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Liked it but I feel like I should have loved it. I walked in like two minutes late and Chuck doesn't show up for the first thirty minutes and I was genuinely concerned that I was in the wrong theater. I like a lot of the ideas the film introduces, but Flanagan kind of fumbles the execution. The movie is plagued by excessive narration, and it's especially egregious in the end when there's a super moving ending scene and the narrator proceeds to explain all the emotions behind it. Such a buzzkill.

The scene where the stars start disappearing from the sky really scared the shit out of me though. Flanagan, for all his flaws, is still an excellent horror director.

Honestly not a huge fan of the music but I looooove what the trio embodies in of political activism. It works better than most biopics because it doesn't really focus on the rags to riches aspect. It honestly seemed like they were more interested in Irish language rights than just becoming famous through music. Really loved the bright and vibrant colors in the film.

So much fun. Not high art or anything but there's a scene where a kid gets violently killed by a falling object and the whole theater cheered LOL.

I watched all the Final Destination films with my sister as a kid and had great memories of that. We were particularly huge fans of the fifth one, since my sister was a really good gymnast earlier in life and we FREAKED out the first time we watched the gymnastics sequence in that one. This new one balances the humor and the gore really well, and, ironically, for a movie that is very much not intended for kids, it made me feel like a kid again.

Haven't seen this in like ten years and I completely forgot how beautiful the animation was. Gorgeous autumn colors. People rightfully get annoyed when animated films hire regular actors instead of actual voice actors but George Clooney does such a fantastic (lol) job as Mr. Fox, and I always get a kick out of watching the behind the scenes where Clooney is rolling around in leaves while recording his dialogue for "realism" or something like that. The heist sequences are so much fun!!!

Enjoyed how sincere this was but it definitely feels somewhat ungraceful when it comes to delivering the big emotional beats. Scenes that are meant to make the audience cry (and there are plenty) feel a bit clunky and it left me less emotional than I wanted to be.

I do think that this succeeds in how we treat our older relatives and the struggle to wanting to decide what's right for them and letting them live for themselves. I think about the scene where M comes home for the first time after living with his grandma for awhile and M's mom reflects on how the loneliness she felt must have been similar to how A-ma felt after all of her kids left home.

Netflix defaulting this to dubbed English is fucking embarrassing though. I notice they do this a lot for non-English films.

Gloriously fucked up and darkly entertaining. Found this fascinating as a kid (whether I *should* have watched this as a kid is a completely different story) but I liked this just as much, if not more, on rewatch. The ending is definitely controversial and borderline exploitative but a big part of me appreciates how far this was willing to go. Definitely an unforgettable experience. Nasty ass movie. Saw the first half of this on the airplane and thank GOD I landed before the movie started getting really weird.

Ok so that first half an hour is... pretty rough, and the callbacks heavily remind me of some of the worst traits you see in a lot of mediocre blockbusters today. There is no need to tie *literally* everything together. It's so funny that for a movie mostly about incredible death-defying stunts, the plot is so goddamn convoluted.

But it kicks into high gear pretty fast and the two major set pieces really make up for a lot of the film's shortcomings. And honestly, there are plenty of flaws in this but, man, these movies were my entire childhood. Don't think I could ever not love one. It's certainly not the strongest of the series but I had a blast. I cannot even wrap my head around how they did the entire submarine sequence. Top-tier stunt within the entire series.

4 > 6 > 1 > 5 > 3 > 8 > 2 > 7

For some reason I never read this in high school but I totally see why this is such an American classic. So full of heart and humanism. It works so well both as a slice-of-life roadtrip film and as a critique of the American Dream. Ford's imagery feels evocative (found myself very moved by the shot of them seeing California for the first time), but my favorite part of the film has to be the final monologue from Henry Fonda; always a sucker for strong mother-son relationships on film.

I did some research on the novel afterwards and apparently there is an entire last section of the novel that didn't make it into the film which ends the novel on an even more depressing note. Jesus, the Joads had it rough.

I like what this movie is trying to do but I find the structure of the film really frustrating. It's artfully crafted and looks really pretty but Rona's entire arc feels somewhat cliched and I don't think the non-linear narrative really helped the film in any way significantly. Saoirse Ronan is, of course, one of our best young actors, and makes this mostly watchable.

Didn't fully work for me. Feels more like a vanity project for The Weeknd. His acting is still not amazing but I can't deny that he has honestly gotten better as a singer. His high notes sound a lot healthier now. This is still better than that Travis Scott movie Circus Maximus.

I'll it, I don't think I am quite as in love with Shults' constant camera movement style as I was in 2019, but I do have to ire his maximalist effort here. I haven't seen Waves since it came out but I was utterly blown away by that one and the overly bombastic camerawork at least really works for that film. It felt more distracting in Hurry Up Tomorrow.

Kind of random but some young couple brought their toddler to this film. He started crying in the middle of the film and they proceeded to spend the next ten minutes trying to calm him down IN THE THEATER. I swore I heard them slap the kid at some point. Truly deranged behavior. Who the fuck brings a two year old to see a The Weeknd album visualizer???

I know Ed Wood films are generally regarded as one of the worst films ever made, but seeing his ion for making films deeply inspires me. He's obviously deeply misguided (never shoots more than one-take, doesn't look like he ever storyboards his shots, never moves his camera, etc.), but his love for moviemaking is so infectious, and I truly ire his dedication to doing anything to get funding for a film. The black-and-white cinematography is so gorgeous here. This has gotta be one of Tim Burton's best.

I don't think this was as laugh-out-loud funny as a lot of the people in the screening thought it was, but oh my god this is such excellent cringe comedy. Brutally uncomfortable and endlessly entertaining. There's a scene in the middle of the film that genuinely felt like a horror film and for a second I thought the film was going to do an entire genre switch. A little part of me definitely thought it was a missed opportunity but I was glad that we got a proper conclusion to the Craig/Austin friendship.

The action is undoubtedly PHENOMENAL but I do think 145 minutes is really long for something with such a thin plot like this film. And unfortunately this does have that *Netflix look* to it. Reaaaaally wish they shot more of this in the daytime, so less of this film would look like nighttime sludge. I did, however, like the fact that so many of the characters died in this. Like wow, truly no plot armor whatsoever.

Starting to realize maybe I don't love 70s Italian B-horror films; maybe I just like Argento. Idk man this was kind of tame. Wanted to see more crazy kills and weird subplots but this just didn't deliver that. Last ten minutes were pretty awesome, but it doesn't make up for the somewhat subpar first 1.5 hours. Also while I definitely don't go into these movies expecting nuanced depiction of women, there's a death scene in here that feels *particularly* misogynistic.

Blown away by the unique atmosphere of the film; found myself entranced by the film almost immediately. I was also really surprised by how fast-paced this was. While certainly an arthouse mood piece, it has a lot of plot and things do come together in a really emotional way. The movie contains some of the most deeply broken people I've ever seen in a film but it never places any judgment on them. It's interesting how almost every single character interaction in this film is entirely transactional but still becomes meaningful for both parties.

Watched on Wednesday April 30, 2025.

Kinda crazy how stacked this cast was. Philip Seymour Hoffman is electric, man. I watched this when I was younger and thought it was kind of disappointing due to the lack of action and suspense for a spy thriller. Sad to say that I still don't love this on rewatch, but to be fair, I was like super tired when I watched this.

Le Carre adaptations are always really vaguely plotted and for some reason I find them really hard to follow. This was no exception. Well presented but wish I was more hooked.

Anna Kendrick's directorial debut is honestly really impressive and I feel like she has such a good grasp of creating suspense. I heard her compare this to No Country for Old Men (yes I know that trying to compare your film to a masterpiece like that is bound to disappoint many) but I think the way she draws inspiration from that feels like it really works for this film. She purposely starts the film off with the most violent scene in the film and slowly leaves more of the violence off-screen without sacrificing any of the tension.

I do, however, think that Anna Kendrick probably should have cast another woman as the lead. For some reason her face just looks way too modern. In a period drama she kind of sticks out as a cosplayer.

"I felt looked at."

Ridiculously dark and overdramatic but I ate this up. There's nothing more exhilarating than watching some of the world's biggest assholes make their lives even worse. Some of the editing and digital cinematography feels VERY 2007 but I cannot get over the fact that Sidney Lumet was like EIGHTY when he made this. So full of energy and style; not everything works for me but I have to appreciate what he did here.

Had a good time!!! Ending gets a little ridiculous but it's hard not to feel for the two women in the film. SZA and Keke Palmer have a really good rapport going and it feels like it's been a long time since we've had a (good) proper comedy get a wide theatrical release (ignore the fact I saw this on an airplane lol)

This was a pretty mediocre surface-level anti-war movie for the first 95% of the film, but it ends with the most baffling BTS-footage that essentially comes off as "look let's recreate all the destruction America did to Iraq, isn't this so much fun???" which REALLY dilutes the already very weak messaging. I appreciate the real-time aspect of it all but the lack of specificity of characters OR the actual event makes this utterly forgettable. It's certainly intense in the moment but felt very little as soon as I stepped out the theater.

The entire sequence where Sammie's music transcends time is obviously the best scene in the film (and one of the best sequences in any movie this decade). DP Autumn Durald Arkapaw is doing incredible work behind the camera. I need to see this in IMAX again. Some of the sunrise/sunset scenes are just gorgeous. Ludwig Göransson's music is, as always, full of life and insanely catchy.

The use of vampires as a metaphor for cultural vampires is somewhat obvious but ultimately it feels thematically impactful. There was actually way less horror/action scenes in the film but the movie remains consistently tense throughout. I actually do wish the two lead characters were played by different people though, since it did get kind of confusing who was who (was Jonathan Majors originally supposed to be one of the roles?). Maybe I'm just bad with names. This might be the first time I've seen a filmmaker properly use a post-credit scene though.

Unsurprisingly, given that Andrew Ahn is Korean, I find the relationship between Min and his grandmother explored in a far more nuanced way than the whole mother-daughter relationship between Angela and her mother. The Angela/mom subplot feels cliched and I feel like every Chinese-American story plays out the exact same way. However, Youn Yuh-jung always steals the show and I was truly moved by her and her scenes with Min.

The movie isn't perfect but it feels truly refreshing to see a movie that embraces its modernity, especially in an era where auteurs are shying away from making movies set in the present. Also, it is so awesome to see a ROM-COM IN THEATERS IN THE YEAR OF 2025. The change from a trio in the original to a group of four main characters is a fun change, and the movie thankfully doesn't include the most problematic plot point from the original.

I feel like we get at least one of these "exotic locations with dark implications" movies every year and it's starting to get stale. I appreciate the messaging behind the movie but it feels about as deep as a puddle. And I honestly don't think the movie looks very good; it might be shot on pretty locations but the use of anamorphic lenses were frankly distracting.

VERY hard for me to suspend my disbelief regarding the cat behavior because while yes, cats are not as loud as dogs, they WILL meow over the stupidest shit. Enjoyed the two lead performances though. Lupita Nyong'o puts in such a top-tier performance for a pretty silly horror movie and I kinda love that.

Wish they embraced the stupidity more but what we got here was pretty good. The side plot involving the two police partners is kind of lame but I was genuinely surprised by how FAST this thing moves. Beekeeper guys does one minute of on-screen research about his next target and the next scene is LITERALLY him killing his next target. This happens at least three times in the movie.

Brian De Palma is BY FAR the most interesting director of the Movie Brats but his big filmmaking swings sometimes yields less than stellar results. Scorsese and Spielberg have been pretty consistent throughout their entire careers but De Palma's huge gap between his best and worst films has always been fascinating to me. The Bonfire of the Vanities sucks. No way around it. It handles race and class with as much subtlety as Crash does, yet De Palma directs this like any of his super violent thrillers. Random split-diopters. Extremely long one-takes for exposition scenes. The super expensive airplane landing sunrise shot is so beautiful, but this film is so goddamn boring for such a long stretch of the film.

Kind of love how direct this title is. Kitano plays a violent cop indeed. His directorial style is so off-kilter and quiet but the brief bursts of violence are so unsettling. Really stellar directing and acting.

I feel like actor-directors often want to write characters where they can be shown in a positive light, even if their characters are somewhat flawed, so I really enjoyed that for Kitano's very first movie, he decided that he would play one of the most ruthless and unlikable characters I've seen in awhile. And what's even crazier is that the actual villains in this film are even worse. Just a film full of the worst people ever and such a bleak ending. Kind of love it.

(Did not love how the movie handled Azuma's sister as a character though)

This was far crazier and way more abstract than I . It's frequently confusing and meanders a lot but its visual language is so unique it makes it easy to sit through. I mean, I even liking this as a teen back when I had way less patience and was much more closeminded about weird arthouse films. The way the scramble suit is animated feels so trippy to me, I just love it.

Honestly thought this was kind of funny. Nothing amazing but De Palma always puts so much energy in his camerawork regardless of the subject matter. This almost feels like a parody of some of Scorsese's earlier mob flicks but not in a way that feels like a mockery. Enjoyed this overall.

I really loved the movie's ridiculously exaggerated expression of romance in the way that Nathan goes through a ridiculous amount of bodily harm to save a girl he went on ONE date with, but there's a mid-film reveal that just does not work for me. Gets kind of ridiculous the longer it goes but I stepped into the theater incredibly tired and managed to stay awake and entertained throughout the entire thing. Fast-paced and charming; a fun movie to watch after a long work day.

Thoroughly convinced that watching this in theaters is the ONLY way to fully experience this film. At first I felt really out of my element because I pulled up in a grey sweatshirt but everyone was dressed like one of the characters in the film. Felt severely underdressed. The show started with an hour long intro that eventually devolved into a ring toss game but instead of a board with pegs it was a strap on dildo. Then some stripper came on stage for the first five minutes of the movie. Hands down one of the strangest but craziest theatrical experiences I've attended.

Also my friend came late and was really confused but to be honest I watched the entire film and was still extremely confused. I don't think anyone watches this for the plot though. Musical sequences go insanely hard. Sweet Transvestite is my favorite of the bunch. Tim Curry is GOATED.

I ire the places the film went but at some point it does feel like the director throwing random ideas into the film and hoping something sticks. It doesn't really transcend the tropes you see in other (better-made) mentally unwell protagonist films, and I was kind of surprised how similar this felt to that one Eminem song Stan. Also, I understand that Killian's character is extremely isolated to the point where none of the other characters really matter, but I feel like some of the side characters and a few plot points were just randomly dropped. Was surprised that we do not even see Haley Bennett's character AT ALL after their first disastrous first date. And there was something about him needing surgery in the first thirty minutes of the film but it was never brought up again?????

However, I do think the world of bodybuilding is quite fascinating and the setting itself carries the film a lot. Jonathan Majors is really solid and definitely put in the work to play this character but it's a shame that he turned out to be... not such a great person.

Antonioni films are often challenging but when it clicks, his films are so rewarding. Red Desert is probably my favorite film of his and on rewatch there's just so much to absorb. Endlessly fascinating film; one of the most thoughtful uses of color I've ever seen in a film. When it cuts from the endless dreary industrial shots to the bright beautiful beach, it feels like such a release.

The final line about the birds knowing to avoid toxic smoke is strangely very moving to me.

Fascinating to finally watch one of Peter Jackson's pre-LOTR films. On the surface it seems crazy that Jackson would go from a queer coming-of-age film to one of the biggest fantasy films of all time, but I was shocked by how fantastical a lot of the sequences in this film were. The fantasy aspects are certainly more subdued but it's a really unique way to put us in the headspace of the two girls.

Crazy that this is both Winslet and Lynskey's on-screen debut. They are incredible. The dialogue is also really realistic; these kids actually say shit that kids would say.

Really confusing, but to be fair, I was really sleep-deprived and fell asleep for about five minutes towards the beginning in the dinner table scene. Woke up to someone getting their hand stabbed. I was deeply confused.

Soderbergh's use of pro-mist filters in this is... extremely overdone but I've been kind of enjoying our yearly dose of Soderbergh. They might not all be hits (hard to be when he churns out so many movies) but it's hilarious that he's more productive in his "retirement" than he ever was before. I ire the fact that he's always experimenting with the form, regardless of how well it works out.

Soderbergh asks the most romantic question of all: would you betray your entire country if you find out your wife could be a double agent?

(yeah I would probably do it lmao)

Couldn't get into this at all. I appreciate his dreamlike approach to all his films but this is probably the first film of his that I disliked. It gets somewhat interesting thirty minutes in when someone gets murdered but it then goes a completely different direction than what I was expecting, which usually isn't a bad thing but it just didn't work for me. This feels like a cop-out reason for a movie that isn't supposed to be fully rooted in reality but the film was just extremely nonsensical.

The editing in this is phenomenal. Not a single boring moment in this film. The All By Myself needle drop is so deranged and utterly hilarious. Basically not a single boring moment in this film. The mockumentary format of the film just elevates this so much.

There's a lot of future stars to be, and the ing cast really shine, especially Dillon and Phoenix. This might be one of my favorite Nicole Kidman performances though; the accent work is really good and it feels like her performance (and the movie itself) would go on to inspire some of my other favorites like Gone Girl and May December.

Lotta rich and interesting characters but sadly the story did not fully hook me. Felt too disted at times. The entirety of the first fifteen minutes takes place basically in a car and I felt like it was not done in a very cinematic way. Strong performances though.

Whenever some idiot on Twitter posts a movie they made entirely on AI and calls it the future of filmmaking, they always get roasted in the comments section, and rightly so. Therefore, I don't think Harmony Korine deserves any leeway for extensively using AI for his most recent film. I love a lot of Korine films and it's great that he got to make this one-of-a-kind film, but this is barely a movie. Could barely sit through this. I would literally rather watch Gummo 2 or some shit.

A lot less gory and interesting than I would have wanted from Italian horror. At the same time, through no fault of the film, I watched the first twenty minutes of this film last week thinking I'd just finish it the next day, but ended up getting absolutely destroyed by work so I wasn't able to actually finish the rest of the film until today. Maybe I need to revisit this down the line.

Not Bong's best film, unfortunately (can't believe we had to wait six YEARS for a new Bong movie), but Robert Pattinson does a voice in this so this was obviously at least pretty good. The social satire and capitalism critique is extremely heavy-handed like all of Bong's other English films. Kind of cool that it predicted a Trump/Elon world but some of Toni Collette/Mark Ruffalo's dialogue just felt so on-the-nose. However, I will say that the humor is genuinely really good in this. Lots of incredible physical comedy from Pattinson, especially since he has to do a dual role in this. He plays Mickey 17 as Steven Buschemi and Mickey 18 as discount Batman. Kind of incredible honestly.

Also there's a pretty pivotal moment with Mickey 17 and Kai in the middle of the film that I just completely zoned out on because I thought some guy was playing Elliott Smith on his phone in the theater, but it turned out to be from the movie. Good needle drop though.

Did not expect this to be so romantic.

This is pretty entertaining and surprisingly funny but the second half is just not very good at all. When they reveal why the monkey reappears in their life it just felt so underwhelming. Hal is like the worst dad of all time.

Really glad I didn't read the tagline for the film because it's kind of a spoiler. Maybe it feels like a retread of some of Kurosawa's other films but I think this is one of his best movies. It's consistently unnerving and I liked that this one focused more on suspense than outright horror. Teruyuki Kagawa is terrifying in this.

It wouldn't be a Tony Scott film if it didn't include some of the most gorgeous sunset imagery ever put on film. Apparently Tarantino wrote part of this which explains some of the snappier dialogue but I liked that it was somewhat toned down.

A very tense movie from start to finish but I was surprised by how effective the drama is. Both lead actors are phenomenal. Loved the scene where they were just straight up yelling at each other right before the mutiny. Rest in peace Gene Hackman.

Brian De Palma's The Fablemans but it's not very good. However, it's absolutely hilarious to me that even his autobiography full of random sex and a shitload of voyeurism. Instead of filming family trips like Spielberg, De Palma is camping out on a tree trying to catch his dad cheating on his mom. No wonder this guy is so unhinged as a director.

I swear Willem Dafoe is in every movie, and he always steals the show. Super fun movie, songs are bangers.

The first half of this film is some of the best filmmaking I've seen in a giallo film. Poor dubbing aside (who watches these for the dialogue anyways LOL), the cinematography and production design are next-level. Once again I know that the plot is not really the main point of these types of films, but the characters are kind of weak in this film. Some of Argento's best films, while also not particularly character-driven, at least make their characters feel distinct from one another. In Blood and Black Lace, I struggled to differentiate some of the models apart, as well as the plethora of male characters. I think there's a masterpiece somewhere in this film but for once while watching a giallo, I kind of wish more emphasis was put on the story. Phenomenal visuals, regardless.

This shit is so gross and nasty but I pretty much laughed the whole way through. Dawn starts abusing her daughter 10 minutes into the film and then complains that her daughter doesn't love her. Kinda crazy that Divine also plays the guy who impregnates her in the beginning of the film. The only performance that doesn't work for me is the actor who plays teenage Taffy but everyone else is like 110% committed to their roles. John Waters' sense of humor is so right up my alley man, I can wait to watch more of his films.

Excellent anti-tech allegory with beautiful claymation. I love love love all the famous action movie homages. Wallace is low key the poster child for a bay area tech bro; innovation with no sense of ethics LOL

in (roughly) chronological order of when i saw them

• Spider-Man 2
• The Day After Tomorrow
• Happy Feet
• Superman Returns
• 2012
• Avatar
• Harry Potter and the Half-Blood Prince
• Prince of Persia: The Sands of Time
• The Karate Kid
• Inception

...plus 422 more. View the full list on Letterboxd.

1. Moonrise Kingdom
2. The Grand Budapest Hotel
3. Fantastic Mr. Fox
4. The French Dispatch
5. The Royal Tenenbaums
6. Rushmore
7. The Life Aquatic with Steve Zissou
8. The Darjeeling Limited
9. Isle of Dogs
10. Asteroid City

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

1. Driveways
2. Fire Island
3. Spa Night
4. The Wedding Banquet

1. Blow Out
2. Carlito's Way
3. Mission: Impossible
4. Dressed to Kill
5. Phantom of the Paradise
6. Body Double
7. The Untouchables
8. Sisters
9. Snake Eyes
10. Scarface

...plus 11 more. View the full list on Letterboxd.

1. Before Sunrise
2. Before Sunset
3. Before Midnight
4. Everybody Wants Some!!
5. Boyhood
6. A Scanner Darkly
7. Hit Man
8. Dazed and Confused
9. School of Rock
10. Tape

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

1. Cure
2. Chime
3. Creepy
4. Retribution
5. Cloud
6. Pulse
7. Bright Future

1. Out of Sight
2. Magic Mike
3. Logan Lucky
4. Contagion
5. Ocean's Eleven
6. Magic Mike's Last Dance
7. Side Effects
8. Unsane
9. The Informant!
10. sex, lies, and videotape

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

1. Spring Breakers
2. Gummo
3. Mister Lonely
4. The Beach Bum
5. Julien Donkey-Boy
6. Trash Humpers
7. AGGRO DR1FT
8. Baby Invasion
9. Circus Maximus

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

1. Top Gun
2. Déjà Vu
3. Crimson Tide
4. True Romance
5. The Taking of Pelham 1 2 3
6. Unstoppable
7. The Hunger
8. Man on Fire
9. Enemy of the State

1. Rescue Dawn
2. Grizzly Man
3. Bad Lieutenant: Port of Call – New Orleans
4. Nosferatu the Vampyre
5. Aguirre, the Wrath of God

1. Bullet in the Head
2. Hard Boiled
3. The Killer
4. Red Cliff
5. Red Cliff II
6. A Better Tomorrow II
7. Face/Off
8. Mission: Impossible II
9. A Better Tomorrow
10. The Killer

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

1. La Haine
2. Happy Together
3. Heat
4. Titanic
5. Boogie Nights
6. Bullet in the Head
7. Fallen Angels
8. Before Sunrise
9. The Age of Innocence
10. Rebels of the Neon God

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

1. The Child
2. Two Days, One Night
3. The Kid with a Bike
4. Rosetta
5. Tori and Lokita
6. La Promesse
7. The Son
8. Lorna's Silence
9. The Unknown Girl
10. Young Ahmed

1. Tenebre
2. Deep Red
3. Suspiria
4. Inferno
5. The Bird with the Crystal Plumage
6. The Cat o' Nine Tails
7. Opera
8. Four Flies on Grey Velvet
9. The Mother of Tears

1. Catch Me If You Can
2. Munich
3. A.I. Artificial Intelligence
4. Minority Report
5. Schindler's List
6. Jurassic Park
7. West Side Story
8. The Fabelmans
9. Raiders of the Lost Ark
10. Saving Private Ryan

...plus 25 more. View the full list on Letterboxd.

directorial only

1. The Bridges of Madison County
2. Changeling
3. High Plains Drifter
4. Mystic River
5. Juror #2
6. Million Dollar Baby
7. Letters from Iwo Jima
8. Unforgiven
9. The Mule
10. Jersey Boys

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

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

1. The Thin Red Line
2. A Separation
3. Magnolia
4. The Wages of Fear
5. Spirited Away
6. Black Coal, Thin Ice
7. 12 Angry Men
8. Head-On
9. Elite Squad
10. There Is No Evil

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

1. Happy-Go-Lucky
2. Secrets & Lies
3. Another Year
4. Naked
5. Vera Drake
6. Hard Truths

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

1. Rebels of the Neon God
2. Stray Dogs
3. Days
4. The Hole
5. Vive L'Amour
6. The River
7. The Wayward Cloud
8. Goodbye, Dragon Inn
9. What Time Is It There?
10. I Don't Want to Sleep Alone

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

1. The Brutalist
2. Nickel Boys
3. The Beast
4. Twilight of the Warriors: Walled In
5. Beating Hearts
6. Caught by the Tides
7. Hundreds of Beavers
8. Anora
9. A Different Man
10. The Seed of the Sacred Fig

1. Tangerine
2. The Florida Project
3. Red Rocket
4. Anora
5. Take Out
6. Starlet
7. Prince of Broadway
8. Four Letter Words

1. The Northman
2. The Lighthouse
3. Nosferatu
4. The Witch

1. Inside Llewyn Davis
2. No Country for Old Men
3. Fargo
4. Blood Simple
5. True Grit
6. Burn After Reading
7. Hail, Caesar!
8. O Brother, Where Art Thou?
9. The Big Lebowski
10. Raising Arizona

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

1. Thelma & Louise
2. Blade Runner
3. The Martian
4. The Last Duel
5. Matchstick Men
6. Alien: Covenant
7. Alien
8. American Gangster
9. Gladiator
10. Prometheus

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

1. A Prophet
2. Rust and Bone
3. Read My Lips
4. The Sisters Brothers
5. Paris, 13th District
6. Dheepan
7. The Beat That My Heart Skipped
8. Emilia Pérez

• Blow Out
• Thelma & Louise
• Strange Days
• A Bride for Rip Van Winkle
• A Man Escaped
• Merry Christmas, Mr. Lawrence
• Malcolm X
• Midnight Cowboy
• Tenet
• Clue

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

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

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

1. The Iron Claw
2. Oppenheimer
3. Monster
4. The Taste of Things
5. May December
6. Past Lives
7. Killers of the Flower Moon
8. Perfect Days
9. All of Us Strangers
10. Riceboy Sleeps

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

• All Quiet on the Western Front
• Sicario
• Portrait of a Lady on Fire
• Triangle of Sadness
• The Silence of the Lambs
• Call Me by Your Name
• One Flew Over the Cuckoo's Nest
• A Pigeon Sat on a Branch Reflecting on Existence
• Killers of the Flower Moon
• A Woman Under the Influence

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

1. The Skin I Live In
2. Talk to Her
3. Volver
4. All About My Mother
5. Bad Education
6. Broken Embraces
7. Pain and Glory
8. Tie Me Up! Tie Me Down!
9. The Room Next Door
10. Julieta

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

Keeping track of what i've seen so far. Way too many fucking Kubrick and Fellini films on this goddamn list.

I love Twin Peaks: The Return but that is not a movie.

Anything below The Magnificent Ambersons I haven't seen.

1. Moonlight
2. The Tree of Life
3. Heat
4. Raging Bull
5. Happy Together
6. The Piano
7. Yi Yi
8. Parasite
9. In the Mood for Love
10. The Apartment

...plus 254 more. View the full list on Letterboxd.

non-samurai stuff > samurai stuff

1. High and Low
2. Ikiru
3. Kagemusha
4. Rashomon
5. Stray Dog
6. Red Beard
7. The Bad Sleep Well
8. The Hidden Fortress
9. Sanjuro
10. Seven Samurai

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

1. Ash Is Purest White
2. Mountains May Depart
3. Caught by the Tides
4. A Touch of Sin
5. I Wish I Knew
6. 24 City
7. Pickpocket
8. The World
9. Still Life
10. Unknown Pleasures

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

1. Alien: Covenant
2. Alien
3. Aliens
4. Predators
5. Prometheus
6. Prey
7. Predator
8. Alien: Romulus
9. Alien³
10. The Predator

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

1. Cinema Paradiso
2. Raging Bull
3. To Live and Die in L.A.
4. Thief
5. Blow Out
6. Top Gun
7. Amadeus
8. Risky Business
9. The Killing Fields
10. Blade Runner

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

just some double/triple features i've done in the past, or any double features that i would like to do in the future

• Almost Famous
• Boogie Nights
• Raging Bull

  Could also be a good double feature with On the Waterfront

• Moonlight
• Barry Lyndon
• The Favourite
• The Big Lebowski

  Quadruple feature stoner noir in LA

• The Long Goodbye

  Quadruple feature stoner noir in LA

• Inherent Vice

  Quadruple feature stoner noir in LA

• Under the Silver Lake

  Quadruple feature stoner noir in LA

...plus 148 more. View the full list on Letterboxd.

1. Short Cuts
2. The Long Goodbye
3. Nashville
4. M*A*S*H
5. McCabe & Mrs. Miller
6. The Player
7. Images
8. 3 Women
9. California Split
10. Gosford Park

1. Coco
2. WALL·E
3. Inside Out
4. Toy Story 3
5. Toy Story
6. Toy Story 2
7. Luca
8. Ratatouille
9. Up
10. Soul

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

1. You Were Never Really Here
2. We Need to Talk About Kevin
3. Ratcatcher
4. Morvern Callar

1. The Tree of Life
2. The New World
3. A Hidden Life
4. The Thin Red Line
5. Badlands
6. To the Wonder
7. Days of Heaven
8. Knight of Cups
9. Song to Song
10. Voyage of Time: The IMAX Experience

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

1. All That Jazz
2. Star 80
3. Lenny
4. Sweet Charity
5. Cabaret

1. Rear Window
2. Vertigo
3. Notorious
4. Rope
5. Psycho
6. Rebecca
7. North by Northwest
8. Strangers on a Train
9. Shadow of a Doubt
10. The Birds

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

1. Malcolm X
2. Inside Man
3. Do the Right Thing
4. 25th Hour
5. Bamboozled
6. BlacKkKlansman
7. Da 5 Bloods
8. Summer of Sam
9. Oldboy

1. Starman
2. The Thing
3. In the Mouth of Madness
4. Assault on Precinct 13
5. Escape from L.A.
6. Escape from New York
7. Halloween

has pretty much nothing to do with the quality of the film

• Blade Runner 2049
• John Wick: Chapter 3 – Parabellum

  no idea how i fell asleep to this. think this was just after dinner and i was going through a massive food coma. fell asleep during one of the shootouts with halle berry for a short period of time

• Shoplifters

  didn't get enough sleep the night before and the screening was decently late. the theater was also hot as balls

• Roma

  watched this later in the evening and the movie is pretty slow already, which was a pretty bad combination. i was also kind of tired and not accustomed to slow cinema yet

• Tokyo Story

  don't really know why i fell asleep to this one, since i watched it in pretty ideal conditions. slept well the night before, watched during noon time, but i find ozu's style a bit monotonous on first watch

• If Beale Street Could Talk

  i actually fricking love this movie but i watched this during a break period on a full day event with entrepreneurship program i was participating in and i was stressed that the movie wouldn't end on time so i could re the group. pretty sure the stress tired me out and i dozed off during the brian tyree henry cameo

• Superman Returns

  idk i watched this when i was 8 and the movie felt seven hours long. not even sure id our family finished the film, i think we walked out lmao

• Sherlock Holmes: A Game of Shadows

  i watched this in taiwan five hours after my arrival flight and i was suffering through heavy jetlag. seems like this jetlag thing really affects the movie-watching experience

• The Last Black Man in San Francisco

  watched after a tiring work day and the theater had poor insulation. once again it was hot as balls

• Shadow

  i watched dunkirk right before going to the theaters (my mom wanted to on short notice) and i think i was just really exhausted from all the tension in dunkirk

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