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I quite enjoyed this gruesome dark comedy version of the fairytale that reminded me a lot of The Substance mainly due to its blunt metaphor and use of body horror to convey its themes but also throw in a bit of The Favourite due to the period setting and making men the butt of the joke. There were many moments where I was cackling in glee while covering my eyes. 
It will never happen but this should be nominated for costuming and production design because they all look great even if it is surrounded (and sometimes covered) in muck and bile and grime. 
I would love some sort of follow up to this that shows what became of Cinderella because I love the twist on the classic tale and how it shows us who she was before the Prince enters the picture. It’s gloriously twisted.

The opening to this movie is incredible and brutal and it really helps the child actor at the center is very convincing with his grief. 
However, the rest of the movie is quite convoluted and messy with a strange love triangle involving the main character marrying the daughter of the man he wants to kill. 
It doesn’t help the English subtitles are translated very poorly and make the melodrama that is around this intricate revenge mission feel even more odd than it already is. 
And Lau is great as always and there are some fantastic uses of camera and lighting. It’s a good looking picture. 
This would be a great movie to remake, no matter the country.

ion projects with limited means can reveal a lot about a filmmaker and while the limitations are on display here you can also see an innate talent for comedic timing and absurdist style. There is no classifying this because it is unlike anything I’ve seen. There were an equal amount of guffaws from me as there were confused looks. The finale is great, though. 
By the end, this is like the ultra low budget Sam Raimi version of The Fabelmans.

Who knew this trilogy would become the French Infernal Affairs?
What a great and satisfying conclusion to an excellent series. We’ve got police corruption that goes all the way to the top mixed with enjoyable action. 
There is a three person fight in a metro train that is very well done. And that’s in the middle of an already excellent car chase sequence, which is one of three very well staged action scenes. 
This series just got better and better as it went along. So glad to see a director come into their own and bring the goods with each installment.

In of the all around action, this is a significant improvement over the first film. The car chases are more thrilling and over the top and the fight scenes feel even more brutal. The corruption plot only deepens and it involves the non-corrupt cops trying to protect their own which only further complicates character motivations. I love how messy it all gets. 
Electrified spikes on the front of a speeding car? Hell yeah. 
The main character is a legend for fighting off 10 cops? This time he fights off 20! 
Highway chases and shotguns to heads is all I need. I’m a simple man.

Better than I ed, especially when you get dig into the corrupt cops and redeemable criminal plot. Somewhat dense and makes you pay attention but worth it in the end.
I quite enjoy the fight scenes since they mostly involve people just flinging their bodies against one another and tiring the more they go. 
The car chase scenes seem somewhat underwhelming, almost like the director is still getting his bearings with action film directing. There is potential but they never give you the true sense of speed there should be.

“If you want true love, this is it. This is real life. It’s not perfect but it’s real. And if you can’t see it, then you’re blind.”

Love is amazing but life sucks. 
Man, this movie hits harder the older you get.

“Each person has their own specific qualities. You can never replace anyone. What is lost is lost.”

Never has a film filled with so much yearning and longing been so goddamned good. 
Julie Delpy singing her waltz and then dancing to Nina Simone is a Top 5 Sexiest Scene ever.

“If there is any kind of magic in this world it must be in the attempt of understanding someone sharing something.”

No two people in the history of cinema have had better chemistry than Ethan Hawke and Julie Delpy. 
The true magic of this masterpiece is how quickly you get wrapped up in the connection of these two strangers.

Interesting, low key exploration of a newly blind woman coping with her condition through fantasies that either serve as an escape or projection of her depression. I like how the script weaves the story she makes up and her own life while allowing us into her headspace. 
For something just over 90 minutes, the pace can feel a bit languid in places but otherwise it does a nice job of making the main character a fully realized individual.

Big and messy and silly, just like it’s predecessor, but ultimately very entertaining due to it embracing the silliness with a sincerity for the franchise that borders on schmaltzy and featuring two extremely awe inspiring action scenes.
The first set piece does a great job of providing a sense of scale within the environment and the final action scene is probably a more impressive technical achievement than the helicopter scene in Fallout. 
However, the first hour sort of repeats itself and revels in flashbacks to all the other films that feel quite unnecessary. There is a strange pace due to odd editing choices but once we get into the last half of the film, thankfully it finds a groove and sense of palpable stakes. 
We truly were blessed to have one of the last great movie stars put his life on the line for decades for our entertainment but I am very thankful he did because I thoroughly enjoyed it.

Plays a lot better on rewatch, especially putting this in perspective of the time period it was released and how reflective it is of the mood of a nation, somber, bleak, wondering really what is the point of it all.
While this starts in the seedy underbelly of Hollywood it shows how that seediness has no borders and no one is free of temptation and guilt. 
Hackman is well cast, wearing a nations tiredness in his face and shoulders, trudging from one reveal to another just wondering how low people will go to justify their actions.

“I didn’t know that liking your husband would hurt this much.”  

What a gut punch. 
What a picture.

The filmmakers clearly have a fondness for the franchise and are able to make something just unique enough to craft something new and fun without being tediously slavish but still pays homage to past films in subtle ways. Amusing visual cues range from the most obvious from Part 2 to even a wink towards the shitty use of 3D in the fourth film. This is the best installment since Final Destination 2 and I don’t think it’s particularly close. 
There is a wry dark humor that runs through the entire film that had me giggling and wincing in equal measure with kills that really go for natural fears. There is a particularly gruesome death inside a [redacted] vehicle I was genuinely surprised how far they went to show the way the person died. 
And what a way to cap off a career for Tony Todd. His appearance was quite bittersweet and made me tear up. 
Fun time at the movie theatre!

Having just finished (the perfect series ) Andor, it’s amazing how much more tragic it makes this story. It becomes far less a tale about Jyn Erso and an absolutely heartbreaking end to Cassian Andor. I was in tears. The real heroes are not written in the history book, they are lost in the ether. 
It’s just good to see the freedom fighters give the space Nazis hell.

“Your life will always matter more to me than my own.” 

Shea Whigham is a perfect addition to this franchise and I will never tire of him tugging on faces. 
This movie is rather silly but still entertaining. The Rome chase and the entire train scene stand along the highs of the other films. 
Also, this movie continues the thesis brought forth in Fallout that Ethan Hunt is a god whose sole purpose is to save humanity and I am here for it.

“Some flaw deep in your core being won’t allow you to choose between one life and millions. Now, you see that as a weakness, but I see that as your greatest strength.”

This really is one of the most personal, genuinely emotional, and viscerally exciting action films ever made. Just an all timer. 
We don’t talk enough about how great the score is.

“Woah! Are you ok to drive? A minute ago you were dead.”
“What are you talking about?”

Nobody in the history of cinema has been hotter than Rebecca Ferguson in this film. 
I love how Benji is in D.C. when he receives free opera tickets to Vienna, Austria and just….decides to go like it’s no big deal. 
Also interesting how this is the second film that Hunt is resuscitated by a woman.

“Your line’s not long enough!”
“No shit!”

This is the film where Cruise seems to really start mastering his facial and body acting to accentuate his reactions to surviving close calls. It’s really something to see. 
I’m glad they were able to poke fun at how the ending is completely ridiculous.

“Don't do it, Ethan.”
“Luther? Julia and I got married two days ago.”
“Congratulations!”

Motherfucker gave up a life with the most beautiful woman on the planet just to save the world over and over again. I call that commitment to your craft.
A Kanye song during the end credits is an odd choice and obviously has not aged well.

“Well, this is not mission difficult, Mr. Hunt, it’s mission impossible. ‘Difficult’ should be a walk in the park for you.”

I think I appreciated Woo’s bonkers choices (the slow motion, the doves, the final bike joust) a lot more this time around but so much of this fits more into the Brosnon era Bond films than in the M:I franchise. 
A lot of it is too boring and dragged out to care much about but the race track scene is a well staged exercise in tension and the chemical warehouse sequence is gorgeously shot and lit. 
It’s cool that the voice changer would show up in the next film but there are so many mask reveals here it almost becomes a parody of itself. 
Ving Rhames MVP. 
Fashion and tech design in the year 2000, though. What were we thinking?

“I want him manning a radar tower in Alaska by the end of the day. Just mail him his clothes.” 

Jon Voight was 58 when this film was released. 
Tom Cruise is now 62. 
The coolest thing they could do in the new film is bring back the red light/green light gum.

The biggest crime this film commits is how boring it is. It suffers from a poorly conceived romance, odd pacing and tone, and an overall uninteresting plot. Even the action and getaway scenes lack true suspense. This is so strange because Phillip Noyce is a solid director. I have to imagine there are behind the scene issues that effected this movie. 
Val Kilmer seems to be having fun with his various disguises and accents. 
This suffers from being released a year after the first Mission: Impossible which obviously does all of this better. I can see this being remade into a better product.

Certainly a step up from the previous film but it isn’t the best decision to wait almost an hour until the main characters start clueing into the whole mechanics of what’s going on. While the kills are more fun and inventive they take too long to get to and the acting isn’t all that great. They do a good job of preying on natural fears, especially the eyeball sequence.  
Also, while this is still subjected to studio mandated 3D effects, they aren’t nearly as bad or distracting and they work better within the context of the action. 
However, the choice of the twist that is revealed in the end is well done and fun, inserting the tongue-in-cheek tone that was missing from the 4th film.

The other films aren’t some great feats of cinema but it’s striking how much of a step down this is. The actors don’t really seem to know what to do with their lines and it just sort of moves along at a strange pace. 
It doesn’t help this came out right in the middle of the 3D craze and nearly every scene involves some terrible use of awful special effects. 
The kill sequences aren’t nearly as elaborate or inventive. Sometimes they’re oddly annoying. 
Shoutout to them for using clips from The Long Kiss Goodnight during the final set piece though.

This has one of the best match cuts I’ve ever seen, from tanning beds to coffins. 
This was better than I ed. It doesn’t reinvent the series or do anything new or different than the previous two but it’s still an enjoyable romp even if the two leads buy in pretty quickly to the death nonsense. The funnest thing is how each of them move on from every n record speed. Like, heads get crushed and disfigured in brutal manners right in front of their eyes and they just continue to the next while barely blinking. 
The epilogue feels more cruel than the other two and far less self aware, which is a shame.

Somehow this is the first time I’ve realized Ali Larter’s character name is Clear Rivers. Plus, I find it so funny how she fully invests in her psycho conspiracy role. Pure camp intensity. 
Speaking of camp, this movie is so bonkers insane it’s fascinating how it still works because it fully leans into the insane logic it makes up as it goes along. Yes, the opening highway wreck is something that has (rightfully) stuck with and traumatized a whole generation but all the kills afterwards are very inventive and well staged. 
The final shot really emphasizes how tongue-in-cheek tone the filmmakers are going for.

Two things I stand by from my previous viewing: 

1.  Plays perfectly for the target audience due to its pseudo-intellectual ideas of existentialism and theology without ever bothering to make sense of it all, which is perfectly fine.

2.  Devon Sawa looks like a young Jeremy Renner.

I do like how this offers a lot of potential the sequel (and to some extent other future films in the series) would expand upon and make better. The pacing is a lot slower than I recall, with a lot more time devoted to the paranoia of death rather than the actual death sequences themselves. 
But, man, does the costuming bring me back to college.

It’s interesting to compare this to Zahler’s other films as the other two feel more structurally composed while this one feels shaggier. It could be a choice to make BH seem looser with the camera because of the rugged setting whereas the more rigid and symmetrical nature of BiCB99 and DAC feel more suited for the modern cityscapes. 
Anyways, I just love the way the dialogue is written. Having read one of Zahler’s novels, also a western in a similar setting, it’s fascinating to compare and see how well his writing translates to the screen. Words are carefully chosen and crafted, spoken with meaning and intent, and the setting feels real and authentic. 
The casting is perfect. Seems like having Kurt Russell as the sheriff seems intentional, almost like Zahler is winking at the audience and poking fun at the Western genre. 
And yes they ending is wonderfully brutal.

This becomes better in the second half when it focuses more on the dynamic between Eastwood and Malkovich’s characters and the rising stakes. The first half covers familiar territory regarding meta-commentary of Eastwood’s age and relevance that started with Unforgiven and would continue for about another 15 years. I’m curious how much of that was in the original script before he was cast. 
Malcovich is great here, really embodying a delusional psycho and using his patented mannerisms for full effect. 
More understated for a Peterson film. He lets the investigative work breathe, for better and worse. However, it is sad when a character dies halfway through. 
This was a VHS staple of mine during my teen years and I find it curious how this held my attention at that age. Maybe I was someone who looked for more adult driven thrillers than the typical tentpole releases of the day.

As long as Paul Feig and Blake Lively and Anna Kendrick want to find excuses to go to exotic locations and wear amazing fashion and come up with silly, soap opera plots that make no sense, I will keep watching these movies. 
Come for the vibes, stay for the martinis and wicked barbs!

The setup really pays off by the end because the third act becomes so deliriously goofy that I can’t help but giggle my ass off. 
This really relies from non-verbal actions and physical comedy in the second act and it helps you have two of the best to ever do it in John Ritter and Carol Burnett. It’s very well cast overall.

It’s a bit refreshing to have an MCU film that focuses more on character than it does connectivity and worldwide stakes and destruction. There is actual care and time to explore a few of the on screen, especially Pugh’s character, who does yeomen’s work bringing the emotional core. I was honestly surprised how little action there is on screen compared to the amount of conversations (and internal nightmare asides). 
Without spoiling anything, what ends up being villain allows for decent visual displays of learning how to live with your past. It’s not a very deep exploration but it’s a sorely missed quality in these series of films that I haven’t seen since No Way Home. 
Big highlight for me: David Harbour. He seems to be having the time of his life and steals just about every scene he’s in.
Not as good as Thor: The Dark World

Sweet hearted melodrama that doesn’t reinvent the wheel but is buoyed by the two leads. The mirroring of the off court and on court drama is well handled. 
The soundtrack is a highlight and uses its songs properly. 
The ending is rather touching and very well edited. 
Sports movies in general can be good but basketball seems the toughest to convincingly portray. I’ve yet to see a film that gets it right.

Probably enjoyed this more than the first time I saw it. Blake Lively is just great and Kendrick knows what to do with the material. Also: those outfits! 
It’s best to not take this too seriously and just enjoy the vibes. 
Good soundtrack too.

Statham and Ayer seem hellbent on riffing on other films that are better versions of what they are creating. Here we have mostly the main elements of Taken with a sprinkling of Hard Target and the ethos of Unforgiven. 
There are so many odd choices when it comes to the characters, especially the Russian mobsters who seem like leftovers from a Matrix film, or even the biker drug dealing gang and their strange horned helmets and half chainmail. 
However, there does seem to be some attempt to lean away from typical tropes such as not otherising minorities, all cops aren’t actually good, and the kidnapped girl is not a helpless damsel and does a good job of fighting for herself. 
Not as much action as you’d hope for from this type of film but Stathams face sure does make a compelling presence on those close ups.

Rough around the edges but I really appreciate the insight into this particular aspect of racial interactions, hypocrisies, and generational conflict. I’m always fond of stories that allow you to see where characters mindsets and values are rooted and how they view the world and this film fleshes its people out rather well.   Quite like the chemistry between Washington and Choudhury. 
The music and score is a good highlight and elevate the story. 
The ending made me tear up.

They don’t make them like they used to and when they try, they fail. 
RIP Val (who is just next level here).

I, too, would hide behind a steely facade and do anonymous charitable work to win the affections of Keira Knightley. 
A gorgeous, sweeping romantic epic. Joe Wright directs the fuck out of this. Utterly sumptuous photography and amazing camera work that envelops you in the setting. 
Much funnier than I expected, this is filled with biting one liners and retorts. Loved just about every interaction. 
Maybe Keira Knightley’s best performance? What a commanding presence, fully embodying a confident and headstrong person who doesn’t back down from anyone. I kept pumping my fist anytime she stood up for herself. 
This is a me problem but it’s very difficult to not compare this to (Gerwig’s) Little Women, which I hold in extremely high regard and think is a perfect film.

Perfectly cromulent. Nothing outstanding but well intentioned. Clooney clearing aping Classic Hollywood filmmaking and probably to the films detriment. Underneath it all there is a very good movie if it was directed better. What we see feels like segments of a Wikipedia article with not much cohesion. I wonder what this would’ve been like if there was a main antagonist instead of this ethereal idea of preserving art at all costs (which is inherently a noble and worthwhile venture but in the context of the film feels too flimsy). 
I do like the cast and their chemistry. 
This is your aunts favorite movie.

No one shoots and composes action scenes like Evans and this is no exception. There are two major action set pieces and they both had me ooohing and aaahing and wincing and grinning from ear to ear. The sheer amount of bodily carnage and ridiculous gunfire is way over the top but it’s what I wanted and he delivered. 
The plot is straight out of many Hong Kong and Japanese criminal underworld films and does not reinvent the wheel. The CGI car chases are rather distracting and some of the outdoor sets look rather fake. It’s odd how this can look cheap in some instances and extremely competent in others. 
But, man, is the action just so good. 
I crave more from you, Evans! MORE!

In a just world, we would get 10 more of these movies. A-plus entertainment at the movie theatre. Pure lizard brain cinematic pleasure. 
I cackled when they revealed the person behind the British voice because it raises so many more questions and issues and expands the world building exponentially. Just top notch ludicrous writing that I can’t help but applaud. 
The chemistry between Affleck and Bernthal is ridiculously good. Enjoyed every second with them and am so glad we get moments of quiet and levity to share with these two that don’t even have anything to do with their mission. 
Green light the third entry, Hollywood!

Still feel it’s a bit bloated and convoluted but it’s the way that Affleck and Bernthal play their roles that keeps this fun and engaging. There is a good deal of competence porn, of the gun and deduction variety, that makes this a worthwhile watch.

Like a teenage boys fever dream but the craft must be commended. There is love and effort poured into every frame and some sequences truly are gloriously shot and lit. At least I wasn’t bored. 
I can’t defend the story from a narrative perspective because it barely holds together and the most interesting aspect, the magical demon, is sidelined for almost the entire runtime. 
The tri-blade sword is fun on a conceptual level but in execution is rather silly. But that’s what you come to something like this for, the silliness (along with the flesh and blood, of course).

Monumental. 
There is scene halfway through featuring a musical sequence that blends past, present, and future that blew my fucking mind, not just in its audacious execution but also how it works thematically and symbolically with what Coogler is doing here. The blend of various types of music and horror tropes is so wonderfully implemented and further highlights the layers of symbolism it’s almost staggering to witness. 
Delroy Lindo steals the show for me. Just on another level. Perfectly cast and knows exactly what to do with the material. He should be nominated for an Oscar just like he was for Da 5 Bloods (something that totally and actually happened, you will not convince me otherwise). 
This film is an astonishing achievement.

I can only judge this film based on the directors intentions and it seems like the intent was to place the viewer in the chaos of this one particular conflict and to be a part of confusion and in doing that it is wildly successful. The intention is heightened realism. The sound design immerses you in the moment and the time spent with the soldiers make you understand their mental makeup. 
One of the more remarkable aspects is how it starts off showing the mundanity of waiting when nothing is happening and the tension of waiting when there is nothing other than sound and fury surrounding you.
Mendoza and Garland clearly want to avoid standard war film tropes and show us how this situation just starts and ends with no warning. Once the fighting starts, there is no crescendo, it just starts. And once it’s over, it’s over. No warning. No fanfare.

This was way more entertaining than I expected. 
From a narrative standpoint, it makes no damn sense and the world is fully rooted in video game logic but I’m glad that Hess leans very much into that absurdity of it all and Mamoa and Black full commit to their roles with gleeful abandon.
It's filled with moment after moment of exposition to get from scene to scene and more deus ex machinas than any film I’ve ever witnessed but it’s too funny to not recommend. Plus, my kid loved it so that’s all that matters. In fact, this movie is perfect for anyone ages 8-15. If I was in that age range it would be one of my favorite films.

“I wrote a suicide note. Right after I regained consciousness.” 

The balance of humor and melancholy is rather well done. And only Gene Hackman could have played a borderline racist, dead beat dad who is both charming and selfish so effortlessly. 
I had only seen this once before and I had not ed much. I never held it in that high regard among Anderson’s other work but this rewatch made me appreciate it a lot more and understand why others consider it one of his best. The central heart of a dysfunctional family coming together due to the jealousy of a self-centered man and his willingness to change is emotional and written very well. It helps all the performances capture the longing for others, the need to be loved, and the withheld grief so well. It’s a great balancing act. 
The formal design we are so used to in Anderson’s other films just peeks its head here. You can see the beginnings of how he would frame his shots and move the camera. It’s fun to see the evolution of his style. 
The running gag of Seymour Cassel’s character as a doctor is quite amusing.

It’s such an interesting choice to use a romantic and subdued take on a high concept story that offers so many worldwide implications and ethical dilemmas. The first half is so contained and focused on a petty love triangle that I was wanting more information outside of this small community. However, by the end, it’s garnered so much pent up emotion that it becomes an absolutely heartbreaking tale of lost love and childhood that you can’t help but feel for these characters. 
Mulligan does more acting with her eyes and mouth than most others can do with their entire body, it’s incredible. 
Good movie.

Count me among the minority that doesn’t quite get it. 
Its technical achievement is quite astounding but, to me, gets in the way of the storytelling. The only place the one-shot technique worked for me was Episode 3, mainly due to it being a two hander in a single location. It added to the authenticity of what both characters were exploring. Easily the most compelling segment. 
The only other scene where it was effective was the final 20 minutes of Episode 4. Those are by far the most well acted parts of the series and ends on quite a strong note. I can’t even imagine where you have to take yourself as an actor the way we see Graham in those final moments. 
Overall, I think the concept is very well intended but under-explored as to how this situation is becoming an epidemic among these age groups and how it can be treated. I think if it used traditional filming and editing techniques, it would’ve worked better for me.

1. Mission: Impossible – Fallout
2. Mission: Impossible – Rogue Nation
3. Mission: Impossible
4. Mission: Impossible – Ghost Protocol
5. Mission: Impossible III
6. Mission: Impossible – The Final Reckoning
7. Mission: Impossible – Dead Reckoning
8. Mission: Impossible II

1. Final Destination 2
2. Final Destination Bloodlines
3. Final Destination
4. Final Destination 3
5. Final Destination 5
6. The Final Destination

1. Avengers: Endgame
2. Guardians of the Galaxy Vol. 2
3. Captain America: The First Avenger
4. Captain America: Civil War
5. Captain America: The Winter Soldier
6. Avengers: Infinity War
7. Iron Man
8. Avengers: Age of Ultron
9. The Avengers
10. Thor: The Dark World

...plus 26 more. View the full list on Letterboxd.

1. The Grand Budapest Hotel
2. Moonrise Kingdom
3. Fantastic Mr. Fox
4. The Royal Tenenbaums
5. Asteroid City
6. Isle of Dogs
7. Rushmore
8. The French Dispatch

1. Parasite
2. Memories of Murder
3. Mother
4. Snowpiercer
5. Okja
6. Mickey 17
7. The Host
8. Barking Dogs Never Bite

1. Happy-Go-Lucky
2. Secrets & Lies
3. Hard Truths
4. Vera Drake
5. Another Year
6. All or Nothing
7. Naked
8. Life Is Sweet

1. Traffic
2. Out of Sight
3. Ocean's Eleven
4. No Sudden Move
5. Haywire
6. Black Bag
7. Magic Mike
8. Contagion
9. Ocean's Thirteen
10. Unsane

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

1. Spider-Man 2
2. A Simple Plan
3. Spider-Man
4. The Gift
5. Drag Me to Hell
6. Evil Dead II
7. Darkman
8. The Evil Dead
9. The Quick and the Dead
10. Doctor Strange in the Multiverse of Madness

...plus 3 more. View the full list on Letterboxd.

1. The Shallows
2. Orphan
3. Carry-On
4. Non-Stop
5. The Commuter
6. Unknown
7. Black Adam
8. Run All Night

1. Challengers
2. Suspiria
3. Call Me by Your Name
4. Bones and All
5. A Bigger Splash
6. Queer

1. Schindler's List
2. Jaws
3. Raiders of the Lost Ark
4. Jurassic Park
5. E.T. the Extra-Terrestrial
6. Saving Private Ryan
7. Close Encounters of the Third Kind
8. A.I. Artificial Intelligence
9. Catch Me If You Can
10. Lincoln

...plus 16 more. View the full list on Letterboxd.

1. Alien
2. Black Hawk Down
3. The Last Duel
4. The Duellists
5. Prometheus
6. Thelma & Louise
7. Blade Runner
8. American Gangster
9. The Martian
10. Alien: Covenant

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

I dont think it is possible for McQueen to make a bad film.

1. Shame
2. Widows
3. 12 Years a Slave
4. Hunger
5. Mangrove
6. Lovers Rock
7. Red, White and Blue
8. Education
9. Alex Wheatle
10. Blitz

1. Election
2. The Holdovers
3. Sideways
4. The Descendants
5. Nebraska
6. About Schmidt

1. Blue Ruin
2. Green Room
3. Rebel Ridge
4. Hold the Dark
5. Murder Party

1. Crimson Tide
2. True Romance
3. Top Gun
4. The Last Boy Scout
5. Enemy of the State
6. Unstoppable
7. Days of Thunder
8. The Fan
9. Déjà Vu
10. Man on Fire

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

1. Kraven the Hunter
2. Madame Web
3. The Garfield Movie
4. V/H/S/Beyond
5. Skywalkers: A Love Story

1. Challengers
2. My Old Ass
3. Anora
4. The People's Joker
5. Sing Sing
6. Nickel Boys
7. Babygirl
8. Love Lies Bleeding
9. Sometimes I Think About Dying
10. Hundreds of Beavers

...plus 101 more. View the full list on Letterboxd.

1. Alien
2. Aliens
3. Prometheus
4. Alien: Covenant
5. Alien³

   The Assembly Cut

6. Alien: Romulus
7. Alien Resurrection

I refuse to see The Last Airbender and After Earth.

1. The Sixth Sense
2. Unbreakable
3. The Village
4. Signs
5. Split
6. Trap
7. Old
8. Glass
9. The Visit
10. Knock at the Cabin

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

• Logan
• X-Men: First Class
• X2
• X-Men
• The Wolverine
• X-Men: Days of Future Past
• X-Men: The Last Stand
• X-Men: Apocalypse
• Dark Phoenix
• X-Men Origins: Wolverine

1. The Killing of a Sacred Deer
2. Dogtooth
3. Poor Things
4. The Favourite
5. The Lobster
6. Kinds of Kindness
7. Alps

1. Take Shelter
2. Loving
3. Mud
4. Midnight Special
5. The Bikeriders

1. Before Sunset
2. Before Sunrise
3. Before Midnight
4. Dazed and Confused
5. Boyhood
6. Everybody Wants Some!!
7. Hit Man
8. Bernie
9. Last Flag Flying
10. Apollo 10½: A Space Age Childhood

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

1. Mad Max: Fury Road
2. Furiosa: A Mad Max Saga
3. Mad Max 2
4. Mad Max Beyond Thunderdome
5. Mad Max

1. Man of Steel
2. Watchmen
3. Zack Snyder's Justice League
4. Dawn of the Dead
5. Batman v Superman: Dawn of Justice
6. 300
7. Army of the Dead
8. Rebel Moon – Part One: A Child of Fire
9. Rebel Moon – Part Two: The Scargiver
10. Sucker Punch

A ranking of Brat Pack films in which at least two are featured.

• The Breakfast Club
• Pretty in Pink
• About Last Night...
• Sixteen Candles
• Betsy's Wedding
• Wisdom
• Weird Science
• Blue City
• Bad Influence
• The Outsiders

...plus 6 more. View the full list on Letterboxd.

1. Annihilation
2. Ex Machina
3. Civil War
4. Men

1. Godzilla
2. Godzilla: King of the Monsters
3. Kong: Skull Island
4. Godzilla vs. Kong
5. Godzilla × Kong: The New Empire

1. Blue Velvet
2. Mulholland Drive
3. Wild at Heart
4. The Straight Story
5. The Elephant Man
6. Eraserhead
7. Dune

1. Incendies
2. Arrival
3. Polytechnique
4. Enemy
5. Sicario
6. Prisoners
7. Dune
8. Blade Runner 2049
9. Dune: Part Two
10. Maelström

1. Miami Vice
2. Thief
3. Manhunter
4. Heat
5. Ali
6. The Insider
7. Collateral
8. Public Enemies
9. Ferrari
10. The Last of the Mohicans

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

I did not go out of my way to watch all that I could this year and tried to stay away from films that I would not care for, hence the reason there are only 4 films on this list.

1. The Little Mermaid
2. Cocaine Bear
3. Indiana Jones and the Dial of Destiny
4. Linoleum

1. Past Lives
2. Oppenheimer
3. The Eight Mountains
4. Poor Things
5. Beau Is Afraid
6. You Hurt My Feelings
7. Barbie
8. How to Blow Up a Pipeline
9. Spider-Man: Across the Spider-Verse
10. Godzilla Minus One

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

1. An Unmarried Woman
2. Blue Collar
3. Persepolis
4. Revanche
5. The Window
6. Crash
7. Wheels on Meals
8. Ali: Fear Eats the Soul
9. News from Home
10. Cobra

1. Man of Steel
2. Batman v Superman: Dawn of Justice
3. Zack Snyder's Justice League
4. Wonder Woman
5. Aquaman
6. Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)
7. The Suicide Squad
8. Shazam!
9. Aquaman and the Lost Kingdom
10. Shazam! Fury of the Gods

...plus 5 more. View the full list on Letterboxd.

1. First Reformed
2. Blue Collar
3. American Gigolo
4. Light Sleeper
5. Auto Focus
6. Hardcore
7. Affliction
8. The Card Counter
9. Patty Hearst
10. Cat People

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

1. Meek's Cutoff
2. First Cow
3. Wendy and Lucy
4. Certain Women
5. Showing Up

1. Zodiac
2. Se7en
3. Panic Room
4. Gone Girl
5. The Game
6. The Social Network
7. The Killer
8. Mank
9. Alien³
10. Fight Club

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

1. The Exorcist
2. Sorcerer
3. The French Connection
4. Killer Joe
5. Bug
6. To Live and Die in L.A.
7. Cruising
8. The Caine Mutiny Court-Martial
9. The Hunted
10. Jade

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

1. The Virgin Suicides
2. Marie Antoinette
3. Somewhere
4. Priscilla
5. The Bling Ring
6. Lost in Translation
7. The Beguiled
8. On the Rocks

1. Taxi Driver
2. GoodFellas
3. Raging Bull
4. The Wolf of Wall Street
5. The Color of Money
6. Silence
7. The King of Comedy
8. Cape Fear
9. The Departed
10. The Irishman

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

1. The Haunting of Hill House
2. Hush
3. Doctor Sleep
4. Midnight Mass
5. The Fall of the House of Usher
6. Gerald's Game
7. Ouija: Origin of Evil
8. Absentia
9. Before I Wake
10. Oculus

1. The Raid
2. The Raid 2
3. The Night Comes for Us
4. Headshot
5. Beyond Skyline
6. Triple Threat
7. Merantau
8. Expend4bles
9. Man of Tai Chi
10. Stuber

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

1. The Fly
2. A History of Violence
3. Eastern Promises
4. Crash
5. Maps to the Stars
6. Videodrome
7. Crimes of the Future
8. The Dead Zone
9. Dead Ringers
10. The Brood

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

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

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

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

1. Body Double
2. Dressed to Kill
3. Carlito's Way
4. Sisters
5. Carrie
6. Mission: Impossible
7. Blow Out
8. Obsession
9. Raising Cain
10. The Fury

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

1. Cinderella
2. Beauty and the Beast
3. The Jungle Book
4. Pete's Dragon
5. The Lion King
6. Dumbo
7. 101 Dalmatians
8. Aladdin
9. Maleficent
10. Mulan

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

1. Fast & Furious 6
2. Fast Five
3. The Fast and the Furious
4. F9
5. Furious 7
6. Fast X
7. Fast & Furious
8. The Fast and the Furious: Tokyo Drift
9. The Fate of the Furious
10. Fast & Furious Presents: Hobbs & Shaw

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