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Watched on Monday May 26, 2025.

“Break on through to the other side.”
“Is everybody in? The ceremony is about to begin.”
“You know that it would be untrue, you know that I would be a liar.”
“Come on, baby, light my fire.”
“People are strange when you’re a stranger.”
“I am the lizard king, I can do anything.”
“The days are bright and filled with pain.”
“When the music’s over, turn out the lights.”
“This is the end, my only friend, the end.”

Watched on Sunday May 25, 2025.

„Walkin' like a man
Hittin' like a hammer, she′s a juvenile scam
Never was a quitter
Tasty like a raindrop

She′s got the look

And she goes
Na-na-na-na na
Na-na-na-na na
Na-na-na-na na-na
Na-na-na na-na
Na-na-na-na-na-na na-na“

The 80s had Indiana Jones, the 90s gave us The Mummy, and the 2000s brought National Treasure. But the 2010s to date felt oddly empty - this genre deserves a comeback. For me Fountain of Youth had this classic adventure feel and therefore does the trick. I would love to see a franchise here.

Watched on Thursday May 22, 2025.

This one landed better for me than the seventh - yes, it’s far too long and stumbles a lot, but it’s a worthy continuation of a franchise that still knows how to entertain as cinematic experience. Watching it feels like a messy first time with your special one: there’s nervous energy, so much attention to mood and setup, foreplay stretched to the edge. But when it finally takes off, it soars. And the best part? Most of the toys and stunts are real. Pure physical craft, just the raw thrill of risk. By the end, all that spectacle settles into a dignified and satisfying climax that ends in the blink of an eye.

EDIT: Best Letterboxed-Review-Reward ever. Gotta love that marketing stunt ❤️

The film drags, but Marlene Dietrich, kissing women in a tux and dripping with style, is so damn riveting she makes the whole thing unforgettable.

One of the best romantic comedies ever made -The Philadelphia Story fizzes with razor-sharp wit, champagne dialogue, and a love triangle so charming it practically tap dances. Hepburn, Grant, and Stewart deliver such effortlessly brilliant performances, it feels like watching the gods of old Hollywood flirt, feud, and fall in love.

This ending…

Watched on Saturday May 17, 2025.

Watched on Saturday May 17, 2025.

Watched on Friday May 16, 2025.

Watched on Friday May 16, 2025.

Always look out for new carpets

 A Working Man is like a direct-to-DVD Taken with surprisingly solid production values and Jason Statham in full, brooding form - not groundbreaking, but reliably action and thoroughly entertaining.

Nick Nolte gives a towering, tragic performance in Affliction, a bleak and powerful portrait of a man crushed beneath the weight of his past, unraveling in a world as cold and merciless as the snowbound town he can’t escape.

“Why the barbed wire? Do they climb in at night?”
- No. They climb out, sometimes…”

A perfect snapshot of Dellamorte Dellamore’s dark, deadpan humor. It‘s one of the weirdest, most fascinating horror films of the ’90s.

On this second viewing - decades after a baffled teenage first watch, I finally saw it for what it is:
 a gloriously strange cocktail of existential dread, grotesque horror, and absurd comedy.
This film isn’t just weird - it’s gloriously weird.
It feels like a fever dream where every taboo is not just touched but embraced - necrophilia, casual murder, impotence and a lot more. Oddly enough - somehow, it all comes off as strangely dark and entertaining comedy.

Rupert Everett’s stoic sco Dellamorte holds the chaos together with weary charisma, drifting through a decaying town where the dead don’t stay dead and nothing makes quite enough sense. The atmosphere is thick, the camera work often stunning, and the humor so dry it almost crumbles in your hands.

And then come the final 20 minutes - a surreal, poetic spiral into pure metaphysical madness. It doesn’t just end; it shifts, and you’re left wondering whether you’ve witnessed horror, satire, or some haunting meditation on death and identity.

A film that lingers in the mind like a half-ed dream - beautiful, bonkers, and maybe even brilliant.

“Death, death, death comes sweeping down, filthy death the leering clown, death on wings, death by surprise, failing evil from worldly eyes, death that spawns as life succumbs, while death and love, two kindred drums, beat the time till judgement day, an actor in a ion play, without beginning, without end, evermore, amen.”

One of the film’s saddest truths is that this tender, possibly unacknowledged love between two bros never gets the chance to become something more.

Watched on Sunday May 11, 2025.

A delightfully cheesy gem and one of Demi Moore’s first screen outings, Parasite is surprisingly well-made and a lot of fun in 3D. It’s a solid 2.5 out of 5 - but throw on the 3D glasses, squint just right, and you might just see a 3 out of 5.

„Das Leben schuldet uns nichts als das Leben, und alles andere haben wir zu tun.“

Watched on Saturday May 10, 2025.

Watched on Saturday May 10, 2025.

„I fell into a burning ring of fire
Went down, down, down
And the flames went higher
And it burns, burns, burns
The ring of fire
The ring of fire“
🔥 🔥🔥

After all these years, Final Destination 2 honestly holds up better than the first. It’s always been my favorite - tighter, meaner, and somehow more fun in its chaos. Even though I ed the highway scene being a bit bigger, it’s still rad as hell and definitely responsible for an entire generation’s fear of logging trucks. The death setups are more creative, the pacing sharper, and that ending…

Watched on Thursday May 8, 2025.

I knew right after the opening scene - when the soldiers were zoning to that Call on Me cover, just feeling the vibe, that Warfare was going to be a hardcore experience. And boy, it really hit hard.

From that moment until the first ambush, the atmosphere is thick and suffocating - almost more horror than war film. Furthermore the film impressively captures tactical details and shows a wide range of soldier behavior under pressure. It feels brutally realistic, and deeply uncomfortable, a raw reminder of how painful, chaotic, and ultimately senseless war is.

The stripped-down, real-time approach throughout the movie is really unique. No pathos, no glorification - just a cold portrayal of survival. What truly elevates it is the gripping visual work and a sound design that’s as relentless as it is terrifying.

The creators have achieved something rare here:
They stripped the scenes of all illusion and exposed the brutal core of war. This is as close as cinema gets to an honest, unforgettable anti-war statement.

Body Double is De Palma at his most indulgent, sleazy, stylish - and I loved every second of it.
 
Pino Donaggio’s score is the real hypnotist here: lush, moody, and dreamlike, pulling you under like a trance. The whole film feels like a fever dream staged on the backlot of old Hollywood - part Hitchcock, part lurid studio-era noir, all De Palma. The camera work is pure bravura, tracking obsession with such style it practically becomes the film’s main character. And, Frankie Goes to Hollywood turning a porn shoot into a surreal music video? Iconic. 

Melanie Griffith also steals the show. She is magnetic - sexy, sharp, and impossible to look away from.

As De Palma once said: “The camera lies all the time; lies 24 times / second.” - and in Body Double, every lie is seductive.

Watched on Monday May 5, 2025.

I stumbled across Freaks quite often - especially whenever I’d watch videos about Guillermo del Toro’s house and collection. It’s one of his favorite films, and now, cause I have finally seen it the first time, I completely understand why. I really appreciate his love for it, and you can clearly see its influence in his work: the comion for outsiders, the blend of the grotesque and the beautiful, the empathy at the heart of the horror.

I had always wondered why Tod Browning, the director of the original Dracula, seemed to disappear from the creative spotlight after this film - especially now that Freaks is so highly regarded. What I didn’t realize is that Freaks essentially killed his career. The backlash at the time was severe: test-audiences walked out, the studio panicked and kind of shelved it, the film was cut to pieces and finally banned in many regions and cities. I strongly recommend researching the story behind its troubled production - it adds another layer to what’s already a powerful viewing experience.

The film itself was lightyears ahead of its time. Even though the version we have today is heavily butchered, Freaks still stands as a bold and unforgettable piece of cinema. I was expecting a horror film, but aside from the horrifying final ten minutes, it plays much more like a deeply moving social drama. It’s about humanity, community, and how cruelty defines who the real “monsters” are.

What stood out to me was how respectfully Browning portrayed the sideshow performers - not as curiosities, but as people. Real people, with lives, feelings, humor, dignity and heartbreak. It’s breathtaking what he managed to do in 1932.

I won’t forget this empathetic landmark in cinematic history. Nearly a century later, it still hits - “Gooble gobble, one of us.” ❤️❤️❤️

This is a prime example of when writers had no idea how to justify a sequel, so they slapped on an absurd conclusion/plot - oddly enough, it works sometimes.

Maybe it’s not the most popular take, but I actually really enjoyed Havoc. I totally get why it’s getting a lot of criticism - it’s messy, overstuffed, and definitely tries too hard to weave a complex story with way too many characters. But still, there’s something oddly charming about it.

The whole movie feels like a dark comic ripped straight out of the early 2000s era, where everything was gritty and over-stylized. The visuals have a comic book flair, and the CGI (these car-movements!!!) looks like it’s from an PS3 video game intro. Honestly, it gave me strong Max Payne vibes, and I was there for it.

Yes, it feels like the movie is tripping over its own ambition. But the action sequences? Totally worth it. They’re intense, stylish, and fun in the most chaotic way. The last big set piece especially - absolute blast. It’s loud, violent, and ridiculous, but in the best way possible.

If you go in expecting a sleek, polished thriller, you’ll be disappointed. But if you’re into gritty action with a flawed-but-fun vibe, Havoc might surprise you like it did me. Think of it as the longest, most action-packed cutscene from an early 2000s video game and you will enjoy it.
Without bullet time but with the Gareth Evans-Style Punch.

PS: It actually stands out from typical Netflix fare by not using that desaturated, one-size-fits-all color grading. Finally.

Watched on Sunday May 4, 2025.

Think Bullet Train - but at 30,000 feet. Less Tarantino-Style, but more fun and snack carts.

Watched on Saturday May 3, 2025.

The definition of a a mixed movie, but effort was apparent…

„Oh no, Bob is trying to help.“

Normally, Hollywood goes with the “double the action” formula for sequels - The ant 2 stands out by doing the exact opposite. More buddy, less action - and it pays off. Affleck and Bernthal shine with great chemistry, wrapped in a nostalgic 90s vibe. That line dance scene? Pure gold. And ending on The Boxer Rebellion’s “Safe House”? A big plus which i really appreciate.
Oberall It’s a classic 3.5-star movie on paper - but its charm is so disarmingly uplifting, I just can’t bring myself to rate it below 4. Maybe it‘s just that kind of film.

Watched on Sunday April 27, 2025.

Watched on Saturday April 26, 2025.

Watched on Saturday April 26, 2025.

They don’t make them like this anymore - Angel is like a whispered confession, a waltz of wit and restraint draped in silk and shadows.

Marlene Dietrich plays the keys of emotion like the piano beneath her fingers, especially in that stunning scene where she gently parries the romantic illusions of her suitor:

“Now, Mr. Halton, I insist that we settle this once and for all. Look at me. Look at me carefully, and I’m sure you will realize as clearly as I do, that I am Lady Barker and nobody else.”

The moment unfolds like a quiet duel of glances and grace, where truth is veiled but never lost. Lubitsch doesn’t shout - he sighs, and in doing so, he teaches us that cinema can be elegance set to dialogue. This isn’t just a film - it’s the rare fragrance of a lost cinematic art: conversations held with dignity, wit, and emotional equality, leaving behind the quiet majesty of something truly elevated.

The full conversation:

Halton: “Hello, Angel.”
Maria: “I beg your pardon?”
Halton: “Angel.”
Maria: “What do you mean, Mr. Halton?”
Halton: “It seems incredible.”
Maria: “What seems incredible?”
Halton: “That I should find you here, in this house. His wife. It’s like a dream.”
Maria: “I still don’t understand you, Mr. Halton.”
Halton: “I don’t understand you.”
Maria: “We’re alone, Angel. Darling, how long are you going to keep this up?”
Halton: “Mr. Halton, you’re obviously confusing me with another woman.”
Halton: “Oh, no, I’m not. There can’t possibly be two of you.”
Maria: “I’m afraid there must be. I haven’t been in Paris for the last six months.”
Halton: “You haven’t been in Paris for the last six months?”
Maria: “I told you so, and I think that should satisfy you.”
Halton: “It really seems to be a terrific coincidence.”
Maria: “The lady with whom you had your adventure.”
Halton: “Wasn’t it more than that?”
Maria: “Maybe it was. At least I thought so. Maybe the lady thought so too. But it’s impossible for me to read the mind of a woman I never saw nor heard of.”
Halton: “In other words, to you, it was just an adventure.”
Maria: “Now, Mr. Halton, I insist that we settle this once and for all. Look at me. Look at me carefully, and I’m sure you will realize as clearly as I do, that I am Lady Barker and nobody else.”
Halton: “The resemblance is amazing. I could have sworn it was you. You have exactly her hair. Her eyes. Her skin. Her lips. But when I listen to you, I begin to see the difference. You’re not Angel.”
Maria: “I am greatly relieved. Will you forgive me?”
Maria: “You know, Mr. Halton, I think this resemblance will always create embarrassment between us. It’s unfortunate. But for my own comfort and peace and certainly for yours, don’t you think you might find some excuse not to come here anymore?”
Halton: “You have a lovely home, Lady Barker. It’s in exquisite taste. I suppose this is the kind of house every woman dreams of having. And you’re the wife of a charming and famous man. You must be very happy, Lady Barker.”
Maria: “I am.”

A tender elegy of hidden tears and quiet devotion, where greed fades and the true weight of love reveals itself in the fading light of elderly care. If dictionaries were still be printed, the next edition would list this film’s title beneath the saying “cry your heart out”.

Director Pat Boonnitipat even manages to hit the pure tearjerker button. So don’t button up - watch this flick. Pun absolutely intended. You’ll get it after watching - guaranteed.

„Art is but a measure of sacrifice and tears“

Until the End of the World (Director’s Cut) is a poetic, sprawling journey that feels more like an experience than a film. The first half is classic Wenders - gorgeous landscapes, quiet emotions, and a deep sense of longing carried through a dreamlike larger than life road movie. Then, the tone shifts completely into a slow, philosophical meditation on memory, technology, and identity. It’s ambitious, strange, and deeply introspective, trading momentum for meaning. At nearly five hours, it asks for patience, but rewards with haunting beauty and interesting ideas. Anchored by a phenomenal soundtrack, it’s a film that lingers long after the credits roll. And in the wake of social media, its vision of a world consumed by images and digital obsession feels even more true today than it did in 1991.

Infested had all the makings of a top-tier creature feature - stylish camerawork, gritty setting, awesome effects, and some solid tension. But it’s one of those cinematic tragedies where all that potential gets tangled up in a web of irrational, really dumb and painfully annoying characters. The utterly senseless decisions in this movie even spiral in an really messy ending. And after the credits rolled, I was just trying to shake off the frustration like cobwebs that won’t let go.

EuroTrip is one of those gloriously dumb movies you throw on with your best friend just to laugh your ass off. It’s stereotypical, shameless, and totally disrespectful - but in the most entertaining way possible. Packed with absurd, hilarious moments and a wild sense of fun, it never takes itself seriously. And trust me: Scotty Doesn’t Know will be stuck in your head for days. Catchy tune. Guaranteed.

Watched on Sunday April 20, 2025.

Sometimes, all it takes is one perfectly strange, mystical moment captured on celluloid to make an uneven film unforgettable.

• The Brutalist
• Late Shift
• Sinners
• Final Destination Bloodlines
• A Complete Unknown
• Sing Sing
• Nosferatu
• The Monkey
• I Want It All
• Warfare

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

• Perfect Days
• Anora
• The Iron Claw
• Civil War
• Monster
• Longlegs
• The Holdovers
• Tatami
• Beetlejuice Beetlejuice
• MaXXXine

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

• The Fog
• The Thing
• Escape from New York
• Halloween
• They Live
• Big Trouble in Little China
• Prince of Darkness
• In the Mouth of Madness
• Christine
• Assault on Precinct 13

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

• Afire
• Past Lives
• Oppenheimer
• Pearl
• Babylon
• The Fabelmans
• Evil Dead Rise
• The Teachers' Lounge
• Anatomy of a Fall
• Godzilla Minus One

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