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Damn. In this digital age, this screams pain — highlighting the conveniences and miscommunications in just a short time here is quite clever.

This is also applicable with friendships, in general. And yeah, I’m gonna say it: She’s just so me 😩!

***
Short film. Not included in 2023 ranking.

You got to give it to the bittersweet ending they delivered.

Other than that, it screams formulaic 90’s Filipino romance flick, embellished with modern takes on slangs and thought pieces that floats on the surface. This is far from complex — simply cheesy, entertaining, and sometimes funny.

I miss Jolens and Marvin on the big screen though! TikTok sort of ruined my brain, however. Because what do you mean when they played Tameme, I thought of this video right away 😭?!

Emilie Kristine Blichfeldt’s directorial debut brings the Cinderella structure in a vicious and excruciating path to beauty and validation.

The Ugly Stepsister turns its eye to the long-time unnoticed — which is an effective approach. In the name of producing something fresh and complex, the narrative constantly falters in splitting hairs while topping it off with a beautifully grotesque body horror for its edgy buildup.

In all fairness, it still delivered an entertaining and sinister take to a story that was once far from completely dark. The body horror consumption will probably continue this year and I’d like to thank The Substance (2024) for that.

I truly enjoyed the contemplative nature in Viet and Nam, while it softly delivers a heartbreaking act of longing in the painful effect of inevitable.

Partly though, the stillness blurs progress and the clarity of the story. It showcases a rich set of moods, and the emotional depth lingers throughout the end.

It demands patience, sure. But it rewards a poignant reflection of life and enduring love — in climax and to the most devastating sense of grief.

A Nice Indian Boy is such an enveloping treat to experience!

I came in to see this without major expectations, but surprises really do you good especially when it’s pleasant. It’s clearly a smooth examination of the complexities of interracial relationships, and the challenges faced by queer people within traditional family mindset, while it doesn’t fold much into a complete dullish kind of seriousness vise versa.

Sethi understands the delightful mixture of humor and closed doors discussions, that reminds me of Ang Lee’s Father Knows Best trilogy. The comedic timings here are simply sharp and charming.

The structure is divided by small designs, but it captures a large evolving dynamics of these characters with warm and optimistic approach. Solid performances from the cast, but Zarna Garg is oozing with extra charm!

Ang sarap lang, nay! Ang puso ko 😫💓!

Indeed, this is entertaining. My gay ass got caught up in its charm. Evidently though, this shines like a Hallmark card rather than a remarkable piece of queer cinema.

The dialogue swings towards your average romantic flick that is simply a cringeworthy delight. There’s a sincerity in storytelling, but sometimes the sanitized optimism can be overwhelming while it struggles to reach for a depth without doing too much action.

If you’re in need of a flirtatious good time, this is definitely the one. But if you seek for a piece that is complex with emotional impact that lasts, absolutely not.

Pero grabe kilig ko dito be hahaha!

Whew! Officially coming back from my film break with this quietly gut-wrenching journey of grief.

The experience is fleeting, but the depiction of trying to fill the void stings for a long time ❤️‍🩹.

***
Short film. Not included in 2020 ranking.

Finally getting into the winners that did not age well. Get Out Your Handkerchiefs is, strikingly, one of them.

The story draws a quirky French veneer that tries to conceal its outdated worldview in a progressive whimsy. Again, there are fun bits here that relieves its bad narrative temporarily. But its approach to navigate love and vulnerability is just an uncomfortable experience — a woman is treated as emotional conduit or a prize.

Its comic handling of depression and sexuality is offensive, partnered with reductive central ideas about fulfillment and gender roles. It intends to thrive in absurdity, but it veers into smug self-indulgence.

This is so hard to enjoy. It’s overshadowed by a nagging sense that this is more interested in reinforcing male fantasies.

A quietly devastating destruction of genuine bond, twisted and pierced under fascism.

Beneath the mundane interactions in a world collapsing, The Shop on Main Street bellows an agonizing yearn for clarity and safety. It holds you tightly not directly to what is said, but in what is avoided.

It follows a flow where harm is beyond impossible, until it reveals an inescapable threat looming since the beginning. But the story’s power is beaming also because of subtlety in performances, down to the shoved down reality that there are moral lengths you can break in the name of survival.

The ending gives you a relief, but the weight of the tragedy is way heavier. A perfectly written haunting story in hopeless times of the world.

All these men are fucking losers! Made me so mad, not gonna lie.

But damn, what a brave and stirring masterpiece of its time. Nights of Cabiria burns slowly and indelibly to the soul. The almost symphonic unfolding of character study is exceptionally written — a woman fueled by optimism, drained in misfortunes created by men cloaked with charisma and power.

The narrative carefully captured an ominous friction between aspiration and disillusionment. It doesn’t indulge in easy emotions. Instead, it offers a raw exploration of human endurance in the face of relentless indignity. The story also pulses with religious and existential overtones, effortlessly connecting to Cabiria’s yearning for transcendence.

The flow goes in episodic structure, which worked flawlessly on capturing bruised positivity in every similar encounters. Giullietta Masina is both a delight and a revelation.

Fellini’s touch on this is, frankly, wrecked me. A painful reminder of the reality that no matter how built you are, there are vultures around.

This is probably one of those first films introduced in educational scene because of its informative nature about an important figure dedicated his life in helping people and following the good words of religion.

But frankly, this is such a torturous slog — a didactic subdued myth-making that struggles to penetrate resonance.

Monsieur Vincent relies so much in the given biographical context, without implementing appealing style or even a solemn moment to endure.

It’s sadly static, cold, and poorly shot, too.

Cleverly biting and entertaining!

Drop amplifies itself in a high-strung thriller that fully embraces its sharp absurdity with confidence and style.

The plot obviously stretches credibility, which can make your eyes roll if you crave for a tension rooted too organically. And when it is on its way to the ending, it felt like a swift release stuffed with cheesy bits that pleases you more.

Fortunately though, the entirety still worked — such a smartly crafted, pulse-pounding kind of ride that is further elevated by Meghann Fahy’s performance. She continues to surprise me, and the level of grounded quality she delivered is remarkable. This is not the right film, but I’m pretty confident that soon enough her name will be in line for the next Oscar nominees. Trust!

Read a tweet somewhere that A24 is just lately creating variations of The Menu (2022) and they low-key spilled with that one-liner. Although I noticed it first in Opus (2025), and now this.

Scharfman’s directorial debut is a bold creature feature, touching a promising payback towards capitalism.

Although the message feels either overexposed or just plainly thin, embellished by humor that falls scattered and murder scenes that are shortly satisfying. The end credits giving a The White Lotus-esque aesthetic is posh choice, though.

P.S.: Caviteños mentioned from the Philippines 🇵🇭! Kaway kaway mga Cavitezen eme!

In the end, Inagaki transformed Samurai III into a quieter, more introspective turn, highlighting Musashi Miyamoto’s final picture of growth, while still balancing a good amount of spectacle in the name of combat theatrics.

There’s a commendable factor here in laying gently the resolution of a man’s long journey toward self-discipline and humility. I still find this however, has less pulse compared to its predecessor. But it’s still a smart style to seek depth in the long quest for peace and greatness. A reflective ending for a story built on the tension between violence and virtue.

Now we’re talking.

Samurai II is a well-oiled continuation of the mythic trajectory of Musashi Miyamoto. This time, refined with expositions unfolding elegantly, mostly in a striking windswept fields.

Structured in a mighty arc, Inagaki and Wakao followed a patterned journey of mastery and moral clarity, which absolutely worked given it is partnered with equipped technicalities and intense combats.

It’s definitely a more exciting chapter to experience. The second part always hits.

A character drawn on questionable, mostly brutal decisions towards enlightenment, but remains a gritty and intense process of redemption.

Tsotsi lives in its slow and bruising reckoning. It grapples sharply in survival and the cost of poverty, earning more weight in raw sincerity.

It may sometimes not hit in full force, but Presley Chweneyagae’s performance does.

A lively coming-of-age in the beginning, turned into a cold, downward examination of unfair life, shaped through bonds and resilience.

The narrative is confused to highlight which one in love and resilience is the most endearing element. But what’s clear here is, in every female success against societal odds, fate will fold their empowerment back into a traditionalist narrative that hinges on male validation. Vladimir Menshov built a harsh world maneuvered by men’s superiority and irresponsibility.

Despite its regressive undercurrents, I still find its feminist spirit sincere and impactful. It’s rich in detail, despite of its tone overlapping between being empowering and outdated.

Can’t believe I felt “That’s it?” moments to this three times.

There are undeniably technical details here that are praiseworthy, and the performances were enigmatic. But these three stories are unfortunately undercooked — women drawn into a charismatic and powerful being that pulls back to its fully realized complexity, because the story itself limits them.

The chapters are loosely connected, and the depth never fully coheres. With its lack of cumulative message, it resorts to relying on star power and broad caricatures, which dulls the point of it all.

It’s occasionally amusing, but it’s far from being a well-deserved winner of Best International Feature.

“It is our fortune.”

The first part of Hiroshi Inagaki’s Samurai trilogy is an exceptional piece of its time — visually gorgeous and a faithful portrait to its origin.

It stands as a compelling chapter — encapsulating a fractured tale of brotherhood, shaped into isolation and uneasy transformation. In just a short runtime, Inagaki additionally compensates in war spectacles which gradually troubles its pacing, unevenly shifting its tone in the process, and delivering a rough and forced structure of myth-making.

On a good note, it was delivered in full detail — just plainly rushed. And honestly, still a solid introduction to a larger and more complex character arc.

That Fake Plastic Trees needle drops actually hits.

Clueless’ altruistic core paved the way for the other quirky delights like Amélie (2001). But Heckerling’s direction set this film’s charm in a glossy, deceptively frivolous teen comedy.

There are sharp and comedic lines here that deserves its trademark, while running through a breezy pace about self-image.

It’s a self-aware coming-of-age. It’s not intellectual heavyweight, but it’s still a feel-good high school fun experience.

“Do you know what they do to soft, bald, overweight Republicans in prison, Ernest?”

“I’ll paint your ass, you’ll paint mine.”

My gay cinephile ass partially fulfilled after watching this cult classic. Death Becomes Her is camp to the core!

The deep seated commentary about the fear of aging, and obsession to forever look fresh predominantly to women is what I root for. For its half, the fun is there and yet the weight is substantial.

The final act, however, lost its charm for me. It breathes through the remaining theatrics and quick wits. I wish it has a solid, and biting narrative. But what I know for sure is it compensates very well to the funny, glamorous and grotesque journey to desperation.

Fernando Trueba welcomes you to the vintage The Bachelor!

Entertaining indeed. Belle Époque thrives in its provocative wit that sometimes could go out of hand. It’s easy to follow its meandering rhythm, designed well with an optimistic piece of comedy that lightens its overall tone.

The film is a confident blend of humor and sensuality, although sometimes its chosen nature dilutes emotional impact. Going back to being too much, yes, there are certain decisions that could’ve been omitted. And the time setting shouldn’t be an alibi, that blackface was so unnecessary and not funny.

I think, without its excessive effort to embellish its already delightful tale, this would gain a soaring 4/5. But, perhaps flaws are flaws.

“Whatever you end up doing, love it”

I’m not gonna lie. I feel like I’m reaching a level of film fatigue lately. But watching Cinema Paradiso in the most perfect time, cured me, and reminded me why my heart always belong to watching films.

What a sprawling, bittersweet, and gorgeously textured ode to the weight of cinema and dreams. Tornatore easily captured my soft spot in blending the temptous trip to nostalgia, the urge of ion, and the missed conversations along the way.

The flow simply moves impeccably — it highlights emotional reverberations. The film’s thematic richness, regardless if it’s about the devastating inevitability of change, is still an irresistible moment to endure.

The narrative has a vast vision of ambition, but always intimate and tender, despite of the hurtful events that the characters have to accept. The score of this film is also one of its magic. 

So personal, and a sweeping imperfect beauty. A rare treasure and reminder why stories are always so powerful.

Underneath its opulence, The Great Beauty delivers a gentle quest. It’s an existential heartbreak in the elusive search of meaning, piercing beyond the glamorous lifestyle.

What I appreciate here is Sorrentino’s bold and playful approach in doing character studies and facades. The hollowness reeks through despair and naivety, and it circles around the grandest and quietest moments.

Dazzling to its core, the story lets you endure the hedonistic nature until the confrontative conflict arises. The story dares Jep to face what’s lacking all this time, and in the end there’s a soothing and disturbing feeling to it — it’s the realization of knowing the true beauty and the ugly in the world, and his life.

On a personal level though, this is not my cup of tea. And I want to slap all the characters here. Fuck these rich people.

“He doesn’t care about anything. He’s a nihilist”

“Oh, that must be exhausting.”

Not surprised this is written by the Coen Brothers. They know how to do an intelligent blend of absurdity and crime adventure. And I certainly like the contrast of its chaotic world they built and a carefree-lazy spirit of The Dude.

The Big Lebowski plays heavily on aimlessness, and it successfully worked — leaving a Dudeism legacy that is just a spot-on brand of the film. On a detailed note, the classic detective storytelling works, shunning itself away from the clinical format and layering it instead with comedic beats that are consistently hitting in its dumbness and unreliability.

Honestly, this is just a big fun ride. The silliness of it is already its money, and that being said, this is a fleeting and hilarious experience of richness.

This is Ang Lee’s directorial debut? Absolutely breathtaking.

Honestly, completing the Father Knows Best collection is such a tender experience. I find Pushing Hands the most poignant yet still able to balance itself in the comedic tempo.

The premise is already great. And throughout the story, the delicate and potent exploration of cultural dislocation simmers palpable atmosphere through highs and lows. Underneath its timely wit, Lee carefully unravels complex themes of belonging and understanding — as if it’s a side dish or dessert served just right.

Tai Chi was presented beautifully as a metaphor here. Aside from its usage as a physical practice, looking closer, it stands as a philosophy for living in a world that refuses to meet you halfway. The characters are all drawn when to yield and when to stand their ground.

With all that balance, the emotional impact is undeniably strong yet warm and harmless. It oozes empathetic charm that we all need more than ever.

Lung Sihung, you’re a national treasure.

Mephisto offers a brooding and elegant examination of moral compromise — a heavyweight portrait of conscience decay in exchange for ambition and fame. It features a power seduces not with force, but with soft assurance that collaboration is survival — and survival, in turn, becomes its own form of damnation.

Szabó’s patient vision in this story is about witnessing the consequences of each small choice. On the flipside, this hurts the structure — constantly charged with slow interactions in tone that seem close to mundane or too clinical.

The message lingers, but there could have been more ways to expose the corrosion, and there are more avenues unexplored — especially in its large political backdrop. Regardless, its portrayal of slow destruction of integrity remains chillingly resonant.

Ending my day by watching one of the ✨ Kabaklaan Essentials ✨! 

Imagine though if a heart acts like that in real life. Girl, I’d probably bury myself to oblivion 😭.

***
Short film. Not included in 2017 ranking.

This being born in 1948 only means that the cinema outside the Hollywood walls forges a great power, too.

Bicycle Thieves trusts the compelling ability of a story out of extravagance. It captures a devastating side of humanity blurring through streets.

And with the number one problem suggested in the film, it eventually captures a larger issue. De Sica sees a world through poverty — through survival every single day while the society is lost in their own battles, and the ruling people simply don’t care what doesn’t affect them.

The film champions in its radical simplicity. And the lingering effect of hopelessness through the end is just crushing. It’s an essential watch, especially in its time — that life doesn’t always offer justice and comfort. In fact, it barely offers anything.

Saoirse Ronan’s performance so good The Academy never gave her an Oscar yet because all they is the evil Briony Tallis lol

Seriously though, what a sprawling and grand storytelling. Atonement encapsulates a lifetime of guilt and emotional cruelty. It pictures desperation in undoing a mistake, and the devastating realization that youthful mistakes don’t always go unwritten.

The repetitions in the narrative are both essential and a clever trick, exposing the layers of both sides in a good weight. Some technical beauties are also here — the gorgeous cinematography and the original score, utilizing typewriter to translate more sadness and spectacle.

The story’s emotional power already cuts through, haunting almost. It’s a tragic unwrapped with incredible poise.

Not the best of Spielberg’s catalog, but it’s another testament to his flexibility in producing a quality piece out of the idealized box.

Catch Me If You Can go easy breezy! It’s a sharp and stylish story of deception anchored through the true story Frank Abagnale, Jr. Beneath its plot is an irresistible construction of loneliness and lost identity, amplified further by Nathanson’s razor-sharp script and notable performances of DiCaprio, Walken, and Hanks.

Given its suave, the film plays in comedic beats, too. The storytelling blends a traditional cat-and-mouse game and a fluid coming-of-age that goes right through the tempo of inevitable doom.

It’s simply lively and slick. It could be seen as overcooked, but what matters is the end delivered clear and polished.

You see, this is definitely an effective romantic-comedy flick, because having a guy with that career in reality would be a financial nightmare.

Notting Hill thrives in its mood, and it’s a successful shot. It’s organically gawky and charming. But this needs to be praised more in understanding love in collision of expectations and ordinariness.

The story is not in a fairy tale motion, which appeals to anyone who craves a near realistic approach. It lingers in intimate details that are sweet yet unglamorous. But since it plays too confidently by beats, you can easily spot clichés that works sometimes and sometimes not.

But then again, the film embraces its capabilities through best and worst. It plays with optimism about the fate of love, nothing more. And that’s a toast!

“You’re witnessing 5,000 years of sexual repression.”

Ang Lee’s style to draw a simmering generational tension in a charming and lightweight exterior in The Wedding Banquet is easily commendable.

There are comedic beats that are working, there are some that are not. But the mishaps are being saved by focusing its lens on the pain and struggles of living a true life in secret. It was handled carefully — it bursts in two sides when needed. The narrative however pulls back too fast out of quietness, creating a confused approach in releasing the film’s depth.

It’s a bittersweet ride to witness, and you can say the same to its structure.

Just a perfect depiction of me fighting the urge to sleep during the afternoon because of work or other nonsense.

Great choices of animation to translate the accuracies!

***
Short film. Not included in 2015 ranking.

Count me out of the enraged majority. The Artist is a tender and dazzling ode to silent films and Old Hollywood.

I was late to the party for this, nothing new. At some point, I’m glad I am, because its competitors are undeniably vibrant and easy to tap on. I would probably be underwhelmed by this back then, but watching this now for the first time feels like tasting your favorite dirty ice cream you haven’t had since your childhood.

Hazanavicius’ pure and visual storytelling is an elegant reminder that, the heart of the cinema, is already a striking universal language untethered from dialogue or even sound.

The story wrestles with the inevitable change. And together with its magnetic score, this piece naturally creates an inviting atmosphere through the depths of isolation and acceptance. Every movement was meticulously done, carrying a weight that taps to the heartstrings. Jean Dujardin and Bérénice Bejo added more soul by delivering an equally breathtaking performance.

This will go as four stars unfortunately, only because the third act’s pacing suddenly went clunky and slow. But it doesn’t mean it lessens its heartwarming impact.

“Our blood, his guts.”

Patton towers much like its subject, but in its narrative, its greatness often gets tangled in its own grandeur. Its lens is not rotating well enough to deliver other than a character study cloaked in nationalist myth-making.

George C. Scott delivered a supreme performance, but as the scenes stretches multiple times, the good things blur over time. So many short war spectacles favored over depth.

The film is a technical marvel. But in this effort to deliver a complex portrait of a man, it settles for myth instead of layered truth. The filmmaking process is undeniably sharp and impressive, but the resonance and tone are just unbearably cold and distant.

Rossen had a truthful premise about the corrosive nature of power — a promising view on how money and position can easily make good intentions succumbed to oblivion.

Despite its striking narrative, All the King’s Men suffers from the lack of emotional layers, actively deducing its profundity in a speedy pacing. I want to feel the weight of this, but there’s something about the screenplay that is written so unnatural and flat. Not saying that this isn’t an ambitious piece, but perhaps I seek for its introspective core — the detailed toll it takes on every step of descent.

The film tells more rather than explores, and in doing so, it loses the essence of tragedy in the story.

The hype is actually real! 

Behind the Sinners’ bold and enthralling fusion of Western horror-drama and music, is Coogler’s unrelenting direction to a narrative that swings in the middle of being overstuffed and meticulously arranged. Obviously, Coogler’s vision and precision won, delivering a cinematic masterpiece of the year.

The visual storytelling is just electric, effortlessly stripping itself away from the typical vampire tales that are only straight up grim and gory. The one sequence from the club is noteworthy — such a gorgeous religious experience.

What I love the most here is the staggering and operatic score. It taps perfectly to every thrills. Perhaps Ludwig Göransson is on his way again to another Oscar win.

Fantastic performances from the ensemble cast. Aside from Jordan, Miles Caton, Jack O’Connell, and Delroy Lindo are my easy standouts.

A true blockbuster champion in transformation.

It’s infuriating and shameful to see our reality in the ending. Damn.

The first part though, I’m seated for that.

***
Short film. Not included in 2024 ranking.

Alexa, play Ain’t It Fun by Paramore.

I love you, Mom 🩷🫰🏻🩷!

***
Short film. Not included in 2013 ranking.

This review may contain spoilers.

If I had a nickel for every time I watch Aaron Paul in a fucked up space horror drama, I'd have two nickels. Which isn't a lot, but it's weird that it happened twice.

Ash already has immersive technical qualities to further ace in its chosen lane — the eerie shades of grey and neon-lit visuals, pulsating score, and sound design except the plot.

The slow design actively hurts the story’s intrigue, bombarded with hypnotic and nightmarish puzzles that, unfortunately, has a quite underwhelming effect when patched together in the end.

A meticulous and timely execution can make it or break it. The film’s deficiencies proved that despite of being equipped only on the other side.

“OA amputa!”

Thanks to this film for reminding me how much I hate the righteousness and hypocrisy of religious fanatics.

Interesting premise, but it consistently pulls back before entering its destined provocativeness. The protagonist was drawn too shallow, with no any avenue to be compelling.

Perhaps because, one, it has unstructured and unnecessary display of transactional view of goodness. It doesn’t make the character evolve in a complex standard. And also, the jokes just don’t always land.

The flow is forced into an easy peasy form, but it plunges further because of its own making.

A swooning historical epic, Braveheart barrels forward with a grand ambition and freedom. It is obvious that Gibson fuels this project with relentless tone of ion, and it compensates with mythic sensibility underneath a narrative that plays fast and loose with history.

The storytelling pictures boldness, but occasionally overwrought. The second act went into a tricky stretch — it’s far from dull, but the story will not receive harm in a cutout. The film definitely has a pulse, and believes in what it’s saying, even if it shouts when a whisper might have sufficed.

Its cinematography is stunning and I ire the production, too. This is far from flawless, but compelling in its own — it breeds intensity in resonance and battleground spectacles.

Watched on Sunday September 23, 2012.

Watched on Thursday December 26, 2002.

Watched on Saturday April 17, 2004.

Watched on Wednesday April 29, 2020.

Watched on Sunday May 22, 2016.

Watched on Monday September 29, 2003.

Watched on Saturday April 25, 2020.

Ranking the remaining 2024 films I watched from January 20, 2025 onwards. These are the films that were not featured in my annual film ranking when it was released. Documentary and short are not included.

For my featured 2024 ranking, visit 2024: Ranked! consists of 102 films I watched from January 1, 2024 to January 19, 2025.

See also: 2024: Ranked! [Documentary]

1. Souleymane's Story

   A sweeping pragmatic view from someone who seeks refuge, but truthfully yearns for more, and by more means something that is shockingly still less than what should be enough.
   
   Built on a formulaic approach, it offers more than the intimate hardships, it also captures the relentless brutality in gig economics. Combine those two together with a crisp script and riveting performance of Abou Sangare, you will see yourself torn to shreds in the process.
   
   I genuinely cannot express how many times this film broke me, from the stairs scene to that phone call moment. And in its last ten minutes, I was constantly holding my breath, letting the searing hopelessness and repressed pain finally get its release. And when it’s finally time to let it all go and savor the relief, it all went quick.

2. Loveable

   Oh Lilja Ingolfsdottir, I got my eyes on you.
   
   I jumped in Loveable without expectations, and turned out to be a revelation and another fantastic directorial debut! An intimate, raw, and devastating view of marriage, dissected into the very tiniest details. It’s very easy to fall in its rhythm, and see how the communications unravel by a purpose that is not pretentious and stiff.
   
   But above all, this is mainly a thorough introspection that es through you; floating in a narrative that is straightforward, regardless if it’s cruel or tender while still leaving a hopeful tone. 
   
   I really appreciate how this was carefully written, avoiding any dramatic spectacle, and not pointing fingers who is worse. It simply drives you to their most authentic motion of life, with its flaws and memories, and how it got to where it is now.
   
   Outstanding performances by Oddgeir Thune and of course, Helga Guren. I’m in pure awe seeing them effortlessly giving life in a story of pain and self-discovery.

3. I'm Still Here

   Walter Salles’ I’m Still Here sets its very soul in center; in the right place.
   
   Constructed in a direct and poignant narrative, the story walks you through the horrors of dictatorship particularly in Paiva family. The runtime could walk you out of the moment for a short time, but in its definitive length lies a solid picture of grief and resilience that will always take you back to the higher force of this film.
   
   Fernanda Torres gave us a standout performance from start to finish, delivering a restrained yet powerful portrayal of Eunice Paiva. In her eyes, you can see so much devastation in loss, a heart-shattering experience from a government ruled by unfairness and systemic violence.

4. The Assessment

   Fortuné’s directorial debut settles you first in a searing pot of tension in a futuristic utopia, exploring the dynamics inside parenthood in a sophisticated role-playing.
   
   It’s stimulating, and there are funny bits in this concise storytelling. The skilled technique to mesh the high concepts are more astounding on a brighter note. I do ire its production and sound design here, too.
   
   The last act unravels something more devastating and profound, showing the true nature of bleak advancement in a world that is limiting.
   
   This definitely looks like a fusion of Black Mirror and Extrapolations, but fully refined.
   
   Solid performances from the trio. Elizabeth Olsen and Alicia Vikander are both standouts in their performances. Oscar-buzz worthy? Should be.

5. Better Man

   A peer of the Wicked (2024) and way superior than the laughable Emilia Pérez (2024). My arse is in the air, Robbie! Shame to the people who don’t get this!
   
   A biographical musical film that stands out for being relentless and unapologetic, zany even. But under the energetic and the metaphorical settings is a tender and vulnerable soul of the story that doesn’t take a pity.
   
   It is straight up ambitious and sincere that makes the entirety more emotionally resonating. Never get too excited though, the film knows our guy was a giant douche.
   
   The musical numbers are not flash in the pan. It’s bold and choreographed very well. And overall in its beautiful mess, its entirety thrives.
   
   Your loss, American Box Office.

6. Hard Truths

   Hard Truths might seem small. But under Leigh’s simple backdrop, comes an intricate character study derived from themes that mirrors roads that are less traveled.
   
   The story is soaked in somber; all rooted in persevering pain. It is written with much sensitivity while it gently shows that the enduring moments of mental chaos are a double-edged sword — inflicting pain to the rest of our surroundings.
   
   Marianne Jean-Baptiste gave us a performance of the year. Her ways of translating the rage, frustrations, and grief are astonishing but overlooked. It is such a shame to not include her in this year’s Oscars roster of nominees — a hugely disappointing move, favoring that other woman who is racist and bigot.
   
   I love Michele Austin’s and David Webber’s performances here as well. All of them carry a burden that feels so impossible to voice out. And the final shots are nothing but heart-shattering.

7. La Cocina

   Easy to view as a typical story, offering an aggressive and chaotic dynamics in a bustling kitchen under a Manhattan backdrop. Easy to describe it lazily as FX’s The Bear and inserting a single theme or detail you might find unique in it.
   
   La Cocina expands itself as a frustrating truth about America: a bold and honest space about the restless culture clash, and the undefeated capitalism and its exploitations. Most importantly, a deeper dive on the immigrant experience — their struggles, needs, and dreams drawn in characters with much ambivalence.
   
   I hate Pedro. I don’t find him likable with his idealistic and reckless nature, but resonating still with his ambitions and dedicated spirit over his sworn promises of good life for himself and his family. I see the essence of him and the rest just by their stories, all carry so much in a land that has much to offer, but also knows how to be brutally unfair.
   
   The cherry coke flood and the lunch break scene are the highlights of this film. The Ruizpalacios and Wesker tandem knows how to captivate one in a subject matter that is both explosive and deafeningly quiet.

8. A Nice Indian Boy

   A Nice Indian Boy is such an enveloping treat to experience!
   
   I came in to see this without major expectations, but surprises really do you good especially when it’s pleasant. It’s clearly a smooth examination of the complexities of interracial relationships, and the challenges faced by queer people within traditional family mindset, while it doesn’t fold much into a complete dullish kind of seriousness vise versa.
   
   Sethi understands the delightful mixture of humor and closed doors discussions, that reminds me of Ang Lee’s Father Knows Best trilogy. The comedic timings here are simply sharp and charming.
   
   The structure is divided by small designs, but it captures a large evolving dynamics of these characters with warm and optimistic approach. Solid performances from the cast, but Zarna Garg is oozing with extra charm!

9. The Girl with the Needle

   “You have done the right thing.”

   The Girl with the Needle mirrors the agonizing truth of a clandestine operation fueled by social despair and horrors.
   
   It is a slow burn and dreary storytelling that envelopes the grim black-and-white cinematography. As the story escalates, it leaves you a grievous blow about its shadow — a dark and lingering act that blends well to the painstaking and frustrating process of motherhood.

10. Việt and Nam

    I truly enjoyed the contemplative nature in Viet and Nam, while it softly delivers a heartbreaking act of longing in the painful effect of inevitable.
    
    Partly though, the stillness blurs progress and the clarity of the story. It showcases a rich set of moods, and the emotional depth lingers throughout the end.
    
    It demands patience, sure. But it rewards a poignant reflection of life and enduring love — in climax and to the most devastating sense of grief.

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

Ranking films I watched that are released in 2023.

1. Past Lives

   This is the kind of romance film I want from A24 and they impeccably delivered it.
   
   The emotional connection I have in this project is just immeasurable — a pure memoir about embracing your reality and acknowledging what could have been.
   
   Celine Song’s directorial debut is precious because of this. Definitely my favorite for 2023!

2. Killers of the Flower Moon

   It’s always the so-called white people coming with good faith who’ll bring you hell.
   
   On another note, what a fantastic project about corruption and greed that just effortlessly makes your blood boil. DiCaprio and De Niro are just too good to be that villainous. And Lily Gladstone made sure she’s at the top of it all — the scene stealer of everything.

3. Poor Things

   It feels good to keep something special for a bit, and unbox it in the most perfect time, savoring its greatest quality — Poor Things is that gift that keeps on giving.
   
   Tasked for exploration, growth, and fully-realized awakening, this film entertains further with its eccentric nature. And beneath the surreal odyssey, Lanthimos carved a field where transformation is limitless, and rules are quietly set aside.
   
   Its technical qualities are much like a worthy feast. The cinematography sets a world that is warped, painterly dream, with shifting aspect rations and colors that evoke every development in the story and the protagonist. Such an exquisite tour also in production and costume design, and the sound qualities are progressively odd yet elevating.
   
   This is the best performance of Emma Stone to date, and her commitment to a fearless and transformative character is noteworthy. She truly deserves those awards she bagged, the second Oscar included.
   
   Yorgos Lanthimos has always championed himself in unconventional storytelling, layered with absurdity and wit, while still delivering a depth that is beyond escapism.

4. The Holdovers

   It’s been a long time since I saw a heartwarming film that is just created perfectly for the holidays.
   
   The kind of movie that the family must watch together (especially in a Filipino household) so all the annual holiday drama will be automatically relinquished.

5. All of Us Strangers

   It took me so long to get this out of my shelf. Because by the looks of it, this film has recycled concepts or Weekend (2011) and Looking (2014-2016). Both were special and close to heart, and I love Andrew Haigh.
   
   But my, oh my, I should’ve watched this sooner. I’m a sucker for devastating films, and All of Us Strangers did not disappoint.
   
   It’s a tender yet heartbreaking journey of dealing with grief. And filling in and accepting that there’s a void inside is impossible. The healing and pain; it never stops. And usually, as our form of escape, it’s much easier to build a world on our own where we can rewrite every broken feeling to something blissful, or continue a story that ended abruptly.
   
   It’s beautifully constructed together with the fantasy elements, and both Adam and Harry mirrors moving depth about their lives.
   
   And here I am trying to write a review, alone in the unit, wiping my eyes, and wondering how I will move on from more than a hundred minutes I’ve just had.

6. Oppenheimer

   Feels so foreign to realize that this is coming from the Christopher Nolan. And yet despite of the whispers saying its pacing and the actual length is an issue, Oppenheimer confidently delivers.

   
   

   An ensemble cast is number one and the sound editing is just unbelievable. The craftsmanship and its result stood already as an achievement. This is a great model of an epic with themes of historical drama and psychological intensity meshed together seamlessly. 

   
   

   Cillian Murphy’s performance is haunting, while it did not overshadow Robert Downey Jr.’s career defining moment.

   
   

   Nolan’s refusal to use practical effects over CGI elevates its realism—purely visceral that exudes a long-lasting impression.

7. Anatomy of a Fall

   Toni Collette in Hereditary (2018) finally met her match in of an iconic blaming dialogue.
   
   I women’s rights and wrongs and whatever she’s aiming for. Sandra Hüller, you are a legend.

8. Sing Sing

   A love poem transformed into a heartwarming film about the power of artistic process.
   
   Couldn’t get more sincere and firm by uncovering a light of humanity inside a corrupt prison system. Colman Domingo easily gave an Oscar-worthy performance, but I’d be dumb to not praise the whole cast for being equally magnificent in this beloved project.

9. The Missing

   Again, I’m late to the party. And I’m not aware of its other film references, and completely going blind to its bizarre synopsis, and when the credits finally roll, the room filled with pure silence.
   
   I’m glad this one is now on Netflix — a hugely popular streaming platform in the Philippines, to reach wider audience. But, I hope people will understand that it shouldn’t be judged by its predictability — using that word for this film feels so reductive. Told in enough runtime, this exists for you to understand, and to feel it with your heart.
   
   Iti Mapukpukaw carries a heavily sensitive subject matter, but in its gentle and thoughtful approach and narrative structure, the story flowed away from the rough nature of harrowing trauma and sexual assault.
   
   The use of two kinds of animations here is a clever add-on in enhancing further the storytelling. Behind its realism technique are the brilliant performances of the cast — Dolly De Leon, Gio Gahol, and Carlo Aquino are all fantastic, seamlessly going through a rhythm of the story that is incredibly important.
   
   I wish peace and healing to all the victims anywhere.

10. American Fiction

    An impressive directorial debut from Cord Jefferson!
    
    American Fiction leads you to a razor-sharp satire about the commodification of Black art and identity — from exploiting usual traumatic stories to tokenism, everything satisfyingly cuts deep!
    
    It’s a film that dares to contest the complexities of authenticity, and who truly maneuvers the cultural narratives to satisfy the guilt-ridden White consumers. In its no holds barred commentary and chunky comedic beats, this is rigorous and wickedly funny.
    
    There are quiet moments when the rhythm slightly falters to juggle this two-in-one film, but never come across didactic. Its whole remain reflective and rich. Jeffrey Wright’s nuanced performance is flawless.

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

Ranking all the Oscar winners of Best International Feature.

NOTE: Will not aggressively complete this list as I find the accessibility of most films in the roster too difficult.

1. Parasite

   Witnessing the rain is not the same ever again.
   
   Parasite is a cinematic masterpiece that comes at least twice an eternity. It’s groundbreaking by its genre flexibility and socio-political class introspection that led people in a deeper thought, one that actually lingers not only for a fleeting time, but frankly, for the rest of your life.
   
   This is Bong Joon Ho’s magnum opus, and a well-deserved moment to dominate the awards season. A stunning achievement that opened the doors for the international film scene to a larger audience once more.

2. Cinema Paradiso

   “Whatever you end up doing, love it”

   I’m not gonna lie. I feel like I’m reaching a level of film fatigue lately. But watching Cinema Paradiso in the most perfect time, cured me, and reminded me why my heart always belong to watching films.
   
   What a sprawling, bittersweet, and gorgeously textured ode to the weight of cinema and dreams. Tornatore easily captured my soft spot in blending the temptous trip to nostalgia, the urge of ion, and the missed conversations along the way.
   
   The flow simply moves impeccably — it highlights emotional reverberations. The film’s thematic richness, regardless if it’s about the devastating inevitability of change, is still an irresistible moment to endure.
   
   The narrative has a vast vision of ambition, but always intimate and tender, despite of the hurtful events that the characters have to accept. The score of this film is also one of its magic. 
   
   So personal, and a sweeping imperfect beauty. A rare treasure and reminder why stories are always so powerful.

3. Nights of Cabiria

   All these men are fucking losers! Made me so mad, not gonna lie.
   
   But damn, what a brave and stirring masterpiece of its time. Nights of Cabiria burns slowly and indelibly to the soul. The almost symphonic unfolding of character study is exceptionally written — a woman fueled by optimism, drained in misfortunes created by men cloaked with charisma and power.
   
   The narrative carefully captured an ominous friction between aspiration and disillusionment. It doesn’t indulge in easy emotions. Instead, it offers a raw exploration of human endurance in the face of relentless indignity. The story also pulses with religious and existential overtones, effortlessly connecting to Cabiria’s yearning for transcendence.
   
   The flow goes in episodic structure, which worked flawlessly on capturing bruised positivity in every similar encounters. Giullietta Masina is both a delight and a revelation.
   
   Fellini’s touch on this is, frankly, wrecked me. A painful reminder of the reality that no matter how built you are, there are vultures around.

4. I'm Still Here

   Walter Salles’ I’m Still Here sets its very soul in center; in the right place.
   
   Constructed in a direct and poignant narrative, the story walks you through the horrors of dictatorship particularly in Paiva family. The runtime could walk you out of the moment for a short time, but in its definitive length lies a solid picture of grief and resilience that will always take you back to the higher force of this film.
   
   Fernanda Torres gave us a standout performance from start to finish, delivering a restrained yet powerful portrayal of Eunice Paiva. In her eyes, you can see so much devastation in loss, a heart-shattering experience from a government ruled by unfairness and systemic violence.

5. A Separation

   I find Farhadi’s vision successful in A Separation because it’s more than the searing and tedious process to divorce. It’s a layered discourse about legal processes, class, and religion while it never separates nor diminishes the weight of narrative’s main topic.
   
   The storytelling felt restrained by design, but never flat. In a deceptively simple structure, the intensity is consistently strong as the film dissects responsibilities and internalized pressures. Peyman Moaadi and Leila Hatami are uniformly compelling — they put heat in every pressing conversation thrown into the story.
   
   This is one of the brilliant representations that people and the world we have created is not only black and white. We live in both and our discomfort in the just and subjective proves that gripping reality.

6. Crouching Tiger, Hidden Dragon

   Crouching Tiger, Hidden Dragon is just purely captivating. Beneath the beautifully executed action sequences is a story of love, longing, and most importantly, liberation from traditions and expectations. 
   
   Toned initially in restrained atmosphere, the flow takes you to the escalating tension powered by burdens that were once left unsaid. Michelle Yeoh and Zhang Ziyi, gave us standout performances — delivering emotional weight in quietness and a striking rebellious soul, both are raw and charming.
   
   Lee did more justice in this project by bringing in Peter Pau’s vision in cinematography. His dreamlike wuxia fantasy is on another level, and elevated by its other technical qualities. Fantastic work also on production and costume design!
   
   This overall is breathtaking, and healed my disappointment in Ashes of Time (1994). This is the perfect and profound tale about love and freedom.

7. The Zone of Interest

   Such a chilling view on the banality of evil, presenting the terrifying Holocaust not through explicit atrocity, but through its eerie absence — the infuriating complacency that lingers in the evident acts of brutality through sound.
   
   This is cold, and its power lies in detachment — domestic life unfolds with unsettling normalcy while unimaginable horror happens just beyond the frame. Glazer’s direction forces us into the perspective of those who chose not to see, in the age of people tagging themselves as ‘neutral’ in every pressing political situation, its impact is highly relevant, a wake-up call to hearts and ears that are hard as steel.
   
   A deserving winner for the Best Sound at the 96th Oscars indeed. It’s the most important technical element that makes this horror immersive and an exposé of ease with which cruelty becomes routine.

8. The Shop on Main Street

   A quietly devastating destruction of genuine bond, twisted and pierced under fascism.
   
   Beneath the mundane interactions in a world collapsing, The Shop on Main Street bellows an agonizing yearn for clarity and safety. It holds you tightly not directly to what is said, but in what is avoided.
   
   It follows a flow where harm is beyond impossible, until it reveals an inescapable threat looming since the beginning. But the story’s power is beaming also because of subtlety in performances, down to the shoved down reality that there are moral lengths you can break in the name of survival.
   
   The ending gives you a relief, but the weight of the tragedy is way heavier. A perfectly written haunting story in hopeless times of the world.

9. The Lives of Others

   It’s definitely not the spy thriller film you are looking for.
   
   But in tone’s subtleness, it settles you on its high political and emotional gravity. The Lives of Others is a story where unspoken and hidden secrets thrive in a meticulously built structure. It utilizes suspense really well, and the suspense it consumes goes justifiably deep from centered characters that are burdened with uncertainties and free will — all made by an oppressive system.
   
   Donnersmarck uses sympathy and resonance as devices that are instantly moving. Ulrich Mühe’s performance channelled those and showed a compelling delivery.
   
   One take I’d like to add here is, things like these can happen especially if there’s a persistent loser around.

10. The Salesman

    A brilliant and precise structure of suspense; looming in a story elevated by compelling performances of Shahab Hosseini and Taraneh Alidoosti.
    
    While the narrative is pure and sensitive in giving us the creeping discomfort of trauma and moral ambiguity, The Salesman quietly shakes in getting the right balance from a restrained pacing. Still, the impact sits with you after the end.

...plus 15 more. View the full list on Letterboxd.

Ranking films I watched that are released in 1978.

• The Deer Hunter

  Cimino’s grand and harrowing view of war and its psychological aftershocks in The Deer Hunter is an intimate nightmare.
  
  It lingers in silence. The first act can be seen as a long, meandering structure, but it’s a patient and immersive rhythm of bliss and carefreeness — revolving around their circle, and so as the illusion of war’s spectacles. Then the sudden shift to their new reality felt imminent yet still suffocating.
  
  It’s another successful antiwar project that shreds patriotism in the process. The narrative sinks into guilt and grief, looming in a well-oiled storytelling of madness.
  
  However, the entirety is not flawless. The story borders on propaganda — painting a country that refuses colonization in villainous fabrications. Which, if you know the reality, you will automatically feel disappointed to this one-dimensional facade.
  
  Regardless of its sinful inaccuracy, I still think it still captured a relevant and harsh truth — the horrors these characters endured and its contagion. Solid performances from the cast. Walken, De Niro, and even Streep nailed it effortlessly.

• Autumn Sonata

  “You talk of my hatred. Your hatred was no less”

  Bergman mastered an almost quiet yet searing confrontation coming from a place of repressed hatred and memories. It successively piles up an agonizing emotional weight, leaving you in awe of the depth strips being shed from these characters. 
  
  This piece is a dedicated meditation of memory as both a prison and a battlefield — where love, resentment, and longing clashes and blurs everything, forming a suffocating force around a serene backdrop. Such a rich character study from Eva and Charlotte. Ingrid Bergman and Liv Ullmann are equally compelling, and it’s so easy to surrender with their stories that are both brutal and gentle.

• Get Out Your Handkerchiefs

  Finally getting into the winners that did not age well. Get Out Your Handkerchiefs is, strikingly, one of them.
  
  The story draws a quirky French veneer that tries to conceal its outdated worldview in a progressive whimsy. Again, there are fun bits here that relieves its bad narrative temporarily. But its approach to navigate love and vulnerability is just an uncomfortable experience — a woman is treated as emotional conduit or a prize.
  
  Its comic handling of depression and sexuality is offensive, partnered with reductive central ideas about fulfillment and gender roles. It intends to thrive in absurdity, but it veers into smug self-indulgence.
  
  This is so hard to enjoy. It’s overshadowed by a nagging sense that this is more interested in reinforcing male fantasies.

Ranking films I watched that are released in 1965.

1. The Sound of Music

   Finally got the chance to see the classic The Sound of Music! 
   
   What a vibrant celebration of music, family, and resilience, set against the breathtaking backdrop of Salzburg, Austria. It continues to captivate audiences with its timeless charm and emotional depth.
   
   Julie Andrews is naturally luminous as Maria, effortlessly capturing her innate optimism, warmth, and sense of wonder. 
   
   Wise’s direction is calculated yet rewarding, striking a perfect balance between the joy of the musical numbers and the intimacy of the family drama. The opening sequence, with Maria singing “The Sound of Music” on a hilltop, remains one of the most iconic moments in film history. Its compilation of music transcends its era, continuing to resonate with audiences of all ages.
   
   On the other hand, this classic obviously suffers to what is the norm of their time. The historical elements, particularly the rise of the Nazi regime, are somewhat sanitized for the sake of maintaining the film’s lighthearted tone. The striking enablement of grooming and untamed fragile masculinity are also a roll in my eyes.
   
   Despite of its flaws, I think this still should be celebrated for its heartfelt storytelling, and memorable music. It is one of those films that invites audiences to laugh, cry, and sing along, proving that its legacy is as enduring as the hills themselves.

2. The Shop on Main Street

   A quietly devastating destruction of genuine bond, twisted and pierced under fascism.
   
   Beneath the mundane interactions in a world collapsing, The Shop on Main Street bellows an agonizing yearn for clarity and safety. It holds you tightly not directly to what is said, but in what is avoided.
   
   It follows a flow where harm is beyond impossible, until it reveals an inescapable threat looming since the beginning. But the story’s power is beaming also because of subtlety in performances, down to the shoved down reality that there are moral lengths you can break in the name of survival.
   
   The ending gives you a relief, but the weight of the tragedy is way heavier. A perfectly written haunting story in hopeless times of the world.

Ranking films I watched that are released in 1957.

1. Nights of Cabiria

   All these men are fucking losers! Made me so mad, not gonna lie.
   
   But damn, what a brave and stirring masterpiece of its time. Nights of Cabiria burns slowly and indelibly to the soul. The almost symphonic unfolding of character study is exceptionally written — a woman fueled by optimism, drained in misfortunes created by men cloaked with charisma and power.
   
   The narrative carefully captured an ominous friction between aspiration and disillusionment. It doesn’t indulge in easy emotions. Instead, it offers a raw exploration of human endurance in the face of relentless indignity. The story also pulses with religious and existential overtones, effortlessly connecting to Cabiria’s yearning for transcendence.
   
   The flow goes in episodic structure, which worked flawlessly on capturing bruised positivity in every similar encounters. Giullietta Masina is both a delight and a revelation.
   
   Fellini’s touch on this is, frankly, wrecked me. A painful reminder of the reality that no matter how built you are, there are vultures around.

2. Paths of Glory

   “I apologize for not being entirely honest with you. I apologize for not revealing my true feelings. I apologize, sir for not tell you sooner that you’re a degenerate, sadistic, old man. And you can go to hell before I apologize to you now or ever again!”

   I love anti-war films. It simply shows the elusive true face of war, and it’s full horror and stupidity. Kubrick’s brilliance delivered a precise bloodthirsty deconstruction of power and morality in a dehumanizing machinery.
   
   A bold exposé about hierarchical abuse that is so easy to not look at. This haunts excellently in the arbitrary nature of authority, picturing that the war is less about victory than about ego and ambition, reducing human lives to currency in a game of self-preservation.
   
   A great dive also on the illusions of honor that automatically destroys the romanticism of warfare, and how patriotism and courage can be so easily twisted to utilize for control.
   
   It’s understandable how many countries banned this in its release, it holds nothing but a significant and terrifying truth. People in power hate being dethroned.

3. 12 Angry Men

   An extraordinary piece of its time.
   
   I’ve seen enough courtroom dramas, but Sidney Lumet’s 12 Angry Men stirs further the landscape by offering deep reflections of the layered characters of these jurors, effortlessly maneuvering the tension.
   
   The striking display and contrast of racial prejudice, haphazardness, and meticulous dissection of a case are all placed entertainingly correct. It didn’t stall, went quickly in fact. But every push of argument turns relentlessly aggressive or pointy, and then the beaming intensity continues.
   
   The final part is a satisfying unearthing when it comes to their chosen decision. It’s simply precise and clean.

4. The Bridge on the River Kwai

   David Lean’s The Bridge on the River Kwai is undeniably visually entertaining — obviously on how and where this was set accompanied by the horrors of war and martyr men in lead.
   
   While this is treated as classic, I unfortunately cannot get through its supposed beauty overall. The pacing for me is just terrible and almost bearable to finish. But my completist soul thrived anyway so here I am.
   
   Definitely not for me. But I’m glad I saw it anyway.

Ranking films I watched that are released in 1947.

1. Gentleman's Agreement

   Here’s to another piece filled with the right intentions yet pitfalls to the Old Hollywood tropes that deduces the main essence of the film.
   
   Gentleman’s Agreement is not your kind of well-paced journey. But it is measured enough to unfold its significance, revealing itself to be more moving and reassessing the World War II aftermath; its stigma and personal costs.
   
   Narrative structure-wise, it is nothing, but direct, which is evidently effective by also showing us the personal and professional experiences Green and his family endured in systemic prejudice.
   
   In Kazan’s direction, there will be always a moment that will lose you for a while, a quick and vague subplot brewing out of nowhere. But without noticing much, it will lead you back to the main event geared up. This happened now twice, in my first watch of On the Waterfront (1954).
   
   Despite its glaring deficiencies, this was still an important and influential classic that dares you to confront the reality; its discriminating nature and the lengths how to break that.

2. Monsieur Vincent

   This is probably one of those first films introduced in educational scene because of its informative nature about an important figure dedicated his life in helping people and following the good words of religion.
   
   But frankly, this is such a torturous slog — a didactic subdued myth-making that struggles to penetrate resonance.
   
   Monsieur Vincent relies so much in the given biographical context, without implementing appealing style or even a solemn moment to endure.
   
   It’s sadly static, cold, and poorly shot, too.

Ranking films I watched that are released in 2018.

1. An Elephant Sitting Still

   “Life just won’t get better. It’s all about agony. That agony has begun since you were born. You think that a new place will change your fate? It’s bullshit. New place, new sufferings.”

   Took most of my time today and I still have one more left to watch. Not that I am complaining though.
   
   I did some research before stepping into this film. From what I understand it’s Hu Bo’s first and last feature length.
   
   The elephant is present all throughout the film until the start of the last act.
   
   This is a deeply personal cry for solace — behind these stories merged in a cold and cruel backdrop. It’s painfully immersive. Enduring every heavyweight of guilt, anger, loss, and misfortunes is the only way to see its sense. The characters were all burdened by hopelessness, and it actively takes away every part that’s left of them.
   
   It moves slow purposefully. Every sound of silence and despair echoes. There’s nothing pleasant to conceal any of this, but its authenticity to the work is what matters. And I appreciate every inch of this — every lonely rhythm I fell for.
   
   I wish peace and bliss to Hu Bo. Your fate will always change.

2. The Favourite

   The Favourite is a sumptuous and biting exploration of power, ambition, and human frailty. Combining razor-sharp wit with an unconventional narrative style, the film offers a thrillingly subversive take on period drama.
   
   The performances are extraordinary. Olivia Colman is magnetic, commanding, and quirky as Queen Anne, serving a complex portrayal of vulnerability, petulance, and wounded pride. Her ability to oscillate between absurd comedy and heartrending pathos is nothing short of astonishing. Rachel Weisz and Emma Stone are equally captivating as two fiercely intelligent women locked in a battle of wits and wills. Their chemistry crackles, and their performances elevate the film’s exploration of loyalty, manipulation, and self-preservation.
   
   Screenwriters Deborah Davis and Tony McNamara infuse the dialogue with biting humor and contemporary flair, making the characters’ barbed exchanges feel as fresh as they are devastating. Lanthimos’s direction, with its deliberate pacing and darkly comedic tone, ensures that every moment feels both unpredictable and deeply resonant.
   
   Beyond its narrative intrigue, The Favourite is rich, delving into questions of agency, class, and the corrupting influence of power. The film resists easy answers, allowing its characters—and its audience—to navigate a morally ambiguous world where every victory comes at a cost.
   
   For all its wit and elegance, the film is also unflinchingly raw, exposing the vulnerabilities of its characters in ways that are both disarming and deeply affecting.

3. Shoplifters

   Shoplifters sets you under a narrative of love that is genuine and warm, and acts that were morally wrong, but validated. Any of those two swings in its opposite directions, you’ll witness a devastating turn, and unfortunately, not in a single blow.
   
   It’s a quiet yet blaring meditation on a family concept. And the choice of stripping away from conventional morality strengthened its exploration of love and survival.
   
   Kore-eda’s direction could be straightforward and plainly heartbreaking, placing stolen moments of tenderness and quiet acts of care while it actively exposes the contradictions of society that punishes the poor while failing to protect its most vulnerable.
   
   What an evocative and dedicated story of challenging our definitions of belonging, despite in the margins. A pure love that can exist anywhere though not without consequences.

4. Roma
5. Burning
6. Hereditary
7. Black Panther
8. Spider-Man: Into the Spider-Verse
9. Suspiria
10. Wildlife

...plus 61 more. View the full list on Letterboxd.

Ranking films I watched that are released in 1956.

1. Samurai III: Duel at Ganryu Island

   In the end, Inagaki transformed Samurai III into a quieter, more introspective turn, highlighting Musashi Miyamoto’s final picture of growth, while still balancing a good amount of spectacle in the name of combat theatrics.
   
   There’s a commendable factor here in laying gently the resolution of a man’s long journey toward self-discipline and humility. I still find this however, has less pulse compared to its predecessor. But it’s still a smart style to seek depth in the long quest for peace and greatness. A reflective ending for a story built on the tension between violence and virtue.

2. Around the World in Eighty Days

   Spoiler alert: He actually didn’t.
   
   Around the World in Eighty Days is just one of the many Best Picture winners that aged horrendously.
   
   Anderson’s decision to form this in an epic adventure with three-hour runtime is an ambitious gesture. But it lacks vegetation and the experience felt like a chore.
   
   The film is dependent on its visual grandeur, which is undoubtedly mesmerizing. But the stark disconnect of the story to endure its rich cultural variations is a letdown. David Niven delivered a good performance, but the character itself possessing subtle apathy around him is actually exasperating.

Ranking films I watched that are released in 1955.

1. Marty

   Didn’t expect to see a refreshing film like this in an era that is so consumed by Hollywood’s pretentious tropes. The Palme d’Or and the Best Picture from The Academy surely is well deserved.
   
   I think it’s obvious that I like this because it veers itself away to the glamorous and cliché old Hollywood’s romance formulas.
   
   It’s sweet, human, and more transcendent; Borgnine did an amazing portrayal as Marty. Being a real gentleman surrounded by superficial folks who can’t mind their own business must be so exhausting back then.

2. Samurai II: Duel at Ichijoji Temple

   Now we’re talking.
   
   Samurai II is a well-oiled continuation of the mythic trajectory of Musashi Miyamoto. This time, refined with expositions unfolding elegantly, mostly in a striking windswept fields.
   
   Structured in a mighty arc, Inagaki and Wakao followed a patterned journey of mastery and moral clarity, which absolutely worked given it is partnered with equipped technicalities and intense combats.
   
   It’s definitely a more exciting chapter to experience. The second part always hits.

Ranking films I watched that are released in 2005.

1. Brokeback Mountain

   Crafting this in its time is such a grand achievement, and even now where homosexuality is still nowhere near acceptable, despite of stronger voices and energy reminding us to fight for our rights.
   
   I am not exaggerating to see Brokeback Mountain as terrifyingly vivid picture of love constrained by an oppressive nature of society. A story that is so deeply heartbreaking — a love that could’ve been more.
   
   The homophobic undertones are gut-punching, piercing a mutual feeling into almost nothing. And I could go on to picture how this tragedy is painfully written and also important.
   
   The story speaks for itself, it doesn’t require technical spectacle. And thankfully it never did.
   
   Jake Gyllenhaal and Heath Ledger are both outstanding; portraying a gay role that does not cross as eye-rolling offensive and cartoonish. They did it so good. And just like Jack, so much rage and punches were thrown in the air for not giving this Oscars that it deserves.

2. V for Vendetta

   “If you’re looking for the guilty, you need to only look into a mirror.

   “I know why you did it. I know you were afraid. Who wouldn’t be? War, Terror, and Disease? There were myriad of problems which conspired to corrupt your reason and rob you of your common sense. Fear got the best of you.”

   Brutally overlooked and intentionally thrown out to critics that champions in nitpicking. But its soul of the story thrives stronger.
   
   V for Vendetta in its structure, is designed to be understood easily by many; an essential voice reminding the corrupted minds what was once a “perspective”.
   
   Hugo Weaving’s charisma is simply commanding, and Natalie Portman is fantastic as well.
   
   Never mind the ones seeing this being less than its purpose. Surely the pacing falters for a moment. But in the latter up to its ending is a well-executed and savory retaliation to an oppressive system that most of us are facing now.

3. Batman Begins

   Here we are again, arriving late to the party. I have avoided these from Nolan’s catalogue for some reason I can’t anymore, but the important thing perhaps is we’re now here.
   
   This is where its tone shudders into dark; a bold reinvented character study that flawlessly worked in all angles. It doesn’t hold back in highlighting the hero’s weak points also, pointing its human nature from his history and goals.
   
   It might be impossible to picture Christian Bale as a man troubled with rage and fear, immensely intimidating, and elusive with a guttural growl. But here, he delivered.
   
   Gripping and committed enough to the characters’ footprints. We are off to a great start here.
   
   P. S. This is also Cillian Murphy’s origin as an office siren.

4. A History of Violence

   It is a predecessor to Eastern Promises (2007) and you can easily see the pattern on how the characters are being written, and the structures of its storytelling.
   
   Cronenberg loves to blur moral certainties in the end. In A History of Violence <span style="-webkit-text-size-adjust: 100%;">comes a taut story layered with much suspense that questions Tom’s lengths and the audiences to reinvent themselves in the midst of dark pasts resurfacing.</span>

   
   The ambiguous ending fits right — evoking tones that are lingering, and confrontational.

5. The Chronicles of Narnia: The Lion, the Witch and the Wardrobe
6. Constantine
7. Charlie and the Chocolate Factory
8. Tsotsi

   A character drawn on questionable, mostly brutal decisions towards enlightenment, but remains a gritty and intense process of redemption.
   
   Tsotsi lives in its slow and bruising reckoning. It grapples sharply in survival and the cost of poverty, earning more weight in raw sincerity.
   
   It may sometimes not hit in full force, but Presley Chweneyagae’s performance does.

9. Chicken Little
10. Madagascar

...plus 8 more. View the full list on Letterboxd.

Ranking films I watched that are released in 1980.

1. Ordinary People

    “I’m not disappointed. I love you.”

   This stings on a personal level.
   
   Objectively though, Robert Redford’s directorial debut doesn’t excel in loud and grand spectacles. Ordinary People bursts beautifully in an intimate portrait of a family dealing through the devastating complexities of grief and depression.
   
   Sargent’s writing knows how to capture heartbreaks out of the grand gestures and melodramatic moments. This one builds emotional weight through restraint, regrets, and awkward silences. The story exposes a familial dynamic under a fracture of tragedy.
   
   It knows its timing. The slow reveal of emotional truths and cathartic confrontations buried beneath polite avoidance is equally rewarding and heart wrenching.
   
   Strong performances from the cast. All gave an insanely organic and stirring portrayal. But I cannot understand why Donald Sutherland wasn’t nominated for this? He delivers anguish in precise subtlety. His final dialogue is such a stellar act, and a truly missed legend.
   
   Regardless, this is a profound piece. In its quietness and complexities, it engages everyone to listen more than speaking.

2. The Shining
3. Moscow Does Not Believe in Tears

   A lively coming-of-age in the beginning, turned into a cold, downward examination of unfair life, shaped through bonds and resilience.
   
   The narrative is confused to highlight which one in love and resilience is the most endearing element. But what’s clear here is, in every female success against societal odds, fate will fold their empowerment back into a traditionalist narrative that hinges on male validation. Vladimir Menshov built a harsh world maneuvered by men’s superiority and irresponsibility.
   
   Despite its regressive undercurrents, I still find its feminist spirit sincere and impactful. It’s rich in detail, despite of its tone overlapping between being empowering and outdated.

4. The Gods Must Be Crazy

Ranking films I watched that are released in 1963.

1. Yesterday, Today and Tomorrow

   Can’t believe I felt “That’s it?” moments to this three times.
   
   There are undeniably technical details here that are praiseworthy, and the performances were enigmatic. But these three stories are unfortunately undercooked — women drawn into a charismatic and powerful being that pulls back to its fully realized complexity, because the story itself limits them.
   
   The chapters are loosely connected, and the depth never fully coheres. With its lack of cumulative message, it resorts to relying on star power and broad caricatures, which dulls the point of it all.
   
   It’s occasionally amusing, but it’s far from being a well-deserved winner of Best International Feature.

2. Tom Jones

   It’s unbelievable how many bad apples The Academy has picked to be the Best Picture winner throughout the years. Tom Jones is one of those terrible entries.
   
   This is an energetic piece, sure. But the styles used are plain gimmick, heavily relying to its technicalities while the script relentlessly blurts out flatness and exhausting jokes. And while it’s another cliché film pushing a blurry commentary about social class, it never explored its seriousness, then shifts to another scene that is supposedly “funny”.
   
   The entirety is painfully aimless, and the more it flaunts cheeky stuff, the more it loses its weight. It could’ve been saved by its production, but it’s unfortunately mediocre, too.

Ranking films I watched that are released in 1954.

1. On the Waterfront

   On the Waterfront is straight up a searing trip. It is rich and eyes its themes of morality and power very directly.
   
   Marlo Brando is compelling and the “I could’ve been a contender” line sets the story in its strongest suit — a resonating moment of lost potential. It’s my favorite scene also.
   
   The editing is just great and precise. The pacing falters for a moment, however. But, I think it’s a trend to dramas during this era the required romance-bombing scenes; which I feel unnecessary and blurs the main point.
   
   It got back to the point regardless. The cast is magnificent, and overall the classic trademark is well-deserved.

2. Samurai I: Musashi Miyamoto

   “It is our fortune.”

   The first part of Hiroshi Inagaki’s Samurai trilogy is an exceptional piece of its time — visually gorgeous and a faithful portrait to its origin.
   
   It stands as a compelling chapter — encapsulating a fractured tale of brotherhood, shaped into isolation and uneasy transformation. In just a short runtime, Inagaki additionally compensates in war spectacles which gradually troubles its pacing, unevenly shifting its tone in the process, and delivering a rough and forced structure of myth-making.
   
   On a good note, it was delivered in full detail — just plainly rushed. And honestly, still a solid introduction to a larger and more complex character arc.

Ranking films I watched that are released in 1995.

1. Se7en

   With its bleak form, Se7en masterfully executed a psychological thriller story that will be ed for eternity — pun intended.
   
   Without non-linear shenanigans that are usually present in crime/thriller genre to amplify its sophistication, the story still delivered a haunting atmosphere, and great screenplay buildups. It is also tied with grim cinematography and erratically patterned score.
   
   Fincher simply gave us a hint by Somerset’s line of: “this is not going to be a happy ending”. And there it is — it has unrelenting tension and gut-punch ending; cementing its place as a genre-defining work. A toast to the expert, who opens the doors to the minds of evil and righteousness that gratifies our viewing satisfaction because of its disturbing entirety.
   
   Se7en, Zodiac (2007), Gone Girl (2014), Mindhunter (2017 - 2019) and I fucking want more!

2. Before Sunrise

   The time has come!
   
   After seeing the clips of this when I was a kid, I am finally taking a deep dive on Before trilogy. Though honestly I think this is the best age to dissect this.
   
   Richard Linklater understands the romantic allure of chance encounters. He understands the spark, and the excitement in thoughts and emotions. That being said, every dialogue feels grounded, which effortlessly pulls you to these long introspective conversations that feels like a second.
   
   Ethan Hawke and Julie Delpy’s chemistry are just contagious. I gave in in the record store scene and the fake phone conversations which are so melting. From a technical standpoint, this excels too. Linklater just makes everything look so easy.

3. Toy Story
4. Braveheart

   A swooning historical epic, Braveheart barrels forward with a grand ambition and freedom. It is obvious that Gibson fuels this project with relentless tone of ion, and it compensates with mythic sensibility underneath a narrative that plays fast and loose with history.
   
   The storytelling pictures boldness, but occasionally overwrought. The second act went into a tricky stretch — it’s far from dull, but the story will not receive harm in a cutout. The film definitely has a pulse, and believes in what it’s saying, even if it shouts when a whisper might have sufficed.
   
   Its cinematography is stunning and I ire the production, too. This is far from flawless, but compelling in its own — it breeds intensity in resonance and battleground spectacles.

5. Clueless

   That Fake Plastic Trees needle drops actually hits.
   
   Clueless’ altruistic core paved the way for the other quirky delights like Amélie (2001). But Heckerling’s direction set this film’s charm in a glossy, deceptively frivolous teen comedy.
   
   There are sharp and comedic lines here that deserves its trademark, while running through a breezy pace about self-image.
   
   It’s a self-aware coming-of-age. It’s not intellectual heavyweight, but it’s still a feel-good high school fun experience.

6. Jumanji
7. Casper
8. Pocahontas
9. Fallen Angels

   Here’s another testament that Wong Kar-Wai’s films are effortlessly immersive not only by its atmospheric backdrop and an emotionally resonating yet fragmented narrative, but also its straightforward filmmaking linking the good gems altogether into one.
   
   Shot in a closer, wide-angle perspective — invasive even, it shows their isolation to the world while at the same time, lets you be a part of their lives; in its mundane and highlights, as if you are another partner — in contrast to In the Mood for Love (2000) that gives you its intrigue in a lens placed somewhere around the corners, letting the clandestine continue through their actions.
   
   The story alone here on Fallen Angels, although designed to be scattered, never dodged the fact that it’s lightweight and focuses largely only on one of the stories. Regardless of its style, it’s an important factor for me to witness an impactful story in any form, moves largely all throughout the film rather than being just an accessory.

10. Babe

Ranking films J watched that are released in 1992.

1. Unforgiven

   Quite revolutionary in its lane. Unforgiven draws a line between justice and revenge. It’s immersive in its chaotic face of violence while the drawn line dissolves in misery.
   
   This is my second watch of Eastwood doing both works behind and in front of the screen. He lifts moral ambiguity with intrigue, but never became a growing distraction.
   
   There’s a great buildup of intensity here, not only from action sequences, but also the moments of temptations and interrogations. Visually, this is a cold and indifferent muddy expanse. It paints an atmospheric dread, attracting the remorse and madness of the characters.
   
   Solid performances from the big five! A searing and bold shift from the Wild West backdrop where nobody wins but the temporary relief of violence.

2. Aladdin
3. Home Alone 2: Lost in New York
4. Belle Époque

   Fernando Trueba welcomes you to the vintage The Bachelor!
   
   Entertaining indeed. Belle Époque thrives in its provocative wit that sometimes could go out of hand. It’s easy to follow its meandering rhythm, designed well with an optimistic piece of comedy that lightens its overall tone.
   
   The film is a confident blend of humor and sensuality, although sometimes its chosen nature dilutes emotional impact. Going back to being too much, yes, there are certain decisions that could’ve been omitted. And the time setting shouldn’t be an alibi, that blackface was so unnecessary and not funny.
   
   I think, without its excessive effort to embellish its already delightful tale, this would gain a soaring 4/5. But, perhaps flaws are flaws.

5. Sister Act
6. Death Becomes Her

   “Do you know what they do to soft, bald, overweight Republicans in prison, Ernest?”

   “I’ll paint your ass, you’ll paint mine.”

   My gay cinephile ass partially fulfilled after watching this cult classic. Death Becomes Her is camp to the core!
   
   The deep seated commentary about the fear of aging, and obsession to forever look fresh predominantly to women is what I root for. For its half, the fun is there and yet the weight is substantial.
   
   The final act, however, lost its charm for me. It breathes through the remaining theatrics and quick wits. I wish it has a solid, and biting narrative. But what I know for sure is it compensates very well to the funny, glamorous and grotesque journey to desperation.

Ranking films I watched that are released in 1988.

1. Cinema Paradiso

   “Whatever you end up doing, love it”

   I’m not gonna lie. I feel like I’m reaching a level of film fatigue lately. But watching Cinema Paradiso in the most perfect time, cured me, and reminded me why my heart always belong to watching films.
   
   What a sprawling, bittersweet, and gorgeously textured ode to the weight of cinema and dreams. Tornatore easily captured my soft spot in blending the temptous trip to nostalgia, the urge of ion, and the missed conversations along the way.
   
   The flow simply moves impeccably — it highlights emotional reverberations. The film’s thematic richness, regardless if it’s about the devastating inevitability of change, is still an irresistible moment to endure.
   
   The narrative has a vast vision of ambition, but always intimate and tender, despite of the hurtful events that the characters have to accept. The score of this film is also one of its magic. 
   
   So personal, and a sweeping imperfect beauty. A rare treasure and reminder why stories are always so powerful.

2. Grave of the Fireflies

   The cathartic scenes easily got me. And Michio Mamiya’s score is just deeply affecting. If this doesn’t pull up your strings, I don’t know what to tell you.
   
   Grave of the Fireflies is indeed a powerful masterpiece, showcasing the tragic human costs of war that are bluntly heart-shattering.
   
   Isao Takahata and Akiyuki Nosaka’s another gut-punching addition to the narrative is, war can also trigger neglect, cruelty, and the immediate dangers of survival.
   
   The first half was built in emotional restraint, and when it’s time for a release, the story opens all the gates to navigate a life with grief. Its pain is succumbing, leaving a quiet and unbearable truth that wounds of war never heal, and some ghosts never find peace.

3. Big

   Thanks to TV5 for bringing this precious piece in the Philippine small screens — not dubbed or anything; capturing me taking all the 80’s nostalgia I should’ve lived.

4. Rain Man

   Rain Man is a road film characterizes itself introspective while underlining the themes of family bonds.
   
   It possesses rich editing; the pacing is well-defined. The narrative, on the other hand, checks the right intentions, but lacks enough knowledge in picturing neurodivergence.
   
   But this being a piece of providing understanding and growth to cases we are not usually familiar with, feels somehow enough. Dustin Hoffman and Tom Cruise’s emotional dynamics here are also fantastic and transformative.

Ranking films I watched that are released in 2013.

1. The Tale of The Princess Kaguya

   The Tale of Princess Kaguya takes you first to a simple and soothing yet whimsical world, highlighting magical transformations that are cherished.
   
   More than its exquisite visual beauty, in this 10th century tale, is an important message about free will. Its yearn for happiness that was once experienced does not hide in subtexts, and that depth overflows in resonance.
   
   The watercolor-drawn animation gives more power and life than what is expected. And arguably, with its careful process and profound purpose, it stands as one of, if not, the best of Studio Ghibli.

2. 12 Years a Slave

   It’s not a five-star film for nothing!
   
   What a moment to see this in my theater freak era. Absolutely captivating, absurd, and moving until the very end.
   
   An ensemble cast powered by one of my favorite screenplays in the big screen; and I can’t still imagine how this was created. 

3. Prisoners
4. Inside Llewyn Davis
5. The Hunger Games: Catching Fire
6. The Wolf of Wall Street
7. Dallas Buyers Club
8. Her

   A Black Mirror kind of vibe that is heavily induced with intimacy and melancholia.
   
   Its concept is something I can already see somewhere but to be truthful, this earned more good spine by amazing performances of Phoenix and Johansson.

9. Gravity
10. Ekstra

...plus 27 more. View the full list on Letterboxd.

Ranking films I watched that are released in 1998.

1. The Celebration

   The footprint to HBO’s Succession.
   
   This is the first film of Dogme 95 movement, and while it may not be appealing to someone who grew fond of the new age technical grandeur, its purpose pays excessively well in providing an intricate story and outstanding performances.
   
   Vinterberg’s The Celebration is nothing but an impeccable, raw, and relentlessly darting family drama. Completely armored by a rich narrative structure that moves smoothly, and offers an accessible and realistic dynamics while the tension keeps on unraveling. These achievements alone, should make this a classic regardless if it’s part of a movement.
   
   Vinterberg and Rukov did an impressive screenplay work here. The use of dark humor — and, most importantly, the fleeting shocking reactions after each revelation, and its continuing disregard as a form of denial from the patriarch and the crowd, are just one of the accurate depictions of being in a repressive, and sexually traumatic environment. Even the glaring showoff of racism is used as a distraction to the shocking truth.
   
   There are probably more interesting things to dissect, but munching down every layer of it simply shows how incredible this is; fueled by amazing performances of the cast.

2. The Truman Show

   “In case I don’t see ya, good afternoon, good evening, and good night.”

   Finally! I got my eyes on this masterpiece.
   The Truman Show is indeed a sprawling existential opus. Original in its time, Weir seamlessly navigates paranoia and curiosity in a structure that lets you savor its liberating feeling, yet there’s a certain eeriness to it.
   
   The film reflects on both ways — mirroring the people’s obsession to something authentic and always available. Its commentary on manipulation, exploitation, and fast entertainment media is razor-sharp, but it’s the emotional storytelling that stings.
   
   This is one of those films that blends comedy and drama perfectly, but never extends itself on one side. It remains balanced, amplified with the grounded and radiant performance of Jim Carrey.

3. Central Station

   Prepping myself up before seeing I’m Still Here (2024), next month or in April.
   
   In Central Station lies Salles’ definitive direction to veer away from the road drama cliches and produce a story that doesn’t offer a rushed resolution. The elements of fight-or-flight, comion, and love strengthened the narrative’s authenticity, but never harsh and fast.
   
   Cannot wrap my head around why Fernanda Montenegro didn’t get her Oscar for this. Her performance is deeply stirring and incredible. You can feel her pain and soft heart beneath a bitter facade waiting to be torn apart.
   
   The dynamics she has with Vinicius de Oliveira is underrated, and a worthy factor why this film separates itself from the rest of deeply moving road dramas. It’s a worthy classic from Brazilian cinema that needs to be seen more, an emotional piece that is bold and not sensationalized.

4. The Big Lebowski

   “He doesn’t care about anything. He’s a nihilist”

   “Oh, that must be exhausting.”

   Not surprised this is written by the Coen Brothers. They know how to do an intelligent blend of absurdity and crime adventure. And I certainly like the contrast of its chaotic world they built and a carefree-lazy spirit of The Dude.
   
   The Big Lebowski plays heavily on aimlessness, and it successfully worked — leaving a Dudeism legacy that is just a spot on brand of the film. On a detailed note, the classic detective storytelling works, shunning itself away from the clinical format and layering it instead with comedic beats that are consistently hitting in its dumbness and unreliability.
   
   Honestly, this is just a big fun ride. The silliness of it is already its money, and that being said, this is a fleeting and hilarious experience of richness.

5. Mulan
6. The Prince of Egypt
7. Edge of Seventeen
8. Following

   A view to the redefined Doodlebug (1997).
   
   In his directorial debut, Nolan showcased an ambitious neo-noir style of filmmaking while the tireless usage of “bigger fish” concept effortlessly thrives in the narrative.
   
   It’s a simply executed train of manipulation that somehow has a lingering undertone of David Lynch’s style, especially Blue Velvet (1987). On the other hand, the way he consistently writes women so underdeveloped is already glaring. 
   
   If we resort things to modern slang phrases, Nolan reheated the nachos of this film and serve its pieces to Tenet (2020).

9. Babe: Pig in the City
10. The Parent Trap

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

Ranking films I watched that are released in 1991.

1. The Silence of the Lambs

   How The Academy turns its back to the horror alley that transcends further and perfectly into psychological thriller genre after giving recognition and seeing this?
   
   The Silence of the Lambs graces to perfection flawlessly — from start to finish. I, myself love a great unfolding and the story is a masterpiece, that lead us to the shocking and chilling result.
   
   Every shot of this is obviously insane. Most importantly, Anthony Hopkins and Jodie Foster are unbelievably immersed to their characters — making their performances horrifyingly and amusingly great. But seriously, I will never look to Hopkins’ eyes the same way again (probably).
   
   Now, this… this is cinema.

2. Pushing Hands

   This is Ang Lee’s directorial debut? Absolutely breathtaking.
   
   Honestly, completing the Father Knows Best collection is such a tender experience. I find Pushing Hands the most poignant yet still able to balance itself in the comedic tempo.
   
   The premise is already great. And throughout the story, the delicate and potent exploration of cultural dislocation simmers palpable atmosphere through highs and lows. Underneath its timely wit, Lee carefully unravels complex themes of belonging and understanding — as if it’s a side dish or dessert served just right.
   
   Tai Chi was presented beautifully as a metaphor here. Aside from its usage as a physical practice, looking closer, it stands as a philosophy for living in a world that refuses to meet you halfway. The characters are all drawn when to yield and when to stand their ground.
   
   With all that balance, the emotional impact is undeniably strong yet warm and harmless. It oozes empathetic charm that we all need more than ever.
   
   Lung Sihung, you’re a national treasure.

3. Beauty and the Beast
4. My Own Private Idaho

Ranking films I watched that are released in 1981.

1. Mephisto

   Mephisto offers a brooding and elegant examination of moral compromise — a heavyweight portrait of conscience decay in exchange for ambition and fame. It features a power seduces not with force, but with soft assurance that collaboration is survival — and survival, in turn, becomes its own form of damnation.
   
   Szabó’s patient vision in this story is about witnessing the consequences of each small choice. On the flipside, this hurts the structure — constantly charged with slow interactions in tone that seem close to mundane or too clinical.
   
   The message lingers, but there could have been more ways to expose the corrosion, and there are more avenues unexplored — especially in its large political backdrop. Regardless, its portrayal of slow destruction of integrity remains chillingly resonant.

2. Chariots of Fire

   Chariots of Fire seek a thunderous clap at the finish line, but struggles to even a place in the middle.
   
   Surely, it was powered by interesting themes of ambition, duty, faith, and even glory. But everything was presented bland in a slow-paced and restrained storytelling. It fashions quietness as profound, and while its sincerity is irable, the experience overall is far from resonance.
   
   The timeless score by Vangelis is praiseworthy, but even that can’t rescue a piece that screams as an Oscar bait.

Ranking films I watched that are released in 1948.

• Bicycle Thieves

  This being born in 1948 only means that the cinema outside the Hollywood walls forges a great power, too.
  
  Bicycle Thieves trusts the compelling ability of a story out of extravagance. It captures a devastating side of humanity blurring through streets.
  
  And with the number one problem suggested in the film, it eventually captures a larger issue. De Sica sees a world through poverty — through survival every single day while the society is lost in their own battles, and the ruling people simply don’t care what doesn’t affect them.
  
  The film champions in its radical simplicity. And the lingering effect of hopelessness through the end is just crushing. It’s an essential watch, especially in its time — that life doesn’t always offer justice and comfort. In fact, it barely offers anything.

• Hamlet

  Hamlet by soul and bones: it is indeed an achievement in production. I am unfortunately not into Shakespeare, but this clearly doesn’t fit in the Best Picture kind of good.
  
  It tends to do everything in high precision, but resulted into a stiff execution and unmoving piece — which always happens by using a complex and inflexible piece.
  
  By its quality, it surely tests the time.

Ranking films I watched that are released in 2022.

1. Close

   [Revised Review]
   
   I have to edit my thoughts on this and focus on the film itself. Nothing changes on how I feel about this masterpiece. It completely destroyed me, brought me back to an event that is deeply sensitive and personal, but in its hopeful tone, it took me back to where I am now.
   
   Close, in its vibrant visuals lies a rich, innocent, and beautiful narrative of love and friendship that fell through a challenge of the malicious public judgment.
   
   It’s a painful reverberating process of grief. From start to finish, Dhont pictured a restrained, but deeply inflicting walkthroughs of regrets. And Eden Dambrine’s performance is monumental — a breathtaking revelation that elevates the essence of this film.
   
   And just when you think this project couldn’t be more heart-shattering, it will leave you one last cathartic scene, ultimately dissolving me in a journey that I’m afraid I don’t want to relive again.

2. Babylon

   Relogging this and I came across a Margot Robbie interview and she said that people will regret they threw nothing but lashings about this movie.
   
   I will hold on to that. I know that time will come. This is just perfection and you can argue to the wall.

3. Everything Everywhere All at Once

   Beautiful and almost realistic exploration of familial guilt and generational trauma layered by a foreign yet effective concept.
   
   I can’t explain thoroughly how resourceful and perfect this film is as a whole at the same time. One of my favorite ensemble cast also.

4. TÁR

   Perfect casting honestly because aside from her flawless performance, Cate Blanchett is a kind of gal who’d probably feel so foreign and enraged by Twitter and its s.
   
   

5. Avatar: The Way of Water

   This is the time when I finally get that there’s a highly dedicated Avatar fan club that is featured in one episode of How To with John Wilson (2020 - 2023)

6. Nope

   It’s always the white (people) entity trying to mess up a good neighborhood!
   
   Listen, I’d understand if people might see this as Peele’d best horror project out of three because they’re 90% right 😌.

7. The Batman

   It’s been so long to watch something that focuses you on the plot and THE PLOT. Robert Pattinson, I’m always free on— 🔫

8. Argentina 1985

   An essential and gripping political drama. It’s one of the symbols of justice, democratic values, and the moral resilience required in confronting systemic violence.
   
   Aside from the chronicling courtroom battle, the picture includes a compelling narrative about the fragility of democracy and the enduring struggle against impunity.
   
   Its core is in the center of opposition pouring the must-be-heard burden placed on victims who challenge dictatorial control. The story underscores the dangers faced throughout the process, but also celebrates the collective power of those who refuse to accept silence as an option.
   
   This has a great pacing, it does not rush, but it carefully builds important notes without being distracting. I was amazed by how it seamlessly avoided melodramatic moments. Mitre’s direction understands the horrors of history do not need embellishment. This makes the testimonies; the human cost of the dictatorship presented even more devastating. 
   
   Argentina, 1985 must be seen and must be learned from its reality — a warning against the dangers of forgetting the past. It’s a cry for ability and a reminder that democracy must be actively defended.
   
   The other countries must learn. #NeverAgain!

9. Aftersun

   This took me some time to settle into its simplicity. But in the heartfelt essence of Aftersun, there is enlightenment in acknowledging grief and love; preserving every rich and warm memory of the one who had to depart.
   
   Every moment and clips they have recorded, I can feel the weight of it. In every emotion shown, I want to endure it. Its raw depiction of recollection dives hard to our authentic power in handling nostalgia.
   
   It was created in a restrained fashion, but even in scenes where there’s nothing left to be said, you can feel the profundity. It’s devastating in its subtlety, but somehow there’s a relief and empowerment in knowing and ing — through the tiniest important detail.

10. The Banshees of Inisherin

    NOTE: Do not befriend an ultimate yapper if he is unemployed, or you’re unemployed, or both.

...plus 29 more. View the full list on Letterboxd.

Ranking films I watched that are released in 2007.

1. Into the Wild
2. No Country for Old Men

   By a glance, this is simply a cat-and-mouse game in a neo-Western backdrop. It is effective — a nail biting experience. But, give it a closer look, the Coen Brothers’ No Country for Old Men champions in its thrill and bleakness.
   
   Its choice to lay out a minimalist storytelling does not sacrifice the quality of the film’s tone and atmosphere. In fact, the decision to forgo a traditional musical score is genius; it amplifies the suffocating tension in a straight line pacing. 
   
   The vast, unforgiving landscapes mirror the moral and physical isolation of the characters. Each shot is composed with precision, emphasizing the inevitability of the characters’ fates.
   
   I appreciate the ambiguity of it. It leaves the audience the temptation to wrap the story in their own neat bows.
   
   Both Josh Brolin and Tommy Lee Jones delivered a great performance. But Javier Bardem, what a scene stealer. He exudes eeriness behind those killer eyes — making his character effective in being ruthless and unpredictable.
   
   I’m in awe after seeing this; after the tension it brought me. It’s not an easy watch, sure. But it leaves much presence in your head to dissect further its essence amidst of the relentless pursuit.

3. There Will Be Blood

   There Will Be Blood is an unstoppable and fearless cinematic piece that centers the real and ugly face of capitalism; it branches to anywhere near violence, exploitation, and power.
   
   This has a deliberate process of picturing an ambition that knows no moral limits — all fueled by greed that lingers with destructive intensity.
   
   Daniel Day-Lewis is exceptional as always; fully immersing himself as a vindictive man consumed with wealth and power until his despair. And complemented by Paul Dano’s performance that balances the just and a pinch of righteousness.
   
   Anderson’s films are always infused with a striking score. This time, it flows in unsettling feeling that matches turbulences of the story, together with a cinematography that is stark and oppressive.
   
   I now have a special iration to his filmmaking process; always precise and never loud. But when it aims to show its purpose, its skin, its soul, it never holds back. The message always lingers and hits the target effortlessly.

4. Zodiac
5. Atonement

   Saoirse Ronan’s performance so good The Academy never gave her an Oscar yet because all they is the evil Briony Tallis lol
   
   Seriously though, what a sprawling and grand storytelling. Atonement encapsulates a lifetime of guilt and emotional cruelty. It pictures desperation in undoing a mistake, and the devastating realization that youthful mistakes don’t always go unwritten.
   
   The repetitions in the narrative are both essential and a clever trick, exposing the layers of both sides in a good weight. Some technical beauties are also here — the gorgeous cinematography and the original score, utilizing typewriter to translate more sadness and spectacle.
   
   The story’s emotional power already cuts through, haunting almost. It’s a tragic unwrapped with incredible poise.

6. Shelter
7. Ratatouille
8. Eastern Promises

   The storytelling at the beginning may look like easily fleshed out; direct, fast, and has a tendency to be corny.
   
   Give it a moment to settle in its ground, its tone shows its true promising features. Eastern Promises lies on the sides of violence and humanness, tradition and rebellion, and unbearable crimes and redemption.
   
   What I like about this is Cronenberg does not simply draw us to the black-and-white ideology. It does not go around on easy answers or moral certainties, but rather lets us immerse in a cruel world where survival equates compromise.
   
   Viggo Mortensen has a standout performance in this piece; exuding stoicism that strikes bigger as an enigmatic and layered character. 

9. Enchanted
10. 28 Weeks Later

...plus 17 more. View the full list on Letterboxd.

Ranking films I watched that are released in 2002.

1. The Lord of the Rings: The Two Towers

   The first hour is pure steam — here you can already see its stalling techniques and how it slightly shifted on its own direction; to Jackson’s only at least, but it’s still not a challenging way to keep up with the journey. Creating the second act is crucial for it links the beginning and end, yet it ended still satisfying.
   
   The Two Towers dealt with multiple plots, and it’s fascinating to witness its structure so one-line to not let the audience confused with this brewing war while these stories are carefully narrated.
   
   So many technical upgrades happened; including the richer visuals and the intensified score. Engrossingly smooth for a second part, and it’s a delight to know further these heroes against the ominous; even the dark side for a bit.

2. City of God

   Nothing will fully prepare you in watching City of God.
   
   Meirelles pinned his eyes to the dark slums of Rio de Janeiro that was all forgotten by peace and justice, and crafted a dedicated view of perpetual cycle of violence and the addictive use of power.
   
   It thrives on its relentlessly urgent and furious tone, transparently depicting the harrowing and disturbing brutality as it plunges you to the reality of inescapable fate. The film does not glorify any inhumanity in it, but it’s letting you check the seduction of power, and even the illusion of choice. The youth pick up guns not just for protection, but for identity, status, and a sense of control in a lawless ground. Rocket, an aspiring photographer, wants a peaceful life, but even his pursuit of a future is dictated by the chaos of the streets.
   
   More than its well-paced structure and warm cinematography, above all, the story offers you a devastating truth, without relief and definite resolution. A bold, remarkable and undoubtedly reflective filmmaking.

3. Insomnia

   Layered with foreign themes, Insomnia melts you with different kind of psychological tension; one that stands as its own, at least in Nolan’s catalogue.
   
   It moves slower, and comes in bleak, cold, bathed in endless daylight; mirroring the unraveling psyche that creates a good unsettling sense of paranoia and fatigue.
   
   Robin Williams is a surprise here; delivering a restrained and chilling performance that matches the film’s eerie undertone. Al Pacino’s is understated yet deeply affecting, still fantastic if combined with his mostly explosive roles.
   
   This film contains gripping qualities while it explores guilt and moral compromise; a kind of suspense that does not require a spectacle to be suffocating.

4. The Pianist

   The Pianist, a story based on real-life events is immensely stirring — unshakably picturing all of the horrors brought by the Holocaust. It is not simply seeking for sympathy nor quick tears, but it is committed to delivering a plainly honest story of survival during the war without emotional manipulations.
   
   Adrien Brody exhibited a towering performance, connecting through your softest strings effortlessly. And with all its great qualities and technical achievements, it’s such a shame that this was all crafted by an evil man who ironically disregards respect and humanity.

5. Catch Me If You Can

   Not the best of Spielberg’s catalog, but it’s another testament to his flexibility in producing a quality piece out of the idealized box.
   
   Catch Me If You Can go easy breezy! It’s a sharp and stylish story of deception anchored through the true story Frank Abagnale, Jr. Beneath its plot is an irresistible construction of loneliness and lost identity, amplified further by Nathanson’s razor-sharp script and notable performances of DiCaprio, Walken, and Hanks.
   
   Given its suave, the film plays in comedic beats, too. The storytelling blends a traditional cat-and-mouse game and a fluid coming-of-age that goes right through the tempo of inevitable doom.
   
   It’s simply lively and slick. It could be seen as overcooked, but what matters is the end delivered clear and polished.

6. Punch-Drunk Love

   For a moment, you’ll be thinking this is Marty (1955), but he’s mentally unstable with anger management issues, and got a good shot with a hotshot.
   
   But what the fuck? It unfolds in a direction you did and didn’t expect; an exhilarating ride of chase, pumped with a character that is oozing with quirkiness and madness. Adam Sandler is electric, and Barry Egan is made for him.
   
   PTA undoubtedly has the range. And he knows how to maximize intensity with an enormous score that blows a grand force to the climax. The themes may seem small and soft, but what a delight to see it evolve with such volume and refinement.

7. The 70s
8. Infernal Affairs

   Finally taking a dive on the origin of The Departed (2006).
   
   Infernal Affairs presents an undeniably smart and gripping thriller built in traditional cultural structure. That being said, I see this thrives more in flashy exposition — easily pulling the desired intensity, mostly in technical standpoint, without crossing the lane of self-indulgence.
   
   The storytelling remains striking and surgical, pulling the loaded moments one by one, that fortifies further its emotional weight.
   
   Not to be blunt, but I prefer the Hollywood remake. Not because this is less than Scorsese’s, but it varies on the style you prefer.

9. Chicago

   The Good-for-Her energy is strong in this one that’s why I am so seated the whole time!
   
   Chicago is indeed a dazzling adaptation of the hit Broadway musical, exuding a seamless blend of jazz, scandal, and sensational performances.
   
   It is a standout for its inventive narrative style, where musical numbers act as heightened reflections of the characters’ emotions and desires. The choreography is sharp and sultry, and “All That Jazz” is just something you cannot escape in your head for the next 30 years or so.
   
   Zeta-Jones is simply magnetic — almost overshadowing Zellweger with her charisma and omnipotent bob cut.
   
   It’s a must-watch for the girls and the gays committee and anyone drawn to stories of ambition, deceit, and redemption.

10. Panic Room

    Intentionally gripping over a simple yet claustrophobic concept. It has everything to flaunt its technical beauties; from cinematography to the terrific camera work.
    
    All that visual appeal can only do so much, however. Especially when it’s paired up with a screenplay that stretches its power too much it’s turning into a comedic heist.

...plus 7 more. View the full list on Letterboxd.

Ranking films I watched that are released in 1999.

1. Magnolia

   “I really do have love to give. I just don’t know where to put it.”

   People hurt people. People love people. And Magnolia is an incredible picture of sonder. Everyone matters, and every depth of pain and bliss sticks right through where it should land. To me, this is a thorough exploration of being a human.
   
   It’s another ambitious idea, and to pull it off by a great three-hour run deserves a long clap. The casts are all magnetic, leaving nobody zoned out. The story overall is fantastic, but if there’s a flaw to call, it’ll probably the stretched out emotional expositions.
   
   But hey, it was poured out properly. It needed to be done to feel further. And the last surprise is a random yet beautiful wake-up call to these characters.
   
   Lastly and most importantly, the score is astounding; it compliments every scene and the emotional weights.

2. Girl, Interrupted
3. Fight Club

   Thank you, CinemaDrugs and rest in power to that Facebook page.
   
   I was enlightened by this cult classic that strangely helped me throughout my early mid-existential crisis period. This film might be translated by unfortunately, average male audiences but it truly spoke volumes to anyone when it discusses a shadow within self.

4. Eyes Wide Shut

   This being the final film of Stanley Kubrick is such a hard serve.
   
   Eyes Wide Shut is a psychological waltz through hidden desires. Under an erotic thriller tone, it fascinates further in a quiet unraveling of something more unsettling. It opens a picture of masks, and how they wear it — in the marriage, in sex, and as part of society.
   
   The flow of this seems to be deliberately hypnotic and mildly opaque. Its story has a sharp focus on anything unsaid, highlighting through acts of surrender and temptation with irresistible intensity. 
   
   Nicole Kidman is an easy standout of the cast. Her interrogation in the first scene and the final dialogue are one of my favorites here. There’s more to peel here, truly.
   
   A cold, enigmatic, and a meticulous walk into the path of desire and nightmare.

5. American Beauty

   Got mixed feelings on this. But, it’s undeniably a striking examination of facades.
   
   Sam Mendes’ directorial debut uncovers the hidden truths and desires inside a hollow suburban life — the illusion of American dream and the existential dread beneath a disturbing sin. It depicts desperation and discontent to thrills, told in a tight structure that straightens the unsettling mood.
   
   While it mainly pinpoints the cost of conformity and defiance to life’s stagnation, present day watch, this mirrors a lot more twisted. An all-out display of parallels to Lester and Spacey’s true character, the sexual advances, and the glaring take on homophobia.
   
   I still appreciate its motive, and it’s far from terrible. But the problematic embellishments hurt the narrative, especially the casting choice.

6. Beau Travail

   Quiet, but loud from the inside.
   
   Denis delivers a story of male camaraderie and its latent tensions. The story’s movement is elliptical and the pacing is a bit slow. Memory and desire become intertwined as the past seeps into the present; a clever technique to utilize in this kind.
   
   But mainly, it’s a closer view of male ego and its fragile construction of masculinity tied up with its inevitable unraveling. The insecurity crawls deep it’s subconsciously rooted in its obsessive homoerotic core; the kind of fixation that’s so personal it sails in the middle of both attraction and resentment. The camera work and the hidden choreography make this undercurrent a fact.
   
   This has a beautiful cinematography — soaked in sun and blue. And the ending is a moment that is worthily inevitable in a world where quiet intensity mostly dominates.

7. The Matrix
8. Toy Story 2
9. Tarzan
10. The Mummy

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

Ranking films I watched that are released in 1993.

1. Schindler's List

   Truly an essential film to watch. But frankly, I don’t want to see this ever again.
   
   It features the unbearable killings in the Holocaust — the terror it brought to everyone is massive and beyond devastating. You must be stone cold or not paying much attention when this film did not pierced you brutally.
   
   Ralph Fiennes’ performance is immeasurably great but I couldn’t imagine how much it takes to portray the evil within. 

2. Jurassic Park
3. The Wedding Banquet

   “You’re witnessing 5,000 years of sexual repression.”

   Ang Lee’s style to draw a simmering generational tension in a charming and lightweight exterior in The Wedding Banquet is easily commendable.
   
   There are comedic beats that are working, there are some that are not. But the mishaps are being saved by focusing its lens on the pain and struggles of living a true life in secret. It was handled carefully — it bursts in two sides when needed. The narrative however pulls back too fast out of quietness, creating a confused approach in releasing the film’s depth.
   
   It’s a bittersweet ride to witness, and you can say the same to its structure.

4. Ocean Waves

Ranking films I watched that are released in 2011.

1. Weekend
2. A Separation

   I find Farhadi’s vision successful in A Separation because it’s more than the searing and tedious process to divorce. It’s a layered discourse about legal processes, class, and religion while it never separates nor diminishes the weight of narrative’s main topic.
   
   The storytelling felt restrained by design, but never flat. In a deceptively simple structure, the intensity is consistently strong as the film dissects responsibilities and internalized pressures. Peyman Moaadi and Leila Hatami are uniformly compelling — they put heat in every pressing conversation thrown into the story.
   
   This is one of the brilliant representations that people and the world we have created is not only black and white. We live in both and our discomfort in the just and subjective proves that gripping reality.

3. The Help
4. The Artist

   Count me out of the enraged majority. The Artist is a tender and dazzling ode to silent films and Old Hollywood.
   
   I was late to the party for this, nothing new. At some point, I’m glad I am, because its competitors are undeniably vibrant and easy to tap on. I would probably be underwhelmed by this back then, but watching this now for the first time feels like tasting your favorite dirty ice cream you haven’t had since your childhood.
   
   Hazanavicius’ pure and visual storytelling is an elegant reminder that, the heart of the cinema, is already a striking universal language untethered from dialogue or even sound.
   
   The story wrestles with the inevitable change. And together with its magnetic score, this piece naturally creates an inviting atmosphere through the depths of isolation and acceptance. Every movement was meticulously done, carrying a weight that taps to the heartstrings. Jean Dujardin and Bérénice Bejo added more soul by delivering an equally breathtaking performance.
   
   This will go as four stars unfortunately, only because the third act’s pacing suddenly went clunky and slow. But it doesn’t mean it lessens its heartwarming impact.

5. Shame

   Set in the stoic side of NYC, and stylized in cold palette, Shame is a devastating, and unflinching portrait of sexual addiction. A harsh and most realistic vision on how every compulsion is rooted from loneliness; unearthed or looming all over.
   
   It’s an intricate character study placed in a narrative that doesn’t hold back in telling the worst. There are so many moments where Brandon easily surrenders, blinded by temporary relief and frustration that are both equally succumbing — leading him to self-destruction and whoever’s close is a casualty. This was fueled further by a committed performance of Fassbender that is layered with authenticity. And along the way we got to understand and empathize despite of a cold and uninviting atmosphere.
   
   Mulligan is equally compelling, stripping another raw brokenness from a character flawed by poor decisions.
   
   This, honestly, took its time to simmer, but with a dedicated narrative about the subject matter, and riveting performances everything went well and sensibly.

6. The Woman in the Septic Tank
7. The Girl with the Dragon Tattoo

   There’s no doubt about the fact that Fincher can make an old-fashioned whodunit in such an atmospheric tension.
   
   I lost count in watching films where the score is crafted by Trent Reznor and Atticus Ross, but one thing’s for sure they never miss.
   
   The story itself is full of grit; and an enticing observation here is, it’s not about the death or the physical harm that is unbearable, but the emotional scars embedded through the characters that’ll never heal. Men are pictured disgustingly evil here… because they are.
   
   On the other side, it exudes ferocity, especially Rooney Mara by that performance. Daniel Craig, can catch up, too.
   
   Overall, it’s great, but obviously not flawless. It’s another Fincher’s pro-technical flex masterpiece that sometimes stalls the point and almost hitting the overstay button.

8. We Need to Talk About Kevin
9. Contagion
10. Melancholia

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

Ranking the Oscar’s Best Picture winners I watched.

1. Parasite

   Witnessing the rain is not the same ever again.
   
   Parasite is a cinematic masterpiece that comes at least twice an eternity. It’s groundbreaking by its genre flexibility and socio-political class introspection that led people in a deeper thought, one that actually lingers not only for a fleeting time, but frankly, for the rest of your life.
   
   This is Bong Joon Ho’s magnum opus, and a well-deserved moment to dominate the awards season. A stunning achievement that opened the doors for the international film scene to a larger audience once more.

2. The Silence of the Lambs

   How The Academy turns its back to the Horror alley that transcends further into a mind-boggling psychological thriller genre after giving recognition and seeing this?
   
   The Silence of the Lambs graces to perfection — from start to finish. I, myself love a great unfolding and the story is a masterpiece, that lead us to the shocking and chilling result.
   
   Every shot of this is obviously insane. Most importantly, Anthony Hopkins and Jodie Foster are unbelievably immersed to their characters — making their performances horrifyingly and amusingly great. But seriously, I will never look to Hopkins’ eyes the same way again (probably).
   
   Now, this… this is cinema.

3. The Godfather Part II

   I want to live during the weeks or months before the release of The Godfather sequel. I wonder how many murmurs have come and go about why this story is destined to fail in all forms; all because this doesn’t revolve to supernatural beings or a grand spectacle beyond human’s limitations.
   
   Coppola’s ability to mold another cinematic achievement under the world of Corleones is exceptional — always meticulous and bold. This gave Puzo’s intricate vision a sprawling, operatic tale of power, loyalty, and corruption.
   
   The tone is controlled but limitless. It has a rhythm that mirrors Michael’s calculated leadership, and warmth for Vito’s struggles and rise to power — all blended well by Gordon Willis’ shadow-drenched cinematography.
   
   Al Pacino’s stone-cold and piercing eyes served so much command and enigma. His evolution throughout this film is brilliant and what an amazing execution of his performance.
   
   Robert De Niro, on the other hand, is mesmerizing — embodying the charismatic, ambitious, and dangerous character of Vito Corleone; by his style and yet not abandoning the Brando’s trademark.
   
   What a career-defining triumph for everyone. Quite scared to delve into the final part because of its ratings and reviews. But to immerse in the experience is the only answer.

4. The Apartment

   Movie-wise, timelessness-wise, refreshingly-wise, Billy Wilder’s “The Apartment” is a feast for the eyes!
   
   The story just runs seamlessly — with its modern style it exudes classic quality. It’s just impeccably crafted; it knows how to pull up your emotional strings all over. The comedic tone surely sets the film more free-spirited, and letting it be straightforward, mature, and messy — making its entirety incredibly organic.
   
   Talk about chemistry, Jack Lemmon and Shirley MacLaine compliment each other very well — so effective, and smart; delivering lines that hits the bullseye every time.
   
   It is flawlessly charming. It shines in its authenticity, and under its repressed loneliness, the film achieves a rare intimacy that is deeply affecting.

5. Amadeus

   If only there’s an option to put Martin Scorsese’s photo raising both of his hands in black and white here as a review, I would do it!
   
   This is absolute cinema!
   
   Amadeus is a cinematic requiem for the price of genius and the torment of mediocrity. It’s a striking and spiraling tale of envy and madness. Forman’s audacious gesture is a worthy gamble — delivering an exhilarating symphonic experience that questions the divine injustice of “splitting” talents.
   
   Forman and Shaffer’s tandem formed an evocative look of obsession beneath jealousy and inferiority. And the tension rises effortlessly whether be in its chaotic or comedic moments.
   
   True it’s not heavily reliant on facts, but with its heavy impactful themes, it justifies the chosen vision. And while there’s an endless display of lavishness in production, it perfectly contrasts with the story’s looming existential dread.
   
   Hulce and Abraham both gave a biting performance, amplifying a yearning confession and downfall of a legend.

6. The Godfather

   You know that it’s better to be late than never.
   
   The Godfather knows how to boil well and serve a tumultuous spectacle after a structured buildup. It surely knows how to not disrespect the phrase “serve the best for last”.
   
   Coppola’s direction is frank yet never reckless; with Puzo’s pen that set the lush and blood inside the House Corleone perfectly.
   
   And Marlon Brando’s performance is one of a kind; a career-defining one, and boosted spot-on performances also from Al Pacino, and Robert DuVall. James Caan, too.
   
   Everything here is just unbelievably on-point from the technicalities and what you see now. It’s something I wish can see again for the first time.
   

7. Schindler's List

   Truly an essential film to watch. But frankly, I don’t want to see this ever again.
   
   It features the unbearable killings in the Holocaust — the terror it brought to everyone is massive and beyond devastating. You must be stone cold or not paying much attention when this film did not pierced you brutally.
   
   Ralph Fiennes’ performance is immeasurably great but I couldn’t imagine how much it takes to portray the evil within. 

8. Birdman or (The Unexpected Virtue of Ignorance)

   It’s not a five-star film for nothing!
   
   What a moment to see this in my theater freak era. Absolutely captivating, absurd, and moving until the very end.
   
   An ensemble cast powered by one of my favorite screenplays in the big screen; and I can’t still imagine how this was created. 

9. The Lord of the Rings: The Return of the King

   All knees bent for a spotless conclusion in this wonderful journey. The Return of the King holds an enormous triumph for its screenplay and technical direction.
   
   Engrossing by its battle grandeur and satisfyingly layered arcs. So monumental and meticulously crafted all the way.
   
   It surely keeps its promise after all the success in the commercial scale. And what a huge slap against the mainstream film insults. If there’s more recognition to add, The Academy could’ve listed Elijah Wood, Sean Astin, and Viggo Mortensen in the acting category lineup, but I guess they wanted to be edgy so bad as always.
   
   It’s such a delight to see this with full understanding now. All hail to the best trilogy ever made.

10. The Departed

    Scorsese got another masterpiece in his sleeve, huh. He keeps on giving.
    
    The Departed stands as a searing crime thriller, offering a well-done portrait of duality. It’s superbly edited from the technical perspective, leaning closely to the narrative about corrupt systems that suffocates until the truth is exposed.
    
    The pacing is a ticking time bomb without elements of rushing things, but raises the intensity to whatever’s inevitable from five steps behind. Scorsese’s direction mastered this genre so well, and this art is just one of the testaments.
    
    Excellent work from the ensemble cast. But my favorites? Easily Nicholson, DiCaprio, and unbelievably Wahlberg.
    
    Beautifully constructed brutal world, indeed. Now I have to watch the Infernal Affairs trilogy now, huh.

...plus 87 more. View the full list on Letterboxd.

Ranking films I watched that are released in 1970.

1. Patton

   “Our blood, his guts.”

   Patton towers much like its subject, but in its narrative, its greatness often gets tangled in its own grandeur. Its lens is not rotating well enough to deliver other than a character study cloaked in nationalist myth-making.
   
   George C. Scott delivered a supreme performance, but as the scenes stretches multiple times, the good things blur over time. So many short war spectacles favored over depth.
   
   The film is a technical marvel. But in this effort to deliver a complex portrait of a man, it settles for myth instead of layered truth. The filmmaking process is undeniably sharp and impressive, but the resonance and tone are just unbearably cold and distant.

Ranking films I watched that are released in 1949.

1. All the King's Men

   Rossen had a truthful premise about the corrosive nature of power — a promising view on how money and position can easily make good intentions succumbed to oblivion.
   
   Despite its striking narrative, All the King’s Men suffers from the lack of emotional layers, actively deducing its profundity in a speedy pacing. I want to feel the weight of this, but there’s something about the screenplay that is written so unnatural and flat. Not saying that this isn’t an ambitious piece, but perhaps I seek for its introspective core — the detailed toll it takes on every step of descent.
   
   The film tells more rather than explores, and in doing so, it loses the essence of tragedy in the story.

Ranking films I watched that are released in 2003.

1. The Lord of the Rings: The Return of the King

   All knees bent for a spotless conclusion in this wonderful journey. The Return of the King holds an enormous triumph for its screenplay and technical direction.
   
   Engrossing by its battle grandeur and satisfyingly layered arcs. So monumental and meticulously crafted all the way.
   
   It surely keeps its promise after all the success in the commercial scale. And what a huge slap against the mainstream film insults. If there’s more recognition to add, The Academy could’ve listed Elijah Wood, Sean Astin, and Viggo Mortensen in the acting category lineup, but I guess they wanted to be edgy so bad as always.
   
   It’s such a delight to see this with full understanding now. All hail to the best trilogy ever made.

2. Memories of Murder

   Bong Joon Ho’s ability to lure and let us deem what is presented as flimsy, only to reveal it as a cloak to an art that is immeasurably great is kind of a huge flex.
   
   Memories of Murder is just one of his film transcending genre conventions, turning a procedural investigation into a an effective crime thriller, but armored with razor-sharp social satire oozing with themes of arrogance and desperation.
   
   Based on real-life events, the screenplay is a remarkable feat, balancing dark humor, character studies, and social commentary with effortless precision. And the tension is constant — continuously increasing its weight until resolution, simply satisfying the characters’ and the audience’s agonizing obsession to the answer.
   
   Another impressive feature in this well-crafted film is the score. Taro Iwashiro built a magnetizing devastation in its melancholic and ghostly orchestration that amplifies every scene, especially the last chilling thirty minutes.
   
   Song Kang-ho and Kim Sang-kyung are equally compelling. Their performances are just in sync to a rhythm that is delicate and unique.

3. Tokyo Godfathers

   I spoke too soon. This is Satoshi Kon’s best.
   
   Struck by coincidences, Tokyo Godfathers’ structure and tonal shifts are exquisitely done. Styled in realism and set in chaotic night streets, Kon’s attempt to lay out contradictions of humor and heartbreak, cynicism and sentimentality, and despair and redemption is beautifully orchestrated — presenting the three stories of outcasts so warm, vivid, and deeply human.
   
   You can easily figure out how the story was crafted in high precision. There’s no dull moment. And in a world Kon created that is so grim, the characters thrive in combating wallowing in hopelessness. It’s alive and expressive, and with all the warmth and humor to counterbalance the bleak realities, this surely never miss providing rich depths.
   
   Absolutely remarkable. Rest in power, Satoshi Kon.

4. Kill Bill: Vol. 1
5. Oldboy

   “Once again, revenge is good for your health. What happens after you’ve had your revenge? I bet that hidden pain probably emerges again.”

   Cold, cutthroat, and operatic. Park Chan-wook took a very calculated measure in crafting an intense, and revenge thriller that knows no boundaries in evilness.
   
   Oldboy, in a refined structure, pictures a perfect characters’ descent. Their existential horrors are impeccably layered by a dark and uneasy backdrop, and lingering sounds that confusingly signal both truth and lies, leading everything to just pure violence and madness after.
   
   A worthy cult classic, and definitely not an easy watch. But in its grotesque and well-put tale of reckoning lies an essential element of filmmaking that needs to be alive for many years to come.

6. Mystic River
7. Finding Nemo
8. Ang Tanging Ina
9. Lost in Translation
10. School of Rock

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

Ranking films I watched that are released in 2020. Documentary and short films are not included.

See also: 2020: Ranked! [Documentary]

1. Promising Young Woman

   Promising Young Woman is simply fierce — a knife that fearlessly points out the societal complicity in sexual violence.
   
   Carey Mulligan increased the volume by showing us a magnetic and commanding performance of Cassie. It helped Fennell’s direction to have more teeth in a blend of dark comedy and thriller.
   
   The ending is unexpected and left everyone on the two sides — but its message remains powerful and the entirety is just unforgettable.

2. The Father

   “I feel as if I’m losing all my leaves… the branches, the wind, and the rain.
   I don’t know what’s happening anymore.”

   It is never about connecting the dots. It is about the aching reality of falling into the tricks of time.
   
   Florian Zeller’s directorial debut takes us to the immersive and straightforward look on memory deterioration. To feel its rhythm — in confusion and anger, is a nightmare. In its brilliant structure of fractured time and space, there’s a seamless path to connect in every vulnerable spot and feel its rawness.
   
   Such a heartbreaking depiction of just one of the countless cruel moments we have to go through in life. I’m always in awe of Olivia Colman’s acting style. I’ve seen her a lot in small screen, and I think it’s time to explore more of her exposure in films.
   
   Her and Anthony Hopkins delivered an engrossing portrayal that succumbs to its nature. This and its screenplay excellence alone is already a testament on its well-deserved awards.

3. I Carry You with Me

   “Do you believe in destiny? I’ve always believed that we all have something special waiting for us. It’s like life has a surprise for each one of us. You are my surprise. But you arrived a little too soon.”

   I Carry You with Me is a moving revelation of Heidi Ewing. I love a good film that offers more than its facade and executed thoughtfully — here is a love story between Iván and Gerardo.
   
   But apart from the encounters and their relationship are these deeply resonating individual stories. The hardships from ambitions of a good life — the true meaning of American Dream in a closer lens weaved together with persistent personal costs.
   
   The tone overall is quiet, intimate, and sensitive. I personally see the blend of drama and reality, in a documentary format, is a clever trick that mirrors how everything is authentic and powerful. The non-linear style appearing in-and-out in the structure might shake you, but it is never distracting.
   
   The story is rich beyond its romantic core. And the final scene captured growth and transformation so beautifully together with the lines delivered during the latter.
   
   

   “I don’t know if destiny exists. But what I do now is that life gives us all a surprise. You are my surprise. And I am yours. And we are here. You and me. Together.”

4. Nomadland

   When life imminently turns to sunset, in moments before the last light, is there still more to do? To learn and give, while everything’s vanishing in time?
   
   Nomadland delves on classic existential introspection in the roads of tranquil. Designed in almost a documentary setup, Zhao took us through stories of quiet vulnerability and hope, in the most intimate view.
   
   It sets itself away from typical spectacles and grandeur, but compensates more in transcendental connection. s McDormand’s grounded portrayal and her instant allure launched extra tenderness in this film. 

5. Tigertail

   Tigertail pictures poignance in exploring identity, sacrifice, and the quiet ache of unfulfilled dreams. It excels in evocative flashbacks and Yang’s direction interweaves themes of love, loss, and cultural displacement.
   
   I understand that the muted tone and deliberate pacing may not be appealing to majority, but they underscore the emotional gravity of the narrative. The cinematography is equally striking with its rich visuals that presents nostalgia and longing.
   
   While some ing characters could have been fleshed out more, Tigertail excels as an intimate, heartfelt portrayal of an immigrant’s struggle to reconcile their past and present. It’s a meditative film that lingers in your mind, making it a deeply rewarding watch for those who appreciate introspective storytelling.

6. The Invisible Man

   It is gripping as ever — an inventive reimagined classic horror tale.
   
   It perfectly blends the psychological tension between the themes of concept and control. And Elisabeth Moss sets those elements fit through her raw performance that embodies fear and determination.
   
   Overall, this is a great suspense despite leaning into the predictable horror tropes during the third act. It sets a standout modern horror atmosphere regardless; from start to finish.

7. Never Rarely Sometimes Always

   Quiet but loud on the inside — sadly flows with devastation.
   
   A film that is unflinching yet empathetic lens immerses us in the raw, uncomfortable reality of the experience, culminating in a gut-wrenching titular scene that speaks volumes without melodrama.
   
   Sidney Flanigan delivers a haunting, understated performance as Autumn, capturing the vulnerability and resilience of her journey.

8. Da 5 Bloods

   A powerful film about a tale of brotherhood, war, and the lingering scars of history. Delroy Lindo delivers a tour-de-force performance as Paul, capturing the raw pain of a man haunted by the past.
   
   Though its pacing and tone can be uneven and mostly slow, the film’s ambitious storytelling and bold commentary make it a vital and moving experience.

9. The Boys in the Band

   A reminder how much I hate the gays and love them at the same time.
   
   Oh it sucks and I love to be part of the community.

10. Disclosure

...plus 61 more. View the full list on Letterboxd.

Ranking films I watched that are released in 2006.

1. The Prestige

   It is ironic to craft this while knowing that mostly in his films, Nolan wants the audience its full attention. The trick here is allowing yourself to be fooled while you are not veering away from all the details shown.
   
   Apart from the satisfying revelations this film possesses, this definitely also showcases great undertones, and thrives majorly in themes of obsession, sacrifice, and deception with different heights of precision. 
   
   It is atmospheric, too, tied with incredible performances of Christian Bale and Hugh Jackman. Their dynamics is irresistible and commanding.

2. The Departed

   Scorsese got another masterpiece in his sleeve, huh. He keeps on giving.
   
   The Departed stands as a searing crime thriller, offering a well-done portrait of duality. It’s superbly edited from the technical perspective, leaning closely to the narrative about corrupt systems that suffocates until the truth is exposed.
   
   The pacing is a ticking time bomb without elements of rushing things, but raises the intensity to whatever’s inevitable from five steps behind. Scorsese’s direction mastered this genre so well, and this art is just one of the testaments.
   
   Excellent work from the ensemble cast. But my favorites? Easily Nicholson, DiCaprio, and unbelievably Wahlberg.
   
   Beautifully constructed brutal world, indeed. Now I have to watch the Infernal Affairs trilogy now, huh.

3. Children of Men

   In a searing political thriller, Cuarón understands the true image of dystopian future. It’s nothing exaggerated. The characters are nowhere eccentric nor the urban landscapes that we usually picture in surrealist view. It eerily resembles what we see now, but more exhausted and grim. The atmospheric horror of atrocities and the community’s gradual decay are just one of the things that cements Children of Men as a classic stark cautionary tale.
   
   Apart from its striking narrative are the equally terrific technical qualities. The editing and its one-shot scenes are well-executed. The score and needle drops are something to look forward, too.

4. The Devil Wears Prada

   Groundbreaking. While it oozes with sophistication, this story of love and ambition didn’t lack in providing comfort over its comedic tone.
   
   The structure and dialogue are satisfyingly sharp. And the iconic lines ed the test of time. But in all honesty, this became even more effective by the outstanding performances of the cast.
   
   Meryll Streep is beyond groundbreaking! Stanley Tucci, Anne Hathaway, and Emily Blunt are all compelling and alluring.
   
   … that’s all.

5. The Lives of Others

   It’s definitely not the spy thriller film you are looking for.
   
   But in tone’s subtleness, it settles you on its high political and emotional gravity. The Lives of Others is a story where unspoken and hidden secrets thrive in a meticulously built structure. It utilizes suspense really well, and the suspense it consumes goes justifiably deep from centered characters that are burdened with uncertainties and free will — all made by an oppressive system.
   
   Donnersmarck uses sympathy and resonance as devices that are instantly moving. Ulrich Mühe’s performance channelled those and showed a compelling delivery.
   
   One take I’d like to add here is, things like these can happen especially if there’s a persistent loser around.

6. The Pursuit of Happyness
7. Little Miss Sunshine

   Not the Albuquerque legends being present in this one?!
   
   This one balances the humor and depth of heartbreak so easily. It floats in a road genre, offering a sharp and empathetic look of a family. It has its own style — quirky and indie enough, but not crossing to self-indulgence and metaphorical nonsense. It powers further in an effective emotional storytelling without turning the drama into a swelling spectacle.
   
   On a profound note, this is a healing experience in dealing failures. Dayton and Faris put these bruised identities that are deeply human and resonating. And of course elevated by a powerhouse cast.
   
   Little Miss Sunshine, amidst its chaos, will leave you a warm and tight hug.

8. Ice Age: The Meltdown
9. Paprika

   Visiting Satoshi Kun’s last feature length film.
   
   In a short runtime, Paprika decently delivered a festive and messy mind trip. It’s vivid in visual structure, and stylized in fragments that might challenge you.
   
   But above all the vibrant imagery is a great portrait of nightmare and descent, waiting to be released from this surreal journey.

10. Perfume: The Story of a Murderer

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

Ranking films I watched that are released in 1979.

1. Kramer vs. Kramer

   “I think the reason why Mommy left was because for a long time I keep trying to make her be a certain kind of person — a certain kind of wife that I thought she was supposed to be, and she just wasn’t like that.

   She was… she just wasn’t like that. And now that I think about it, I think that she tried for so long to make me happy… and when she couldn’t, she tried to talk to me about it. But I wasn’t listening, I was too busy, I was too wrapped up… just thinking about myself. And I thought that anytime I was happy, she was happy.

   But I think underneath, she was very sad. Mommy stayed here longer than she wanted because she loves you so much.”

   My eyes are pinned to this film from start to finish. It’s just incredible.
   
   Kramer vs. Kramer opens with a portrait of emotional evolution in the midst of divorce and seeking custody. The power of this film lies in grey areas — it explores who is open for a change while it seeks empathy in the middle of a quiet and grinding chaos.
   
   The screenplay is just terrific, and it’s oozing with naturalistic tone under pressure. In a messy world of courtroom, it opens more conversation on complexities of gender roles, sacrifices, and elasticity of love — which stands as a testament why this story was big and relevant especially during its time.
   
   And yet, the intimacy never faded all throughout the film — it lingers through frustrations. It’s a picture of a fragile subject matter that successfully showed its profound, universal truth.
   
   In of performances, Meryl Streep just can’t do anything wrong and Justin Henry is a big wonder. This is Hoffman’s best performance I’ve seen so far, but it’s such a shame that he’s a certified prick in the set.

Ranking films I watched that are released in 1934.

1. It Happened One Night

   What do you mean Claudette Colbert thinks this is a bad movie!? Cut the cameras!
   
   This is my second watch from Capra’s catalogue, and it’s been evident already that he has a distinctive style of comedic beats in the narrative that turns its back to the self-aggrandizing Old Hollywood format — which mostly everyone dislikes back then.
   
   But It Happened One Night shines in its quirkiness, effortlessly becoming the landmark of romantic comedy. The stark differences of class are appealing to the mass, but the film actually excels in natural and sharp banters. It masters perfect space and timing, weaving the irresistible chemistry of Clark Gable and Claudette Colbert.
   
   Now, this is not safe from little faulty edits, but it never became a huge distraction to the story’s charm. The basic plot is deceitful — beneath all simplicity is an intricate execution that can make or break it. Thankfully, this did not disappoint.

Ranking films I watched that are released in 1994.

1. The Shawshank Redemption

   True to its title, The Shawshank Redemption will get you.
   
   It doesn’t need heavy emotional expositions to stretch the stirring moments. But it captivates better in persistent tone of hope and wisdom. Darabont’s vision is a tender image of humanity beneath the walls of a devastatingly corrupt and exploitative system.
   
   The film has all the power to be emotionally explosive, but the decision to shift from that option is a clever gamble. And out of all the films with Freeman’s narration in it, this is the most effective, together with his compelling portrait.
   
   It puts the characters in a test of emotional endurance, not only by a whim, but in a layered narrative. Truly sincere to the core, and one of the best films about quiet revolution.

2. Eat Drink Man Woman

   Aside from the mouth-watering presence of food, Eat Drink Man Woman offers another tender delight in a bittersweet treat of a father-and-daughter relationship.
   
   Lee’s direction sets the tone in quiet and slow boiling intensity, letting the characters’ evolution within family and self blossom organically. I appreciate the cooking rituals shown all throughout the film — a signified medium of love and communication regardless of its harsh or soft impact.
   
   It moves freely with such grace that is so rare to see nowadays. The final part is hilarious yet still enveloping. A piece that is ultimately a food for the soul.
   

3. Pulp Fiction

   All eyes on Tarantino’s cinematic masterpiece!
   
   Pulp Fiction is a chaotic crime comedy-action thriller loaded with specialized swagger and well-defined structure of loyalty.
   
   The nonlinear effect allows every detailed moments swell with meaning. Divided into chapters, its narrative highlights the power of decisions that expose arcs through shapes of time.
   
   Is this Tarantino’s best? For me, no. But it’s one of the noteworthy classics that intrigues the audience’s forms of observing — including mine. It’s daring and ruthlessly sharp.

4. Quiz Show

   Robert Redford strikes back in the Best Picture race with the nail biting historical drama in Quiz Show.
   
   It’s a ruthless view of one of the biggest television scandals, stirring the notion of complicity, integrity, and deceit. Based from real life events, Redford’s vision of tension seamlessly radiates in the downward personal choices in life and its pressures.
   
   The film is incredibly well-paced, and Attanasio’s screenplay is a piercing device — highlighting not only the obvious temptations of fame, but also opens the door in inherited power and systemic racism.
   
   Strong performances from the ensemble cast. And the humiliating weight of lies is amplified further. The film understands the shame, and it was depicted with a hundred percent precision.

5. The Lion King
6. Chungking Express

   Before the birth of Fallen Angels (1995), there’s an endearing Chungking Express — highly rich in themes; vibrant, busy, sensual, and broken.
   
   It fashions itself in a fuzzy lens then morphs into a filmmaking almost same as its successor. I must say, the story here is more well-balanced though; most especially the second one. Tony Leung in a Wong Kar-Wai project just hits different.
   
   In my liking, this holds the superior score and needle drops so far under WKW’s catalogue. It’s simply ecstatic, tensed, and gentle that fits seamlessly to the backdrop.

7. Four Weddings and a Funeral

   It’s been a long time to have these kind of films in Best Picture lineups doesn’t it?
   
   Four Weddings and a Funeral stays in its rom-com lane, but nudges existential melancholy carefully. The charming awkwardness of connections also powers through.
   
   The flow feels light and casual, embellished with essential tropes that aren’t establishing a solid arc, but ignites its charismatic tone.
   
   Nothing groundbreaking to see here, sure. But still a decent watch to see.

8. The Mask
9. Forrest Gump

   So this is one of those hyped films way back on Facebook around early 2010’s and then you get to see it and just felt like… nah.
   
   A cinematic triumph for some, but strip away the emotionally stirring score and Tom Hanks’ charming performance, and you’re left with a slow and long narrative that consistently falters in picturing something meaningful beneath the surface.
   
   Forrest Gump has a clever execution in fate, intertwining within innocence and the good old American dream. But its idea that ivity and goodness will always be rewarded, while the contrary is punished feels too easy and one-dimensional.
   
   The story consumes big ideas but leaving it in the middle underutilized, and the characters around Forrest’s life floats in and out as nothing but emotional accessories.
   
   Feeling sentimental? This one’s good for you. Perhaps I expected more of this film. It lacks a profundity that is produced out of force and substantial growth.

10. Ashes of Time

    My sixth watch from WKW’s catalogue and Ashes of Time highlights fully his self-indulgent side — a wuxia epic that exercised so much style it compromised a simple story that does not have a quality to complicate.
    
    The WKW and Doyle tandem, no doubt, always works, but a hot and dreamy landscape on screen can only do so much. So many moments of clarity sacrificed for elevating its mood; leaving the narrative lacking a momentum.
    
    A wasted tale offering nothing profound. 
    

All-time. Films that came into my eyes flawless.

1. Parasite

   Witnessing the rain is not the same ever again.
   
   Parasite is a cinematic masterpiece that comes at least twice an eternity. It’s groundbreaking by its genre flexibility and socio-political class introspection that led people in a deeper thought, one that actually lingers not only for a fleeting time, but frankly, for the rest of your life.
   
   This is Bong Joon Ho’s magnum opus, and a well-deserved moment to dominate the awards season. A stunning achievement that opened the doors for the international film scene to a larger audience once more.

2. Come and See

   The first time a film made me control my breathing for more than an hour.
   
   Come and See, the last film of Elem Klimov is a realistic and unrelenting vision of horror without form of relief in sight. Call it immersive until you don’t want it to be that way in the latter.
   
   This is an anti-war film that successfully captures dehumanizing acts of the Holocaust. It strips itself away from any semblance of romanticism; concluding that there is no beauty in chaos. The storytelling at first is hallucinatory that slowly transitions to an immersive nightmare, fueled by a dreary and haunting atmosphere.
   
   The first hour, at least the half of it, is almost quiet foreboding, only to escalate into a beyond overwhelming barrage of violence and despair. Time itself is distorted, with scenes stretched beyond comfort, especially the church barn scene, makes me endure an endless torment the same as the protagonist, Florya.
   
   It’s unbelievable that, only at 13, Aleksei Kravchenko immersed himself in this horror; delivering one of the most astonishing performances.
   
   Truly, this is a powerful and harrowing piece, but essential and should never be forgotten.

3. Close

   [Revised Review]
   
   I have to edit my thoughts on this and focus on the film itself. Nothing changes on how I feel about this masterpiece. It completely destroyed me, brought me back to an event that is deeply sensitive and personal, but in its hopeful tone, it took me back to where I am now.
   
   Close, in its vibrant visuals lies a rich, innocent, and beautiful narrative of love and friendship that fell through a challenge of the malicious public judgment.
   
   It’s a painful reverberating process of grief. From start to finish, Dhont pictured a restrained, but deeply inflicting walkthroughs of regrets. And Eden Dambrine’s performance is monumental — a breathtaking revelation that elevates the essence of this film.
   
   And just when you think this project couldn’t be more heart-shattering, it will leave you one last cathartic scene, ultimately dissolving me in a journey that I’m afraid I don’t want to relive again.

4. The Celebration

   The footprint to HBO’s Succession.
   
   This is the first film of Dogme 95 movement, and while it may not be appealing to someone who grew fond of the new age technical grandeur, its purpose pays excessively well in providing an intricate story and outstanding performances.
   
   Vinterberg’s The Celebration is nothing but an impeccable, raw, and relentlessly darting family drama. Completely armored by a rich narrative structure that moves smoothly, and offers an accessible and realistic dynamics while the tension keeps on unraveling. These achievements alone, should make this a classic regardless if it’s part of a movement.
   
   Vinterberg and Rukov did an impressive screenplay work here. The use of dark humor — and, most importantly, the fleeting shocking reactions after each revelation, and its continuing disregard as a form of denial from the patriarch and the crowd, are just one of the accurate depictions of being in a repressive, and sexually traumatic environment. Even the glaring showoff of racism is used as a distraction to the shocking truth.
   
   There are probably more interesting things to dissect, but munching down every layer of it simply shows how incredible this is; fueled by amazing performances of the cast.

5. Manila in the Claws of Light

   One of the Philippines’ greatest piece of cinema — a dauntless force, mirroring the harsh realities of a country in the middle of draconian government of Marcos Sr.
   
   It’s an unfiltered view on a dreary great pursuit and exploitation in Manila, but generously opens discussions about the systemic oppression. Brocka’s storytelling is not just a fearless idea, it’s a soul-crushing proof. The rigged game of life; pitting victims against each other to survive is heavy to bear, but he depicts everything sharp.
   
   Emotionally draining, truly. A worthy and significant masterpiece to hold your attention, absolutely. The power of this narrative holds and the technical details of it are just impeccable.

6. Incendies

   My heart sank at that moment. If you know, you know.
   
   Villeneuve intricately built a visual experience touching the themes of endless violence, the weight of inherited trauma, and the search for identity under a harrowing past. All elements used unfolds in a calculated speed, leaving a revelation that stings beyond the ending.
   
   Adapted from Mouawad’s, the story is treated with respect by giving it a thick and nonlinear structure that is never confusing — methodically layering its important points while forbidding us to take this experience one step ahead. That being said, the editing is superbly precise and interweaves every bridge right beneath a restraint, almost suffocating atmosphere.
   
   Lubna Azabal’s performance elevated the film’s intensity of rawness and torment. This is a performance that was ultimately robbed. And for the film itself, at the height of great quality releases, this definitely should’ve been in the Best Picture roster.

7. Cleaners

   One of my pleasant late watches this year. Cleaners is an enveloping reminder why I will always be in love with the art of cinema.
   
   A thoughtful ode to the fearless and carefree age of youth; capturing the most authentic Filipino high school experience of a certain group of age, and the rotten traditions in the country’s politics.
   
   The editing and its visual motif never come across as a gimmick, a great factor in fact to elevate every human purpose it possesses. The nostalgic trip of needle drops and its own score felt soothing and alive. Divided into different stories, this further proves its appreciative nature to capture eclectic bliss and forms of self-actualization.
   
   The cathartic ending just effortlessly takes you to the empowering and enlightening release of all feelings you’ve endured and acknowledged. It’s beautiful and transcendental.
   
   My younger self felt so seen. And I couldn’t stop crying in happiness. I cannot wait to recommend this to everyone.
   
   — gM… bLü3 kNigh+ssz! ^__^ 

8. The Silence of the Lambs

   How The Academy turns its back to the Horror alley that transcends further into a mind-boggling psychological thriller genre after giving recognition and seeing this?
   
   The Silence of the Lambs graces to perfection — from start to finish. I, myself love a great unfolding and the story is a masterpiece, that lead us to the shocking and chilling result.
   
   Every shot of this is obviously insane. Most importantly, Anthony Hopkins and Jodie Foster are unbelievably immersed to their characters — making their performances horrifyingly and amusingly great. But seriously, I will never look to Hopkins’ eyes the same way again (probably).
   
   Now, this… this is cinema.

9. The Godfather Part II

   I want to live during the weeks or months before the release of The Godfather sequel. I wonder how many murmurs have come and go about why this story is destined to fail in all forms; all because this doesn’t revolve to supernatural beings or a grand spectacle beyond human’s limitations.
   
   Coppola’s ability to mold another cinematic achievement under the world of Corleones is exceptional — always meticulous and bold. This gave Puzo’s intricate vision a sprawling, operatic tale of power, loyalty, and corruption.
   
   The tone is controlled but limitless. It has a rhythm that mirrors Michael’s calculated leadership, and warmth for Vito’s struggles and rise to power — all blended well by Gordon Willis’ shadow-drenched cinematography.
   
   Al Pacino’s stone-cold and piercing eyes served so much command and enigma. His evolution throughout this film is brilliant and what an amazing execution of his performance.
   
   Robert De Niro, on the other hand, is mesmerizing — embodying the charismatic, ambitious, and dangerous character of Vito Corleone; by his style and yet not abandoning the Brando’s trademark.
   
   What a career-defining triumph for everyone. Quite scared to delve into the final part because of its ratings and reviews. But to immerse in the experience is the only answer.

10. The Apartment

    Movie-wise, timelessness-wise, refreshingly-wise, Billy Wilder’s “The Apartment” is a feast for the eyes!
    
    The story just runs seamlessly — with its modern style it exudes classic quality. It’s just impeccably crafted; it knows how to pull up your emotional strings all over. The comedic tone surely sets the film more free-spirited, and letting it be straightforward, mature, and messy — making its entirety incredibly organic.
    
    Talk about chemistry, Jack Lemmon and Shirley MacLaine compliment each other very well — so effective, and smart; delivering lines that hits the bullseye every time.
    
    It is flawlessly charming. It shines in its authenticity, and under its repressed loneliness, the film achieves a rare intimacy that is deeply affecting.

...plus 14 more. View the full list on Letterboxd.

Ranking films I watched that are released in 1984.

1. Amadeus

   If only there’s an option to put Martin Scorsese’s photo raising both of his hands in black and white here as a review, I would do it!
   
   This is absolute cinema!
   
   Amadeus is a cinematic requiem for the price of genius and the torment of mediocrity. It’s a striking and spiraling tale of envy and madness. Forman’s audacious gesture is a worthy gamble — delivering an exhilarating symphonic experience that questions the divine injustice of “splitting” talents.
   
   Forman and Shaffer’s tandem formed an evocative look of obsession beneath jealousy and inferiority. And the tension rises effortlessly whether be in its chaotic or comedic moments.
   
   True it’s not heavily reliant on facts, but with its heavy impactful themes, it justifies the chosen vision. And while there’s an endless display of lavishness in production, it perfectly contrasts with the story’s looming existential dread.
   
   Hulce and Abraham both gave a biting performance, amplifying a yearning confession and downfall of a legend.

2. Paris, Texas

   This is one of those films that I know will break me from the very start. First things first, what a beautiful cinematography — a combination of neon and desert-baked reds and oranges in an American landscape that centers visual tones of isolation and longing.
   
   Paris, Texas is tender and fluid, a genuine craft about acknowledging the absence, and its soulful eagerness to repay everything with love and hope.
   
   At its heart, it wrestles with the weight of regret. But somehow, in stillness and unspoken moments, even in quiet bliss, the film offers comfort. It offers both heartbreak and peace. 
   
   Harry Dean Stanton, in one of his ionate works as a father seeking for a redemption, is breathtakingly remarkable.
   
   On a personal level, it feels surreal to see this in a time where I’m in the midst of experiencing and appreciating the bond and love I’m having with my father. It’s something I yearned for a long time ago without even thinking about it fully.

Ranking films I watched that are released in 1997.

1. Titanic

   Had me on the chokehold first during my childhood.
   
   It is that film. THAT film! And Celine Dion is the main icon who magnetized me with this masterpiece.

2. Happy Together

   My first Wong Kar-Wai watch and I am on my quest to see if this will be topped by another work of his.
   
   Happy Together speaks tones of its visual beauty. It has so many dark frames in it; mirroring the relationship dynamic of the lead characters — so driven by toxicity in the name of salvaging a frail relationship; worse is they know it.
   
   It’s written in its most humane way; flawed, radiant, and fragile. Tony Leung and Leslie Cheung have a chemistry that sparks tenderness amidst a narrative embellished by its rough edges.

3. Boogie Nights

   Filled up with long shots and substantial subplots, Boogie Nights centers ambitions in adult film industry backdrop during the 70’s. It started loud and scattered, but as you savor the story, it links you to the entirety.
   
   I like that it’s another interconnected theme he pulled off. PTA is a master in creating a character from rise to fall, no matter how big are they in the story. The experiment worked here and went grander as the style go through Magnolia (1999).
   
   Regardless of how ecstatic it started and depressing as the credits is near to roll, I like that PTA always sheds light to these characters in the end. It’s hopeful and always leads a satisfying note.

4. Perfect Blue

   Perfect Blue must be a great revelation back then. Ultimately fascinating, regardless of its slipping self-indulgence in the psychological horror scene, but it stands firm by leveling the mystery high from start until the end.
   
   The dissonance is there, and it sparks beyond the genre of horror by opening a discussion of how media, fandom, and self-image can contribute in distorting truths. The storytelling, in its voyeuristic nature, is unsettling not only in Mima’s descent, but also in the idea of being complicit during the events.
   
   Thrilling and it offers a great psychological depth, but not a flawless play on memory and perception. However, it remains fluid and bold in taking a road that is unconventional.

5. Good Will Hunting

   Matt Damon’s hair here uhm… 🫦
   
   The lamest reviews back then about this film are the ones that called this predictable. I’m not saying it’s not true, but this is not a whodunit.
   
   Good Will Hunting surely folds itself in a familiar structure. But its narrative embellishments, quick fixes, and strong performances make this a standout in a bunch of snooze-fest biopics and dramedies that has a uniform but bland format.
   
   The storytelling knows how to play with its chosen tropes. But it never came across as pushy or indulgent. The emotional beats make this an irresistible experience, pushing its greatness in a resonating sound.
   
   Robin Williams is nothing short of astounding here. And that’s a no surprise. He embodies his character’s wounds and strengths flawlessly. Matt Damon looks fine, but that didn’t stop him to excel here.

6. Princess Mononoke
7. Hercules
8. Men in Black
9. The Lost World: Jurassic Park
10. Anaconda

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

Ranking films I watched that are released in 1989.

1. Kiki's Delivery Service
2. Dead Poets Society

   If I watched this 8 or 9 years ago when I was in college, probably this will have a higher rating.
   
   But nothing will change the fact that this is still way better than Driving Miss Daisy (1989). That win is underserved.
   
   Moving on, I appreciate Weir’s craftsmanship in forming a narrative that oozes with inspiration. It does not stand as a product of a certain phase of youth, but it’s a heavyweight stand against conformity, and societal expectations in a depressing and bleak reality.
   
   Dead Poets Society is a protest and an ode to a ionate soul. The film wears its heart proudly, sometimes naively, on its sleeve — and that’s both its charm and its limitation.
   
   Oh how I miss Robin Williams. He is the soul of this piece. His performance adds essential texture.
   
   Still a good and compelling watch overall. It thrives in its humanness, and a thoughtful view in the ambitions.

3. When Harry Met Sally...

   Oh the classic 80’s technique of putting charm to the love story of insufferable people 😩.
   
   Irresistibly good though, no doubt. The simple yet elegant storytelling always works — effortlessly lifting the highs of the intimacy and quirks of it. The style of unfolding the chapters throughout the years is nice, too. It adds good value to the characters that is not only dependable to the electric chemistry of Ryan and Crystal.

4. The Gods Must Be Crazy II
5. Muscle

   Everything felt disconnected. Everything is patched up and half-cooked.
   
   And it might be because of its budget, but you’ll come to think that it’s not really. The story is trying to do more and yet it branched out not very well. In Satô’s direction, Ryuzaki seems confused which one to prioritize: to reconcile with an old friend and hopefully satisfy his sexual hunger for pain and submission, or to watch a film that’s not available in his country. I know that both can coexist, but it wasn’t properly connected to see its relevance.
   
   The payoffs are leaving you a deadpan, and the psychological stressors to the lead didn’t work out or visible enough.
   
   This could’ve got more leaning into body horror on the other hand, but the shots and the story progression is not committed to it. The entirety is not fully-realized at the first place.
   
   Muscle is bewildered, rushed, and all over the place.

6. Driving Miss Daisy

   Yeah this is another dumb choice by The Academy for making it Best Picture.
   
   Driving Miss Daisy is the kind of film that has aged now more disgusting than milk. And I don’t get what’s the point of creating this, really. Am I supposed to feel good that she’s ‘alright’ despite being cranky and whiny?
   
   Another waste of time that enables the inner racist of Americans. Morgan Freeman, what the hell.

Ranking films I watched that are released in 2008.

1. The Dark Knight

   From the battle against chaotic good, comes an escalating sequel of Batman’s journey against the chaotic evil, Joker.
   
   I highly appreciate and love the themes weaved over the story: the refusal and willingness to sink in the corruption of the mind, and to see the world only in the weight of the just.
   
   In these complexities, there are undertones that are hard to ignore; on how every arm of resistance is depicted in its most cruel and ruthless form, unconsciously turning this into a propaganda to apparently a “flawless” justice system, and an anti to an oppressed voice that must be always heard.
   
   The technical qualities it possesses are something not to dismiss. The Dark Knight has not achieved its classic status without this. From its intense and haunting sound, uninviting and deadly atmosphere, to an outstanding performances specifically the late Heath Ledger, who is beyond unrecognizable, channeling a menace that deep down with its atrocities, has a profound purpose. His portrayal is a tough act to beat or even follow. Aaron Eckhart’s performance never holds back, also — it’s a work that should not be overlooked.
   
   Indeed, its narrative is flawed. But above all, the process of filmmaking in this majestic piece is simply outstanding.

2. Still Walking

   In quietly visiting Kore-eda’s catalogue, my iration to his filmmaking elevates further with Still Walking.
   
   There is always an underrated brilliance in picturing tensions in a subtle tone. He did that. Here is a modest and closer view of a family navigating the deep-seated grief and breaking free from expectations.
   
   But addressing those does not feel plain and one-dimensional. In a story overnight, there is a window of observing their special family dynamics, their ability to resist, feign, love, and most importantly, forgive. The narrative rhythm is clear and smooth for a story that wants to amplify an overdue rough patch.
   
   Every conversation carries weight. And the cinematography is undeniably cool and serene. This is a perfect quiet meditation about unspoken feelings and enduring bonds within a family.

3. Ponyo

   Ponyo stands as enchanting and whimsical not only because of its hand-drawn beauty, but also about its pure narrative that might not easily offer cohesion, but surely captures a blissful feeling of being carefree.
   
   Its innocence thrives, pulling all the right heart strings from start to finish.

4. Milk
5. The Boy in the Striped Pyjamas
6. Kung Fu Panda
7. Burn After Reading

   Coen Brothers always get it!
   
   A bit less striking one, but still remains to be an effective outlandish thriller. You have to root for the twisted inconveniences in the narrative, and then it’ll settle you into a rhythm and see these characters more enticing — regardless of their show of despair and desperation, and their well-deserved fate.
   
   So much satisfying in the second and last part. Fantastic performances from the entire cast. McDormand effortlessly fits and excels in everything. Linda would loved The Substance.
   
   I wish I could see more of Simmons, though.

8. Slumdog Millionaire

   D. It is written.
   
   Boyle’s Slumdog Millionaire effectively weaved the gripping past of Jamal Malik with his present predicament — in full vibrance that makes this narrative more enticing than your usual journey to success kind of feel-good film.
   
   It is sure with its goal and anchored with Bollywood tropes that makes it even more visually compelling. The musical score stands out too by giving more electric energy beneath the harsh realities of the story.
   
   Straightforward and dark at times. But a satisfying piece overall.

9. The Curious Case of Benjamin Button
10. Synecdoche, New York

    Charlie Kaufman’s vision may be opaque, but in Synecdoche, New York, the promising narrative thrives shakily in a staggering tale of despair and stagnation.
    
    The story overlaps with its relentless plan to picture true self and ideal self. While this motive confuses mostly everyone in the long run, the storytelling points the culpable behind the draining outpour of melancholia: Caden Cotard.
    
    It’s a loud and gloomy view of a character trapped in endless regrets — forming a plateau of his ideas and dreams, and despair to everyone he loves. Hence, he lives through it, drags the people with him in trying to ease the hurtful reality, and cope with feeding his own ego via an aging and unclear play. It’s an unbearable cycle of moving forward in the same path — an inescapable view to self-destruction.
    
    Hoffman just can’t deliver a bad performance in his entire career. Truly a missed legend.

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

Ranking films I watched that are released in 2001.

1. The Lord of the Rings: The Fellowship of the Ring

   Such a tough epic fantasy to beat, and it’ll take time to do so. Well-equipped with intricate technical achievements in filmmaking. This started the name of one Peter Jackson.
   
   The narrative only knows restlessness in delivering a thrilling, glossy, and magical quest, while it stays being faithful to its origin; from thrills to closest details. It’s a highly transportive masterpiece — boundless almost. It was carefully told and even if it was a plot-driven one, it never made these characters floating around the surface of the story — all are substantial.
   
   The musical score is flawless. It lingers to every scene in the most entertaining form.
   
   I can yap further about how this is perfect to its core (cheesy moments included), but you already know this is a great cinematic experience anyway.
   
   I apologize on behalf of my 8-year old self for not paying too much attention on this. My father has a taste for watching this back then during New Year’s Eve.

2. Mulholland Drive
3. Spirited Away

   One thing people not talk about is how this film is absolutely frightening also. It transports you somewhere more beautiful, sure — but the idea of being lost in a paradise or a wasteland still has the same feeling of being lost — realizing this right away when I watched this as a kid a surprise.

4. A.I. Artificial Intelligence
5. Millennium Actress

   I have one more film to watch in Satoshi Kon’s catalogue. But this one is the best in my liking, and frankly tough to beat.
   
   Millennium Actress is more of a love letter to the essence of a beautiful storytelling. Kon’s idea to merge the life in cinema and reality into an eternal pursuit of love is a seamless odyssey — rich in longing themes and even humorous, but not too much.
   
   In its poetic narrative and deeply affecting score, there is balanced experience of intimacy and grandiose. This film represents wisdom, and dare I say more human than the rest of live-action films produced today. Most importantly, art lives forever.

6. Amélie

   Wes Anderson, eat your heart out!
   
   Amélie shifts our minds away from bleak and hopeless cinematic experience. It’s a delightful and whimsical mischief for the good!
   
   Introverted by nature, Jeunet pictured a character that plays courage in the midst of quietness. The storytelling is highly stylized but never too sweet or gimmicky — just a right amount of joy and optimism that radiates through the audience and the real world.
   
   And Audrey Toutou’s performance is a vibrant portrait of contagious hopefulness.

7. Donnie Darko
8. The Others
9. Shrek
10. Booba

    What a fucking absurd and brainrot film that everyone will riot if released this year — protecting this gem from those people is a duty.

...plus 17 more. View the full list on Letterboxd.

Ranking films I watched that are released in 2010.

1. Incendies

   My heart sank at that moment. If you know, you know.
   
   Villeneuve intricately built a visual experience touching the themes of endless violence, the weight of inherited trauma, and the search for identity under a harrowing past. All elements used unfolds in a calculated speed, leaving a revelation that stings beyond the ending.
   
   Adapted from Mouawad’s, the story is treated with respect by giving it a thick and nonlinear structure that is never confusing — methodically layering its important points while forbidding us to take this experience one step ahead. That being said, the editing is superbly precise and interweaves every bridge right beneath a restraint, almost suffocating atmosphere.
   
   Lubna Azabal’s performance elevated the film’s intensity of rawness and torment. This is a performance that was ultimately robbed. And for the film itself, at the height of great quality releases, this definitely should’ve been in the Best Picture roster.

2. Shutter Island

   A modern classic is born.
   
   Can’t express enough how stunningly atmospheric this is the first time I watched this. It’s a one memorable experience to see Shutter Island without knowing anything.
   
   A carefully crafted storytelling of psychological descent patched together with dark and almost unsettling elements.
   
   In Scorsese’s direction, the narrative is intentionally off balance while it plays with unreliable perspectives and shifting tones to blur the line between truth and delusion. Leonardo DiCaprio is the main driver of this emotionally intense puzzle piece. His performance speaks real obsession that crawls throughout the story.

3. Inception

   Inception is a mind-bending masterpiece that challenges the boundaries of storytelling and cinematic craftsmanship. With its intricate narrative structure and bold ambition, the film demands intellectual engagement, rewarding viewers with a visually and thematically rich experience.
   
   Nolan’s direction is precise and audacious, seamlessly combining together multiple layers of reality. His ability to balance high-concept ideas with deeply human emotions sets Inception apart as both an action-packed thriller and a poignant exploration of guilt, redemption, and the power of the subconscious.
   
   The ensemble cast, led by Leonardo DiCaprio, delivers stark performances that ground the complex narrative. DiCaprio’s portrayal of a man tormented by his past adds emotional weight.
   
   The film is stunning, with Wally Pfister’s cinematography capturing the surreal beauty of dreamscapes. Nolan’s use of practical effects creates breathtaking sequences that feel visceral and immersive.
   
   It delves into the nature of reality and the human psyche, leaving viewers questioning what is real.

4. The Social Network
5. Black Swan

   Move away, Pearl. She is the true “Please, I’m a star.” moment.
   
   What a fearless role for Natalie Portman and a celebration of horror genre after a long time and who knows when will this happen again?
   
   It translates so much raw frustration and it wrecked me big time because, still, sometimes I struggle how to take objective criticism by not taking it too personal and loathe yourself until eternity 😩.
   
   And not to mention there’s so many cunt moments here: The mirror scene, the hallway, the ending, and especially the ”DID YOU SUCKED HIS COCK!?”. Oh Winona Ryder what an icon.

6. Never Let Me Go
7. Submarine
8. Winter's Bone
9. The Hurt Locker

   I’m trying my best to take the camera work done in this film seriously. Because I cannot unsee the fact that it’s similar to The Office 😭.
   
   Moving on, The Hurt Locker is a pressure cooker turned into a film. It’s a close-up study on distress, envy, and mortality. In a mid-documentary fashion, Bigelow’s technique is a tense and searing experience of survival.
   
   The storytelling is an easy standout — it yanks you through a nerve-frying rhythm right away. Almost every scene is a heart-stopping threat. Once every explosion is done, the story pulls you to another slow bleed of adrenaline in their covered up impulses.
   
   The entirety falls under the grey area. And while there’s appreciation for ambiguity, it can be seen also as a distorting device of reality for the sake of cinematic experience. It didn’t change the fact of its impact and effectiveness, on a lighter note. The story pulses with anxiety, and finds comfort in panic.

10. 127 Hours

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

Ranking films I watched that are released in 1976.

1. Insiang

   One disturbing image after another. It holds nothing back — an immersive state of chaos in the slums. A view that the government doesn’t want to hear and see.
   
   But what struck me more is the infuriating display of misogynistic acts. Every torture is deliberate — something the system is familiar to. And then the last brutal sin is revealed. Something needs to be done.
   
   Insiang is another astounding work from Brocka. While the story flaunts its hunger for revenge, Insiang the character yearns mainly for an ally — a sanctuary beneath all mess. But that piece of comfort seems impossible when twisted tales of hearsays occur. So there’s no option left but to satisfy the temporary relief, no matter how much it costs.
   
   One of the incredible narrative structures I’ve seen this year, while it tells something discreetly without sacrifice. Mona Lisa and Hilda Koronel’s performances are just top-notch.

2. Rocky

   The narrative is nothing complex in a “route to fame and success journey” genre, but the script is sharp and charming enough to keep you going. The first part feels slow, but pretty intentional to shed its interesting layers.
   
   Rocky is nothing short of inspiring, and we get to see the dreams and mundane of his character. Sylvester Stallone delivered a compelling performance here, and a career defining remark on his line. Too bad the guy is now an embarrassing Trumpie er.

Ranking films I watched that are released in 1931.

1. Cimarron

   We’re back once again to watch another dated film from the Best Picture roster of The Academy.
   
   This time, a story of racist colonizers milking for audience’s empathy, because of their chosen personal and daily struggles.
   
   Not only the plot was poorly executed, the pacing felt like a death march. And the blatant display of racist behavior and caricatures makes your skin crawl.
   
   There’s a scene where Stanley Fields as Lou Yountis tried to taunt Richard Dix as Yancey by shooting a gun towards him. I was really hoping for a perfect shot so that the film will be over. That’s how bad this is.
   
   This definitely competes with the most undeserving Best Picture winners, not only for its racist nature, but also for its lackluster direction and mediocre performances.

Ranking films I watched that are released in 2004.

1. Nobody Knows

   My third watch from Kore-eda’s catalogue, and the best I have seen so far.
   
   Inspired by a harrowing real-life case, Nobody Knows stands as a tragic and heart-shattering portrait about child abandonment.
   
   From its first scene, you can already sense an aching tone. It stays in every corner without any option left, but to let it plunge on you. In the most unfiltered and observational storytelling, we saw the devastating effects of neglect from an irresponsible parenting. Immersive and disturbing, but these impacts should have more of your attention.
   
   Fortunately, there’s a persistent feeling of warmth here — despite of the reality that is cruel. Kore-eda’s humanist approach of storytelling champions as always.

2. Million Dollar Baby

   Mo chuisle.

   
   What a precious masterpiece this is that transcends to your most emotional core. It’s a quiet and lingering point of poignance concealed under the ride-or-die field of boxing.
   
   It’s deeply rooted in ambition and redemption that is perfectly carved in its great narrative. Eastwood, Swank, and Freeman all delivered a stellar performances and the lighting of this film is simply terrific.
   
   Will probably watch this again for a good cry.

3. Kill Bill: Vol. 2
4. Eternal Sunshine of the Spotless Mind
5. Before Sunset

   It’s still fascinating and even better, actually. Linklater shows what is like to meet your soulmate once again, and then there is never a dull moment.
   
   There is more to engaging ideologies, and discourse about missed opportunities. And every tumultuous moment of conversations about the past and what they endure now feels so raw and deep — all thanks to Hawke and Delpy’s well-established natural chemistry.
   
   There’s a line of maturity here that gives a new flavor to romance. It could be tough and poignant, but always stirring and understanding.

6. Mysterious Skin

   Relentless, and vividly harrowing.
   
   Mysterious Skin is terrifyingly straightforward in tackling the subject of child abuse. First twenty minutes in, the narrative traps you in a cruel and suffocating world of manipulation. And throughout the runtime, you will find yourself completely shattered on how they find themselves lost in coping away from the brutal truth.
   
   Araki’s direction made all of those clear as day, but he also refuses to build these characters solely by their suffering. In the final act, the importance of this film shone further aside from addressing the disturbing reality, Neil and Brian are more than their trauma, and so as the other victims of abuse.
   
   Discomforting, indeed. But this tells us a painful truth that healing begins with recognition. There is no easy resolution, only the quiet and aching possibility of understanding. The final monologue just cuts too deep.

7. Howl's Moving Castle
8. The Incredibles
9. Mean Girls
10. Barbie as The Princess & the Pauper

...plus 14 more. View the full list on Letterboxd.

Ranking films I watched that are released in 2016.

1. Moonlight

   An honest and brave heartfelt open letter to the queer community.
   
   Watched this before without having much wisdom to what it really feels like but revisiting this here and then sometime somewhere is just a relieving moment. 

2. Arrival
3. The Handmaiden
4. Captain Fantastic

   Beautifully rare, and a fully-realized ion of Into the Wild (2007).
   
   Don’t compare it much, though. Captain Fantastic excels seamlessly in drama, humor, and a stirring social critique.
   
   Identifying where this film fully stands might alienate your verdict overall. Its narrative’s strength obviously lies within multiple perspectives without ing judgment; forming a healthy and non-extremist idealistic thought board.
   
   I am not overreacting when I say, it’s been so long to see a full cast’s performance so exceptional. Viggo Mortensen is riveting indeed; delivering a complex character that is fierce and inspiring, but flawed; making him both irable and frustrating. But just like Rellian said: “I don’t hate you.”
   
   The child actors’ performances feel genuine and emotionally resonant. My favorite parts, with the kids, and without being bias, are the table scene with George MacKay uncovering his frustrations, and Nicholas Hamilton being rebellious on advanced Noam Chomsky’s celebration day. Everyone carries an emotional weight that is so substantial in the story. Frank Langella, Ann Dowd, Kathryn Hahn, and Steven Zahn are all amazing here, too despite of their short scenes.
   
   It’s a shame to overlook its technical beauty. The cinematography captures its raw beauty meshed in the themes of freedom and self-reliance. The script is sharp; not preachy and runs even in its pacing.
   
   Captain Fantastic is an underrated masterpiece — a lingering powerful meditation of parenting, ideology, and balance.

5. Your Name.
6. La La Land

   An undeniable chemistry between Emma Stone and Ryan Gosling elevated this bittersweet tale of love.
   
   It sucks to be in their position at first. But afterwards oh boy; a relief! …Maybe in another life; where everything is not in musical jk.

7. Lion

   I was initially charmed on how the story lured me into this beautiful childhood innocence in such a busy and forgotten city. But at the same time, it’s hinting you its poignant tone and the stirring scenes that will happen.
   
   For a second, this is a story about identity. But, it’s also a moving piece about grief and reunion, amplified by compelling performances mainly by Patel and Kidman.
   
   The ending is bittersweet. It simply tells you that things do not always go fully on your way.

8. Hell or High Water
9. Manchester by the Sea
10. Hacksaw Ridge

...plus 41 more. View the full list on Letterboxd.

Ranking films I watched that are released in 2021.

1. CODA

   One of the best surprises of 2021!
   
   Effective, brave, and just simply enveloping. I honestly thought that this will not get the Best Picture win but I’m very glad it did.
   
   Drama films like this just captures me in instant.

2. Licorice Pizza

   This is probably the freshest and lightweight film of PTA. Licorice Pizza patches up youthful exuberance and the unpredictability of love. Set in a radiant backdrop during the 70’s, it thrives on the textured evocation of the era, filled with sunlit streets, energetic records, and charming aura.
   
   It also champions in raw and natural tantalizing moments, while the fun constantly branches out through its most tender and awkward forms. But don’t call this flawless — regardless of its chosen period, the racial jokes felt discomforting and out of place.
   
   It’s so strange to see Haim acting, but never uninviting. Alana Haim is fantastic; fiery and fragile all in one place. Cooper Hoffman brings quirky earnestness, and the chemistry of the two is organic and richly layered.
   
   This is visually fluid while it is carefree in capturing the beauty of growth process. The last moments are grabbing; fully effective and all shiny.

3. Judas and the Black Messiah

   Relogging this gem and still wondering why how the hell the Academy chose to be indifferent about this.

4. Dune

   Not quite revelation of the year or even of the decade because even before its release, Dune is expected to be one of the grands.
   
   It is visually extraordinary — crafting a stark desolate beauty that is so immersive; hence thanks not only to Villaneuve but also to the Greig Fraser.
   
   Chalamet skinned further himself to a commanding Paul Atreides with other great performances that deserved to he acknowledge such as Rebecca Ferguson, Oscar Isaac, and Stellan Skarsgard.
   
   I might agree to the slow world building, but it’s a meticulous direction that sets the narrative a great depth up to the end of its trilogy. This is a massive achievement after all and one of my 2021 favorites.

5. The Power of the Dog

   A slow burner tale that discusses aggressively the impact of homophobia not only towards but inwards.
   
   Beautiful storytelling and cinematography also. A well-deserved Oscar contender.

6. tick, tick... BOOM!

   Lin-Manuel Miranda is so good when he’s not in a camera, isn’t it?
   
   This is another heartfelt film that successfully captured the audience. Andrew Garfield’s as Jonathan Larson is a revelation and probably a career-best performance.
   
   They successfully meshed musical numbers with raw, emotional storytelling, capturing the tension between ambition and time. Truly a great moving celebration of power of artistry and perseverance.

7. Spencer

   I watching the trailer of this in the tune of Perfect Day by Scala & Kolacny Brothers. That pretty much sets the mood of this film for me.
   
   Kristen Stewart’s immaculate performance of lost and trapped ordinary woman by a royal weight is just marvelous. Not to mention how everything is so good in the eyes.

8. Flee
9. King Richard

   Not definitely my ideal kind of dad.
   
   Another film that forced me to delve into the world of sports and impressively got me 😉.

10. Drive My Car

    This will challenge your patience for a bit. But as soon as you get through its rhythm, in its restrained and calming backdrop lies an authentic and well-written journey of two lives enduring a long-lasting grief.
    
    An intelligent combination of elements to convey a feeling that was stuck in a corner, ing through the memories they could’ve had alone, and an avenue that could’ve been perfect to start over. 
    
    You will never realize it’s over until you’re there. A well-paced experience that is reflective, far from pleasant, but strangely provides solace.

...plus 33 more. View the full list on Letterboxd.

Ranking films I watched that are released in 2014.

1. Birdman or (The Unexpected Virtue of Ignorance)

   It’s not a five-star film for nothing!
   
   What a moment to see this in my theater freak era. Absolutely captivating, absurd, and moving until the very end.
   
   An ensemble cast powered by one of my favorite screenplays in the big screen; and I can’t still imagine how this was created. 

2. Interstellar

   Nolan perfectly delivered a monumental exploration of humanity’s resilience and its capacity for hope. Interstellar possess an intricate narrative that bridges the realms of science and emotion, taking audiences on a journey that feels both intimate and epic.
   
   This is a testament to Nolan’s skill as a storyteller, blending hard science with philosophical depth. His meticulous attention to detail is evident in the realistic depiction of space travel and the ambitious portrayal of concepts like time dilation and black holes. Yet, it’s the emotional core of the story that truly elevates the film. Nolan weaves themes of sacrifice, love, and survival into a narrative that is as deeply personal as it is universal.
   
   Visually, Interstellar is a triumph of scope and ambition. Nolan’s practical approach to filmmaking, combined with stunning cinematography, creates a tangible sense of awe. Every scene feels purposeful, with the pacing maintaining a delicate balance between introspection and edge-of-your-seat tension.

3. Whiplash

   “I wanna be one of the greats”

   That line actually gave me slight chills considering it was also recently said by a promising man, who won a SAG for Best Actor in a Leading Role.
   
   Finally got my eyes to Chazelle’s sophomore masterpiece. Whiplash is indeed electrifying, and an evocative look to a self-destructive aim for perfection.
   
   The close-up shots and editing of this is impressively tight and crisp. On another note, the two lead performances elevated further this mind-breaking intensity for me. JK Simmons is horrifying, and that is a good thing. I want to hallucinate Terence Fletcher in my life so I can have a fucking discipline.
   
   One last thing, and a small detail I noticed in Andrew’s character is when he’s watching the movie with his father, and his preference for eating that popcorn. The psych major in me jumped out to dissect that one! It’ll be long to explain here, but if you know, you know I guess.

4. Boyhood

   Just in awe to see a carefully crafted film — took its time and produced a quality, heartfelt, and real representation of us in a family and as one in the world.
   
   Easy to see this as dull or slow but if you see it in a much clearer lens of understanding, it shines in the mundanes and highs of the story.
   
   And I cried my ass out when Family of the Year’s “Hero” starts to play ❤️‍🩹.

5. Gone Girl
6. Pride

   That system of belief is so indescribably, rooted in hatred and superiority, it makes every marginalized group loath each other. All those flaws they deemed to us, we bought it for centuries.
   
   And with the first manipulative idea that is imposed to us, that “they cannot be beaten”, we cope up with looking for other people that also lack something, and project our rage, and the history goes on and on — throwing swords to anyone except the real enemy.
   
   In Matthew Warchus’ Pride, anything could happen by clinging onto hope and solidarity. It’s a heartwarming and politically charged story based on real events. And these kinds of stories need to be heard; from here to outside of the film length.
   
   It surely provides a heartfelt but sharp script; ensuring that in whatever measures, this also aim to be sentimental and brave, but never patronizing. The blended humor here signals hope in such a segregating environment. Every cast did a wonderful job of translating true courage to these real people.
   
   Call this piece a celebration — an accessory to a stronger fight. But behind these ionate tributes lies a deeper hope and pain in the real world that deserves to be heard. The struggle continues.

7. Nightcrawler
8. The Imitation Game
9. Fury
10. Selma

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