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With Martin McDonagh's marvelous pen and assured direction, coupled with the bewitching performances of Colin Farrell & Brendan Gleeson as two men with a failing friendship and quite an enthralling musical score from Carter Burwell, "The Banshees of Inisherin" ended up being one of the most spell-binding piece of cinema I've seen this 2022.

This film is one quiet, harrowing, humorous, ruminative and dark tale about a friendship nearing its end. It is beautiful and ugly at the same time. It presents its characters with such wildly imagined virtues while also making them metaphorically philosophical that it makes you throw rhetorical questions about the period it is set in and the values that people hold dear.
The sense of darkness comes from the violence at certain parts in the film, but somehow, it still manages to maintain a softness and serenity due to the beautifully haunting musical score and the cinematography that are both executed while the story progresses and the revelations are uncovered, matching and elevating the film in every turn.

This movie is quite simple and stripped down in scale compared to some films I've watched this year, yet this is the only one that affected me the most because it has all the necessities and essentials of a masterpiece; a master director with precise narrative, outstanding performances, characters that reflect life and people, a magnificent musical score, a stunning scene by scene cinematography and a story that reminds us that we as a society can easily fall at the simplest and absurdest of deception and makes us repudiate the roots of principles of what makes us human.

"The moment you said you loved me, your love is over. The moment your love ends, my love begins."

Here's something unusual: the best love / romance film of 2022 for me is a Korean pseudo- whodunnit / police procedural.
Sounds weird, right? Well, that's because it really is weird. But as for any PCW avid fan, weird and unpredictable is a shoo-in in his style of filmmaking.
But to make things different, unlike his previous releases, "Decision to Leave" doesn't mystify, shift or coyly reverts to chaos quite immediately. Instead, this film takes its time to brew, making it more of a slow-burn feature with a traditional narrative & filmmaking style.
This information may shock some fans, but to me, it seems like an interesting & intelligent choice to shy away from what the auteur usually does in his art.
But once the "suspect" has been identified (Not like it was ever an intent to hide her anyway), the pacing and style changes back to what we expect from Park Chan-Wook; a high strung and beguiling fascination of a Neo-Noir.
The leads are engrossing if not chilling to watch, while the screenplay is as succinct and chaotic as the characters.

Now, does this match the classic and masterpiece tier of "Oldboy" and "The Handmaiden"? Probably not. But that doesn't make this film much less excellent that it already is.

I may be a little biased here but Park Chan-Wook is truly unmatched. The best Korean director for me.

This is what the MCU and its bloated multiverse is trying to achieve but has failed plenty of times and has yet to successfully do so. The Daniels with their brilliant minds showed us how to create a fantastical multiverse and present it the way it should be.

Never in the decades of my existence did I expect to be extremely moved, dumbfounded and affected by a film about taxes and failing laundromat business.

What Dan Kwan & Daniel Scheinert have here is an action-packed comedy that never fails to outdo itself every time its plot thickens. This film feels overstuffed but never overbearing, silly but not dumb, philosophical but not a hint of pretense.
And to top all that, this just shows that it's never too late to be an excellent action star. Michelle Yeoh, even in the latter part of her career, gave a virtuously caliber of a performance. She embodied all the character she was tasked to play and did them with such nuance. Not only that, her ing cast, specifically Ke Huy Quan & Stephanie Hsu, did their characters justice by being just as impressively entertaining as Yeoh throughout the film's running time.

If you're looking for a film that will make you laugh, excited, interested, glued to your seat, cry of familial nostalgia and just have a great action-packed fun, then this is the film for you.

A visceral, satirical and darkly humored social commentary that hits hard whenever it matters.

This latest Ruben Östlund film is quite a a standout from the rest of the films I've seen last 2022.

Was it the first eat-the-rich-maxist tale of a film I've seen? Not really.
Was it the first one where I truly enjoyed it? Also a no.
But Triangle of Sadness is probably the only film in this genre that manages to outwit every film I've seen and maintain the mystery and creativity of the story without losing the relevance of the societal and political commentary and making it just as essential of a tool as the overall writing itself.

While this isn't my favorite Östlund film, this will definitely land somewhere near it because while it does have its down moments, the fil still provides chills and darkness that are unexpected and unique only to the movie and no where else.

“You do what your heart says you have to.”

Oh, Mr. Spielberg made sure he gives us something that's been missing in his films; an ode to cinema.

Growing up, I've always imagined myself being part of a film, be it an actor or someone who does the things behind the lenses. This is an exquisite offering from master director Spielberg. Through this, he indirect reminds us that don't need to be over the top, or too different to make it good or excellent, it just needs a sense of wonder and a heart. And The Fabelmans has both and did them with flying colors.

It's so subtle in its narrative that some may miss the gravity of what the drama is truly all about. But at the end of the day, whichever it is you were able to grasp or not, what matters is how the mind and heart feels after experiencing a movie about movies.

I may not speak for everyone but for me, I felt deeply touched, strongly inspired and spiritually strengthened by the film.

Thank you, Mr. Spielberg. I owe you one.

After the excellent The VVitch and fright inducing The Lighthouse, horror Master Robert Eggers comes back with another and proves that he has more to offer.

The Northman is a comparably original, bonkers, brutal and provocateur of a film that is expected from the director. It is a story about revenge, freedom, spirituality and viking lore that is told with such visual splendor and titilation. It's hard not to give in into the madness and addicting world that Mr. Eggers has yet again built and encapsulated with the use of his impressive ensembled cast. And we're here just accepting defeat and to be conquered into the mouth of the volcano where everyone eventually dies in.

That Timothee Chalamet and Luca Guadagnino duo just won't let up.

After the gut wretching pseudo suicide of his last film, this latest effort from the Luca & Timothee duo is a unique blend of a coming-of-age story with a side of thriller, romance, gore, comedy and horror.

Bones and All is nothing like of Lucas's previous films. This one is crass, it's direct, unpredictable and grand all at the same time.

It may not be for everyone, but the sheer uniqueness of the film and the performances of the lead actors will surely leave you drawn and deeply moved.

I'm a sucker for visual narrative and I'm going to die on that hill happily and satisfyingly.

The good thing is that the sequel to the top grossing film of all time is a vast improvement from its predecessor. If the original one lacks the depth in character and emotional resonance, I'm glad that visionary director James Cameron amended and added what was missing and made something that the audiences have been missing for years now in the cinemas.

Never bet against Jim. While he isn't the best at making sound bites, screenplay writing and originality in storyline creation, he does make it up with the world building and visual artistry. Those two elements alone make this film something to behold and that's only deserving to be seen at the biggest screens near you.

The Way of Water is truly a delightful cinematic experience. I've never seen such a fully realized world of aliens where I feel like I wanted to live in. This film gives you a joy that's similar to when you give a child a candy; an innocent happiness without any expectation or judgment. Just pure delight and amusement.

Thank you, James. I'm excited for the next one.

Fine dining and yacht cruising are now my newly discovered trauma thanks to this Make Mylod effort.

Brace yourselves, this is a dark comedy, slasher / horror, mystery thriller and social commentary film all in one. And the best of all? It's done with such quirky originality.

Ralph Fiennes leads this high strung and over the top bonkers film and served (sorry, I had to insert a pun) the food with such impressive finesse from starters to desserts.

The most inescapably dangerous monsters aren't always the ones with the most egregious and conspicuous terror builds. Rather, it's those monsters that we've kept hidden in the deep abyss of our minds that are too far away to be distinguished and at the same time, too close in our thoughts to be vanquished.

Tar knows how to deliver real terror and mask it in the most unfamiliar and conventional daily conversations.

A two and a half hour film that highlights a singular character but manages to tackle on bigger cultural, political and societal taboos that can make one feel overwhelmed with endless thoughts and emotions.

I would've never thought that a fictional film about classical music, art dealership and all those musical tropes can make me this deeply torn and affected, and to think that it doesn't have to use tropes that are often used in music / drama films make this effort from Mr. Field a true tour de force of filmmaking.
Director Todd Field made this film with one purpose in mind and that's to get Cate Blanchett that highly deserved gold statue. And I couldn't agree more. The everso stunning Ms. Blanchett didn't just give nuances, excellence and power. She gave us the truth in her painstakingly original and impeccable performance.

Championing a war is a concept that's been falsified and gaslighted all these years to those who choose to see it as an option to their freedom.

This film is a timely reminder that no one wins in a war, only losses and tragedies are gained. Edward Berger's adaptation of this classic is one that depicts one of the most realistically bleak, harrowing, petrifying and traumatizing images of what war and chaos can bring forth to all men. Win or lose, something completely life-changing would leave a person's life in ways he can never escape from. And that is never a good thing.

Prepare for an emotionally damaging but also eye opening experience of a film.

"i’d like to have a child some day, but not instead of a life"

That sound bite alone tore my heart into pieces. This Audrey Diwan film is a gut wretching depiction and narrative of the often debated topic of abortion.

While we may have had a bunch of films about this taboo-considered topic, this one approaches it with such delicate sense that it feels rather new. A part of it may be attributed to the period it was in. It was before women had the rights they should've had and the choice that they should have been freely given whenever they choose to.

The lead is a breakout star. She makes me feel doubtful, scared, mad and frightful. This isn't a horror film but most of the time I feel tense whenever I'm not feeling weary for her.

This film is intense, blunt, sensitive and all the more important / relevant to this day and age.

Quiet in its precipice but inescapably boisterous in its purpose.

I can't quite find the right words but to be able to see and experience such a raw and honest film like this changes how I watch them. It no longer becomes an art form, but rather, a letter with a call of action.

This film doesn't even include what I usually look for in a film, but at the same time, it has what every film should always have to make it important to anyone who watches it. That essence may be different for each viewer, but for me, it's the sense of human weakness and personal value.

What's it about directorial debut lately that make them so cripplingly moving?

Panah Panahi's introduction to filmmaking is one chaotic, touching and bewildering mess of a film told in such a simple manner.

Throughout the viewing experience, you'll laugh at how much no one is being themselves while also breaking down at the heft of each character for an unknown event that they're all driving towards to.

And during the last act of the film, I can't help but think that such a comedic and toned down film can make me ponder on a life that was never mine but also felt so engrossingly real.

Say what you want about Dan Trachtenberg's take on the "Predator" franchise, but I'll be one of the first in line to protect it from its detractors.

This is a dark horse of a film. I watched it expecting nothing, just plain old me watching just for the sake of reviewing a film. But little did I know that this period-action movie will exceed all I've thought it would be.

With such a greatly realized protagonist, a well visualized & written American pre-colonial plains & Comanche culture and an excitingly paced film, this could end up being one of my favorite films of this franchise and of the year yet.

Matt Reeves' The Batman doesn't give the best (Or even impressive) version of the caped crusader nor does it provide a satisfying Bruce Wayne. At its best, his Batman is middling.

Well, if so, why give it a positive rating? Because the vision and overall direction of the film is its safety net, and even more, its crowning glory.

This "year one" take of The Batman may not have given the gritty and depressed version of Batfleck or the playful and mysterious Bruce Wayne of Nolan's trilogy but it gave what some of those films didn't have; a strong, well-directed, mechanical, stunningly mystifying film about the Gotham and the life of the protagonist. It has, in my opinion, the best Gotham yet, a gratifying score and music, an eerie and atmospheric vibe and a narrative that finds its characters a good balance between lost and vengeful.

Most of the reaction I've heard from this film were mixed to negative. And I can see how. The movie has a running time of almost 3 hours but barely has planted a main message, it's bloated with a plethora of events of one icon that clearly has more to offer than some glittery assemblage of nothingness.

But with all those said, I still found the movie immensely engaging, and that's mostly, if not solely, because of Austin Butler being the supposed "King of Rock & Roll". He understood the assignment and delivered a stellar job that will surely catapult him to a new level of acclaim and fame. Despite the chaos and lack of focus on the film, his presence made it make sense.

His performance, along with Tom Hanks' and the beautiful visuals expected of any Baz's film are what makes Elvis a film moving and worth a dime to watch.

I now have my top (Sorry for the weak pun) choice of who should direct the next superman movie: Mr. Joseph Kosinski himself.

His latest film was my biggest surprise of the year. Wasn't much of a Top Gun fan growing up and definitely not a Tom Cruise fan as well. But this movie just proves that anything can be universally impressive when everything is done excellently, with precision and spectacle. That's what Top Gun: Maverick is.

While it doesn't have any emotional resonance for me personally, I still enjoyed it fully.

Tom Cruise was and still is THAT Hollywood star.

Another one that's a bit outside my flavors of film (Pornography), this Ti West offering breaks all my inhibitions and expectations and changed it with something that I will for quite some time.

X is not your typical horror film. While some may not enjoy elements of the movie and find them crass, I'm sure that most, if not all, will have a deliberately mind-boggling time while watching it.

This slasher / grinder mug fest is never a day mundane, every moment is exciting or at the very least, intriguing, and that just makes the viewing experience even more worthwhile.

Just as the title suggests, Fresh is nothing off of the ordinary. Each take the film captures feels like an idea of someone who creatively fleshed (Pun intended) out material to create something as personally horrifying and jaw-dropping as this.

It may not be the avant-garde film that most critics clamor over, but this horror film provides chills that you will feel into the bones of the characters' journey as they slowly uncover the mastermind of who they thought was once a lovely individual.

A slow burn gore-fest that continually elevates horror and elements of violence through the eyes of the mesmerizing Mia Goth and the period atmosphere that is both a joy and chilly to watch.

Gruesome, eerie and best of all, scary.

Cregger's Barbarian has a simple premise and quite a toned-down storytelling. But despite that, it encomes topics that are worthy of an after-viewing discussions that linger after the credits roll.

Despite of its title, this latest offering of Jordan Peele is definitely a YES from me.

If there's one thing I'm going to bet on, that would be the originality of Jordan Peele's films. I've learned not to expect anything from his films because he surely has a brain that only himself can predict.

While it doesn't match the heights of my expectations, it still does offer a spectacle that's reminiscent of a Spielberg film (Which is always a great thing). Also, breakout star Keke Palmer is a joy to watch each time she is on screen, while the rest of her cast also provides an equally outstanding performance.

The narrative is as subtle as "Us" and its as visually encapturing as his first film "Nope".

But if there's something I'd found most entertaining, that's the creature that this film has created. It brings back that curiosity and creative effort of making the creature the star of the show.

Now, there's not a doubt in my mind that Rian Johnson is made for the whodunit genre. He just doesn't miss. He understands and plays with the formula too well that it both borders on too much and too little so it balances out what it may lack or which ones it does get to overdo.

This addition to the Knives Out universe (If we can even call it that) is another rapturously glossy and enormously fun offering from a director who understands the balance of too much and too little. Glass Onion is just as wise and playful as its predecessor and also provides a stellar gargantuan cast ensemble who are all such a pleasure to watch as they frolic away to escapism through each of their characters.

Another win from Mr. Johnson and the whodunit genre.

A whimsically gentle, life-affirmingly profound and sweet piece of filmmaking.

I can't believe that a mere shell would bring so much joy in a time when I most needed it. This simple but quite tender movie provides a unique blend of wist, child-like fun while also not forgetting the main ingredient why we watch and enjoy films, it makes us feel a sense of escapism and inspiration.

If only the film was trimmed down a bit, it could've been perfect.

I have yet to delve myself into the films of Indian auteurs and after watching RRR, I need to change that immediately,

This film, especially its style of approach, is not my cup of tea (Very far from it). I don't really enjoy bloated, hollow and relentless insanity for a long period of time. But with this one? My eyes stayed enamored with the uniqueness and creativity of its visuals tailored with twists and turns that are out of the box and gives you an experience that aren't usually given by western (Or local) films that we usually watch.

This was a treat that I'm sure I'll be watching again since it was too much to absorb at first watch.

Thank God for Sam Raimi for breaking the tiresome MCU formula that drags this cinematic universe into singular and predictable approaches and made something that can stand on its own without alienating its predecessors and sequels.

Sam made sure to add horror elements to an already fun & visually creative film while not forgetting to add a bit of drama and depth.

This is definitely the most unique and enjoyable MCU film I've watched in years.

If you enjoy visual gory, total bonkers and a bit of horror, then this film is for you.

While it lacks subtlety, philosophy and depth, it surely makes it up for its sheer gruesome and bloodshed imagery that makes one uneasy and weirdly, entertained.

Boisterous, overloaded, unoriginal and soft-pleaded all over

The sequel is an improvement from its predecessor, but that's not really saying much. But that's also not much of a bad thing. Because no matter how loud, uninspired, and silly this sequel is, it still works and entertains most of its time screen.

Brown and Cavill are a great match and a pleasure to watch on screen. They make every scene such joy to watch and they fit their roles well.
Both actors can make me watch the same film with nothing new to offer any time of day.

A film the looks and feels light while watching but after the credits roll keeps you pondering on its seamless, excellent, effortless and stunning display of entertainment, darkness, intelligence and lushness especially thanks to the nuanced performance of Lowden.

Wakanda is here to stay, it needs a better Black Panther though.

It just doesn't match the heights of the first film with the lead being overshadowed by her own cast. And that in itself makes the film limited despite the sequel having a better anti-hero antagonist and having quite an enjoyable eye candy of a new world.
Moreover, the world building peaks the interest and keeps your eyes glued to the screen, many thanks to the stunning cast accompanied by a lush production and costume design that is sure to be a contender to this year's Oscars.

Despite its unimpressive lead and mechanical storytelling, the Marvel formula and visual treat is still more than enough to enjoy the film in its entirety.

An outlandishly rare journey to a world unrealized and an exploration of one's own self depravity.

Not even the English language can change the course of Thai director Apichatpong Weerasethakul's unique vision and execution. Memoria may be a departure from his roots, but it's nonetheless a testament to his much-needed cinematic sensibilities.

This film, with all its idiosyncrasies, has to be "Joe"'s most accessible feature yet. Not because it's in a familiar language, but because it welcomes in depth discussions that are all well deviced throughout the whole movie. While Memoria kept the plot lines a mystery, the scenes were far more direct in their intentions and the effects are fulfilling, especially in areas we know the director usually excels.

It doesn't contain fancy cinematographical elements like other films, but there's not a moment when I felt like I wanted to pull my attention away from it. The mere connection of Ms. Swinton to her character and the vision of the illusive director is enchanting. Tilda is excellent as Jessica. She embodies and completes the blank canvas of her character and paints familiar but engaging elements to her role.

The film is a SciFi / disaster drama that's packaged into a delicately foreign custom of filmmaking and delivered with high precision, intriguing philosophies while mirroring emotional experiences that's universal and excellence as expected from the beloved director.

Sweepingly medicative and utterly tender in its build up, astonishingly expansive and raw in its unfolding of the truth

Ryûsuke Hamaguchi's Drive My Car stirred my heart and mind in inconceivable ways where ache felt grossly heartbreaking but not any less pivotal and my redemption a mere product of my impatience and lack of acceptance of what the truth has delivered.

The last time I ever felt this vulnerable after viewing a film was when I watched Martin Scorsese's epic period drama, Silence. That film struck a cord in me and I was basically senile and taciturn for a couple of days. As someone who grew up in a religious family and being spiritually connected with God, "Silence" asked the most direct and personal questions any person who values his faith would incidentally ask but dare not in fear of upsetting or disrespecting the Lord. The faith-based film was in depth in its narrative, moving and heavily engrossing in its portrayal of religion and faith and deeply raw and honest in its sensibilities. And that's similar to what Drive My Car brought to me, if not more.

This film is so bravely and profoundly written yet feels so discreet and straightforward. It is also simply executed yet feels and looks like it's an epic visual masterpiece. And if there's one thing that made everything fall in place, it is its use of language. It understands that dialect and language aren't mere words and sentences used to express but rather art form themselves. That is why each character exchange feels more than plot devices or tropes applied to develop the narrative further. It is poetic and masterful.

The cast was a revelation. There weren't any adjustments to be had, the glove fit instantaneously. They made me feel like an intruder being voyeuristic every time I see or hear a development in their stories.
But the thing that made my heart stop was when I started feeling and realizing that I was no longer watching a masterpiece of a film but an anecdotal life piece so close and almost mirrored my own. It was vulnerably frightening and it made me a bit uncomfortable. But looking back at it now and while writing this review, I ed what I thought about before when I started rating films. "When a movie goes beyond a standard, breaks barriers (Which ever they may be) and sures the need to technically reproach or appraise it, then that's the only time it has truly done its purpose". Drive My Car is soul-penetrating. And nothing feels more powerful and refreshing than to have your life presented to you, especially in a time when you thought you were already losing it.

Gruelingly perplex, constantly imioned and gratifyingly complex. David Lowery's fantasy / Sci-Fi drama is an unexpected tale of self-discovery; a man in search for honor, gratitude and the meaning of his own life.

With an Arthurian storyline, larger than life fantastical elements and peculiar pacing, The Green Knight definitely not your usual A24 period mystery film. But if you've been a fan of the production company, and the director per se, this film will come as no surprise. But even with that knowledge, Lowery's film still provides a lot of unexpected surprises. Surprises that are fresh and add heft to the narrative. On the onset, the film may add seem lean, but with the psychological aspect of its visual elements, the film feels just as wordy and plot-driven.

The Green Knight more than delivered the goods. It gave the emotional leverage that I didn't expect from a Sc-Fi / fantasy film like this. And most of that can be drawn from the arresting performance of Dev Patel. He leveled the potent direction of David Lowery. If there's a movie to prove that Dev Patel is one of the future leading actors of Hollywood, then this film will definitely seal the deal. He was mesmerizing in each scene he was in and made the already stellar film top tier.

This film has a staying power and is one of those movies that can be subject for discussion in extended days after its first viewing. That is mainly because of its psychology and fantastical elements. At the end of the day, this is another win for the director, the production company and another film to strengthen Dev Patel's place as one of the best and youngest working actors in Hollywood today.

"In Denis Villeneuve, We Trust". And ever since then, the trust has yet to be broken.
I had my doubts, like any follower, when I learned that he was about to adapt the un-adaptable Sci-Fi masterpiece that is Dune. Especially after Lynch had an underwhelming interpretation of the said book. But fortunately, Denis knew exactly what had to be done to make the impossible, possible.
The director knows the expanse of the material, therefore also knowing its limitations in of visual interpretation. With that, he played where he knows he would fare better. And that is using visual narration more than expository development per scenes. And for the Canadian director, its a walk in the park because this is where his films shines best. The film let the world building takeover; with politics, community and character being established in nearly / or more than an hour within the film. It's a slow burn that burns beautifully; just seeing how each scenario and character unfolds is a treat to behold. And as someone who has read the books, while it didn't cover some pivotal moments that can elevate the film, it still covered enough to make for a great adaptation.

Timothee Chalamet has been proving himself as the "new" Daniel Day or Leonardo, and with this film, he just continues to unveil the leading man in him. He isn't a reincarnation of some legendary actor. He is a carving a path of his own.Whenever he acts, he commands the screen, he takes control of the show. And with an equally talented ing cast, the film is full of spectacular exchanges from the ensemble.

Dune is a satisfying film regardless of the content it is based on. It's a Sci-Fi film that priorities world-building and internal politics over high-strung action sequences. It demands your attention the moment it starts rolling in. It is a type of visual splendor that you'd expect from a Villeneuve film; atmospheric, haunting and larger than life. And for a film that focused much on the intimacy and politics of the story, this is exactly what was needed to elevate it a la Star Wars / Star Trek. But comparing it to those two space operas is not going to give it justice. You have to see it for yourself to believe the masterful work that Dune is.

Campion's latest full length feature smashes any type of masculinity known to men by subduing the toxicity of gender roles, representation, policy and expectations while delivering a reliable, mysterious yet assuring non-vocal narrative from its spellbinding cast and tremendously sublime direction.

The Power of the Dog knows where and when to shoot for the aim; it maintains a constant treble of mystery with its set of characters and a storyline that just makes the experience even more gripping and haunting. With top tier acting from veterans like Cumberbatch and Dunst and a surprising performance from newbie Smit-Mhee, together with a visually-driven narration, Campion ends the film with what I can recall, one of the most satisfyingly strong ending in recent years.

This is a triumphant and unique comeback from the illusive director.

Shakespeare but make it concise.
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Joel Coen takes on one of the most popular plays known to men by the world renowned playwright but this time around, it's going to be his first effort without the involvement of his brother, Ethan Coen. The Tragedy of Macbeth is a fresh, but faithful, retelling puts a tunnel vision on what weighs most and what matters in this elementally dark cinematic play. And the result is a hauntingly thorough, deceptively stunning and well-acted showcase of talent.

a unique, honest and powerful rumination on loss, revenge and self-redemption. A movie that effectively shows how, most of the time, men act and behave like animals more than the titular mammal itself.

Director Michael Sarnoski makes a triumphant statement with his debut feature. His film, while minuscule in scale, covers a large portion in every human's emotional journey. And with Nicholas Cage at the forefront of his gently contemplative film, the actor delivers a deeply affecting performance that can easily be considered as one of his best outings in decades.

While the movie is reminiscent of the equally stunning "First Cow" and the high strung "John Wick", it does find its own voice and provided a movie that can be shared with the whole family during a cozy date night.

Let me start by saying that Andrew Garfield is a phenomenon. His co-actors were great but make no mistakes, he carried this film from start to finish. The best Spiderman for a reason ;-p

No offense to Lin-Manuel Miranda but I'm gonna need him to be at the back of the camera because with him at the helm, great things like this happen. Tick tick.. BOOM! is a love letter to fans of musical theater and anyone who appreciates an anecdote of work full of delicacy and dedication. The film contains expository-type of music / songs that are easily hummable while still remaining well-written and sang. The story, an autobiographical musical by Jonathan Larson, who revolutionized theater as the creator of Rent, is what you'd expect it to be; highly emotional and moving.

With music being excellent, debuting director creating something brilliant and lead actor giving one of his best performances of his career, this film is sure to tug into the heart and brain.

Say what you want about Steven Spielberg, but what you can't take away from him is that he he delivers the good when it is most needed.

The legendary director has been giving mid to solid features in the last few years and I am glad he started the new decade with this banger. As an avid musical theater / broadway fanatic, I am insanely protective (Judgmental) of my favorite musicals. And after hearing that Mr. Spielberg is doing WSS, I had lots of skepticism. I know better not to doubt the skills of Steven, but there's just something about musical adaptations that make skillful directors fumble their well-acclaimed bags. But I am more than glad to report that Mr. Spielberg has lifted the curse and isn't one of them.

He reinvigorated the zeitgeist that West Side Story had back then. It looks and feels like a new musical with top-tier dance & lovely vocal numbers paired with gorgeous cinematic visuals. Steven Spielberg more than understood the assignment. In fact, he made the assignment his own. I can even confidently say that he had sured the original 1961 film in many aspects. This is elite technical filmmaking met with excellent ensembled performances without losing the sensibilities that made the original a tour de force.

Leave it to director Paolo Sorrentino to deliver honest laughs, fascinations, and heart-breaking tragedies in one beautifully beguiling film.

The Hand of God is rather strange for a coming-of-age flick. And I meant that in the best way possible. Scenes from the film, particularly the rumination and family engagements, looked and felt as though they were taken out from experience rather than conception. Everything is idiosyncratic but at the same time familiar and frighteningly personal.

This movie is insanely funny, an oddball, sadly tragic and strangely inspirational for me. While nothing in the film contained any similar happenings in my life, the scenes were conveyed in a masterfully simple and vulnerable execution. And that's honestly what want in any film; a way to tell a specific story in the most authentic and personal way possible.

It is quite amazing that one of the films that made the loudest noise all year long, especially at Sundance, is a film that revolves around the experiences of a family of deaf people.

This La famille Bélier remake is every bit of joy I didn't expect to feel while watching the movie. The entire cast and the way the characters were written felt as though you're being cuddled by each one of them. While the movie revolves around a family of deaf people, it shouldn't scare you off. Even in its most dramatic moments, the film feels warm and inviting. Now, that doesn't mean that the film doesn't have the emotional depth it requires, because it definitely does, in a lot of moments I should say.

I appreciate the openness and authenticity of the film. It's the type of movie that doesn't try to fit into a certain standard or be an awards-season bait. What you see is what you get. And that's more than necessary. The entire cast know what had to be done and delivered strong individual performances while also sharing inescapably good chemistry between each other.

If you want to feel great and inspired or just feel a sense of happiness in your heart, CODA is the perfect choice for you.

Did you ever think that one day, in some twist of fate, the person you dedicated your life to, the person you loved whole-heartedly, and the one person you ever thought you'd spend the rest of your life with, has suddenly forgotten about you and your entire existence? If not, then this is what this film is all about.
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No one has prepared me for such film. This is a Sc-Fi feature with strong (though short) world building. But I am glad that, although this film put me in such vulnerable state, it focused on a more pressing subject matter. And the two leads were magnetic. I couldn't imagine a better pair to match the impact their performance had over me.
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An easy recommendable film for anyone with taste :-)

Creative, stunning, visionary and insanely entertaining. This is Wes Anderson in his boldest film yet.
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This latest feature from one of my favorite modern directors, Wes Anderson, is what we've come to expect from his work; a playful escapism of a film that is warm and earnest.
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There will never be a dull, visually and tonally, moment in The French Dispatch. The film is inventive, high strung and just a joy in the eyes and ears. This is a testament that Wes' style is still as effective as we first saw it decades ago.
Finally. this film is an ode to journalism and the people that dedicated their lives to free speech and spreading their voice.

A masterful and enchanting debut from Rebecca Hall. This film tackles a common subject matter but still feels like it's as important a discussion to be had. And rightfully, the film presents this issue with much nuance and knowledge that it doesn't feel forced nor copy-pasted.

The use of black and white tone is impeccable, it suited the vibe of the film. It is thought-provoking as much as it is complex in content. Lead actors Tessa Thompson and Ruth Negga took it all home and gave excellent performances while giving the characters their own nuance and life.

This film is triumphant coz anyone who'll be watching this will surely have a lot to ponder on regarding the subject matter. It may not be as powerful as other films in the same catalog, but what's important is that it kept the conversation going.

Conversations don't need to be inspirational to be powerful. They just need to be engaging and authentic. And Wheel of Fortune and Fantasy is all truths and mystery.

I am in complete awe. I love it when films don't even try to be anything. Is it aimless? Absolutely not. But was it plot-driven? In some way, yes. But the main driver of lie in its conversations. the simple yet moving engagement of characters, the unusual but relatable experiences that aren't often discussed in visual media. Director Ryûsuke Hamaguchi really knows where it hits hard. I can't help but root for all the characters. The stories may be short, but the feeling stay even after each story ends. I'm glad that in the age of superhero movies, these types of films are still being made. It is more than a pleasure. This movie is a revelation to me.

I am obsessed with period dramas, especially those that date beyond the 12-13th centuries. So knowing what this was about, I had to calm and set myself straight because it could either be another Gladiator moment or another Robin Hood disappointment from Sir Ridley Scott. Either way, I just know I had to experience this film before the year ends.

Thankfully, Sir Ridley Scott delivered and exceeded my expectations. This was a delight. Another win from the legendary director. Perhaps a return to excellent form from the director. This is an epic that feels grand and intimate at the same time. It has that grueling and musty set design that fits well during the era and stunning period structure that pushed the film forward in of feeling and visuals. But what I loved the most was the story. While not the most awe-spiring women empowerment film out there, it still did it much justice. It's nice to see that in a time when men ruled and raped power and influence over their lordships, it is a woman who stood tall, prevailed and ended up being triumphant at the end. Despite the nastiest of displeasure and disbelief, the truth has been lifted up by God and justice was indeed served (Not a spoiler. Know your history, people).

This film has reinvigorated my excitement for Sir Ridley's future films. And with Matt Damon & Ben Affleck as lead writers, it couldn't get anymore exciting. This has yet proven that both actors, while great on screen, can also provide satisfying entertainment while they are behind the cameras (Although in this case, they're on both sides).

Women are the equals of men in society, if not greater even. And the way this film handled the discourse of the injustices is sufficient and empowering while not being flagrantly in expository. It retains the entertainment value while not losing its true cause, and that is to tell a faithful adaptation of a story about a brave woman who fought all ill will against her and saw and claimed victory when everyone only saw defeat.

Foreign films are taking over this year, and rightfully so. Films from other parts of the world provide a more distinct and creative take on cinema as of late. Azor is one of the gems I found while rummaging through the myriad of great international catalogue. This film tells a story of a banker from Switzerland who had to assume a new role in Buenos Aires because of a sudden disappearance of the former employee who he had to replace. And from then on, lots of twists and turns happened. And just as you thought you know what's happening, everything changes in an instant.

Azor is for the patient thriller fanatics. It requires your full attention. Andreas Fontana's direction is just evocatively brilliant. It is calming yet dreadfully uneasy. It sends uncomfortable chills that you'd expect from a thriller but not while experience the type of dreamlike pasture and quiet beauty this film evokes. It's paranoid-inducing and I'm not quite sure if I'm going to watch this movie any time soon.
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You've been warned.

Kristen Stewart spent most of the past decade acting in varied roles in critically acclaimed films, thankfully, with much fanfare. She evolved from being known as the moaning and pouting pale 'Twilight" girl to now being the front runner for the Oscar gold. And I very much agree.
Kristen gave us an ethereally magnificent Princess Diana. She is barely recognizable as herself. She embodied the role like a glove; from the styling, the mannerisms to the voice and enunciation. She gave it enough nuance to feel like its a new take on a much known figure but also disappeared to it enough to make it feel that she's the real thing.

And more than the excellence that Kristen gave, the movie is also not your typical autobiographical / inspired by true events kind of film. It plays into the idea of being inspired by real life people. But the film itself looks and feels surrealistic. It looks grandiose in scale why focusing on one focal character and feels intimate and personal why being bombarded by a myriad of characters from every turn. It is filmmaking done exquisitely. And while the film production and writing are top tier, nothing can top the performance of the lead actress. At least, not in the context of this film.

17. The Worst Person in the World

Aside from PTA's "Punch Drunk Love", I've never fully enjoyed a romantic-comedy film that I watched, I can chuckle a bit, but never gave me a feeling that it deserved more than 30-minute episode of the equally unfunny "Friends" sitcom. I just find it incredibly uninteresting to watch couples be unfunny and dumb and re-create the same storylines over and over again. It's tedious and I'm just not here for it.

Then comes Joachim Trier's "The Worst Person in the World". Never have I felt so terrible in my life's choices as when I was watching this film. The movie's sensibilities are far too personal not to feel authentically yours. The story is relatable but not kitschy, It doesn't venture to the cheap and uncreative throwing of unnecessary punchlines from its leads nor create an uncalled for plot twist that neither helps nor adds value to the story it is trying to create. Instead, it lets its development takeover slowly while being divided in fully thought-out chapters and finally arriving to an equally bittersweet but satisfying denouement.

1. The Banshees of Inisherin
2. TÁR
3. Everything Everywhere All at Once
4. The Fabelmans
5. Triangle of Sadness
6. Avatar: The Way of Water
7. Top Gun: Maverick
8. All Quiet on the Western Front
9. Elvis
10. Women Talking