performances here, somehow finding emotion beyond his nigh inexpressive face.

Spartan is a good film that could have been great in the hands of a better director. As it is, it still stands as a thriller that feels distinct enough for one reason or another.

What an amazing feeling it is to finally watch a modern masterpiece after having avoided nearly every single spoiler about it out there. Goddamn, one of the most tense and rewarding films out there. Every setup and payoff was just so satisfying, every single one!

Absolutely loved Get Out, no chance I'm watching it again any time soon.

Almost a complete subversion of my expectations, almost entirely for the better.

You'd think an Abel Ferrara vampire film would be violent character study with minimal restraint, but instead he really dials in with a more sympathetic, philosophical approach to vampirism. The draining another's blood is protrayed as a necessity to life, an addiction (get it?), an erotic act even, but it only feels truly violent in one moment in the film (no spoilers); it is thoroughly off-putting in how these moments are presented. But of course, no matter how much he changed, Ferrara's theme of religion still pokes through.

The focus on Kathleen's deterioration is very well calibrated. It doesn't feel overly sappy, sentimental, sorrowful, or angry; it is, however, definitely emotional. You can see and feel her struggle, and even though we ourselves may not be vampires we can still understand her. Lili Taylor is phenominal in the film, selling every moment completely.

A seriously impressive, almost understated, arthouse approach ti a vampire film. Excellent.

Maybe my favourite thing on Letterboxd is when I find a pretty obscure movie that actually sounds good, and it turn out to be just that.

Drive is a seriously underrated 90s martial-arts-action-buddy-comedy. Dacascos and Hardison make a great pairing, both for the action and the comedy; they play off each other quite well. The action choreography is consistently very good as well, and for just how many action scenes there are that's a high bar that it meets. The whole thing cruises by very smoothly with some fast pacing, so there's rarely a dull moment. I'm also a big fan of very mild sci-fi implementation, so bonus points off the jump for that, too.

A very solid action flick. Definitely deserving of more love.

Viscerally uncomfortable. Top-notch slow burn body horror. For the right person, you'll never need to change a thing about you.

The Limey is a moodpiece thriller, made special by Soderbergh's touch. He takes a standard revenge thriller and makes it into an arthouse film with avant-garde tendencies. The flickering into flashbacks, the multiple outcomes of a single act, obscuring the action; they all make for a unique viewing experience consider what the film is. Terence Stamp is a lot of fun to watch in the lead, and Luis Guzman, Barry Newman, and Peter Fonda ing round out a very solid cast. A rather solid, almost singular thriller.

Any horror film I rate 4 1/2 or 5 stars.

1. The Thing
2. Phantom of the Paradise
3. The Night of the Hunter
4. The Lighthouse
5. Vampire Hunter D: Bloodlust
6. Get Out
7. Don't Look Now
8. The Silence of the Lambs
9. Suspiria
10. The Shining

...plus 58 more. View the full list on Letterboxd.

• The Fury
• Barbarian
• Gone Baby Gone
• The Shape of Water
• Tootsie
• Cronos
• THX 1138
• Boogie Nights
• The Outsiders
• Frantic

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

A list of every movie that I own a physical copy of.

1. 12 Angry Men
2. 13 Assassins
3. 1917
4. 2001: A Space Odyssey
5. 2010
6. 2046
7. 20 Million Miles to Earth
8. 28 Days Later
9. 3:10 to Yuma
10. 3-Iron

...plus 1251 more. View the full list on Letterboxd.

1. Terminator 2: Judgment Day
2. The Fall
3. The Lord of the Rings: The Fellowship of the Ring
4. The Devils
5. The Muppet Christmas Carol
6. Pas de Deux
7. Stalker
8. The ion of Joan of Arc
9. RoboCop
10. The Thing

...plus 107 more. View the full list on Letterboxd.

Criterion Collection + Eclipse Series

1. 4 Months, 3 Weeks and 2 Days
2. An Actor's Revenge
3. Antonio Gaudí
4. Army of Shadows
5. Au Hasard Balthazar
6. The Bad Sleep Well
7. Band of Outsiders
8. The Baron of Arizona
9. The Battle of Algiers
10. Betty Blue

...plus 111 more. View the full list on Letterboxd.

1. Logan
2. Deadpool & Wolverine
3. X-Men: Days of Future Past
4. X-Men: First Class
5. X2
6. X-Men
7. X-Men: Apocalypse
8. The Wolverine
9. X-Men: The Last Stand
10. X-Men Origins: Wolverine

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

Feature length and short films + rewatches.
June 28th - Sept 4th
If you can't tell by my ratings, there's not a lot of films that I don't like.

1. The Lighthouse
2. The Treasure of the Sierra Madre
3. Institute Benjamenta, or This Dream People Call Human Life
4. The Boy and the Heron
5. The Night of the Hunter
6. Garth Marenghi's Darkplace
7. The Rules of Attraction
8. Requiem for a Dream
9. King of New York
10. Dreams

...plus 145 more. View the full list on Letterboxd.

A month dedicated to viewing horror and horror-adjacent media, watching at least one film or short film for every day of the month.

1. The City of the Dead
2. OPAL
3. Black Sunday
4. Ghosts of Mars
5. Vampyr
6. Lights Out
7. Don't Look Now
8. Lights Out
9. Demons
10. The Black Cat

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