4v291o

My assumption with The Idol was that it was bad purely due to the influence of Sam Levinson, mixed with The Weeknd's own narcissism and the shows massive shakeups it underwent. But Trey Edward Shults is a filmmaker who actually has talent and skill behind the camera, and a strong creative vision and voice. And like I do enjoy The Weeknds music generally (I mean the album this movie is based on is pretty bloated, but that's besides the point). So I had a bit more hope and expectation behind this one, there was a chance for something cool here.

But this thing is just so messy and dull and poorly conceived. The problem with this movie isn't it's technical elements, because the team behind this movie is super strong. It looks good, it sounds amazing, the music is good. The problem is purely in its acting, the writing, and just the very core of the film itself. It’s lives in this very stale state of being a fairly surface level examination of being this huge popstar, and struggling to do anything intresting with that. It manages to say next to nothing while trying to appear like it’s breaking new ground. It’s aiming for this facade of an arthouse A24-core movie, but it’s completely hollow once you get into the meat of it.

But also a lot of it serves as ego stroking by a guy who’s already the biggest artist in the world right now. His music has always lived in that zone of being “ohh i’m super fucked up and destructive and have all these toxic relationships” and part of this movie is attempting to interrogate that, or at least that’s what it claims it wants to say. I think The Weeknd wants to come off as being very vulnerable and damaged with this movie, but the movie really doesn’t do anything to make him an interesting character or genuinely tackle these kind of flaws and struggles without just outright saying it. So it feels less like a vulnerable introspective look inward, and more of a performative act. This movie decides to spell everything out, having Jenna Ortega spend like 20 minutes dancing to Weeknd songs and explaining why they’re so brilliant and amazing and deep. He’s referred to as a god and as amazing, and has this manic pixie insane girl instantly fall for him. It’s so narcissisticly constructed as a screenplay that any of the atmosphere that Shults and team try to create around it isn’t enough for it to work. 

He also sucks as an actor, like he’s comically bad, and no amount of fake crying is able to fix that (despite how much of it is in this movie). Ortega and Keoghan are at least attempting but again they both suck and aren’t given any character beyond their one dimensional service to making The Weeknd seem more cool. 

Like it’s almost impressive just how amazing of a team was assembled around this, and how easy of a slam dunk it should’ve been, and yet it totally misses the mark.

would be totally fucked up in straight person , but this is just how it be.

The no budget, hazy video camera aesthetic to this whole thing, plus Arraki’s purposeful editing, just really makes this film feel so unique and influential in the queer cinema canon.

This being a “Karate Kid” movie, that has to tie things into the prior 5 movies plus the TV show, it does get a bit bogged down in that reference and nostalgia baiting. Having Chan and Macchio show up is pretty cool, don’t get me wrong, but how they’re both used here does feel really reductive to the film overall. Like they barely contribute anything and only show up really in the back third of the movie. The relationship and dynamics don’t feel the same and it kinda takes away from the story they’re telling now.

Like it does play pretty closely to the standard rulebook of how to do a movie like this, which can make it feel a little generic at points, but it still works. The cast is pretty fun and likeable, and I think Ben Wang really kills it in the lead role. 

The fights here are really fun. It all feels really fast and fluid, able to communicate these story beats and even some Jackie Chan style comedic gags. The action is shot with quick handheld movements that accentuate everything while still being able to visually track it all.

However, the edit on this thing feels totally botched. It moves at the pace of a tiktok, flying through moments and plot beats within the blink of an eye, through some badly edited montage scenes with the worst tiktok ass H&M soundtrack possible. They also try do all these stylised kind of text effects and it’s so inconsistently done that it feels tacky and jarring when they use it.

It’s a pretty enjoyable movie overall, and worth seeing for some of the action alone, but I think it does come across as quite messy, despite how strongly it abides by the tried and tested formula of these movies.

This log on letterboxd should also count as like 5 rewatches of the Untitled (How Does It Feel) music video. 👁️👁️

I just think at this point doing satire of AI techbros doesn’t really work because of how openly ridiculous they are anyways. Just feels kinda flat, Succession-lite, not terrible or wrong, just doesn’t have the same kind of bite that it wants to have.

banger, slayed

Watched on Sunday June 1, 2025.

Watched on Sunday June 1, 2025.

I’m disappointed that this movie didn’t build up to Bruce Willis baby flying a plane, like all the seeds were there for it to happen, but this dream was plucked away from my life

Despite how tired some people seem to be with Wes Anderson nowadays, it still feels like he’s at the top of his game, and the fact that he gets to essentially keep making these weird, quirky films in near perpetuity is really exciting. And while it still looks and feels like a Wes Anderson movie, he has been trying to evolve his style and filmmaking in smaller ways with each new film. This time we have Wes Anderson’s take on a conspiracy thriller, filtered through his own weird sensibilities.

The downfall of more recent Anderson films is that they become more ensemble pieces than anything else, where the central characters get lost in the shuffle of quirky Wes Anderson regulars. This pairs things down to a more focused group of three characters, going around meeting all the crazy Wes Gang one by one, while tying in a narrative about capitalism, family, religion. It’s a more conventional narrative, but it still does feel bizzare and wordy and all over the place.

I feel like I need to watch it again to fully sink into what’s really at play with this, but I can say right now that this was a ton of fun. Still maybe not one of his best, but definitely delivers on what you want a Wes Anderson film to do.

Kore-eda getting the chance to make an Apple “Shot on iPhone” short, so of course makes something warm and metatextual about art and life itself, as ever. And as ever, he’s really really good at it.

Shame it means it has to be shot on an iPhone, because it still looks good, but the flat iPhone camera look doesn’t fit this vibe super well and feels more like a tech demo.

So this is (allegedly) the final mission impossible movie. I say allegedly even though this movie really makes itself clear that it's a love letter to the entire franchise, from the very first movie, all the way up to now. It attempts to wrap everything up in a neat bow, up the ante on the insane stunts the series is known for, and complete this decades long story with a bang. And I'm pretty happy to say it pretty much succeeds in that. 

I think the action sequences are obviously incredible. The entire submarine section RULES, The biplane stuff is genuinely pretty shocking how well that's pulled off, and all the usual car chases and fist fights are all very solid.

This movie is just massively overlong in many ways. I don't think this needed to be almost 3 hours long. Like I love that the runtime allows for moments to slow down for emotional scenes, or slowly build tension within these action scenes, but at the same time there's a lot of this movie that feels like it's repeating itself constantly. 

It's much much heavier than the previous M:I films, they do truly heighten the stakes massively, to where having this be the final one does feel fitting. The mission does seem very impossible this go around, which makes it an unrelentingly tense film from frame 1.
I do also love the idea of the big villain basically being an AI. Not for any topical reasons, but I feel like the biggest foil to have for Ethan Hunt in these films is an algorithm that can predict and knows his every move. For such an unpredictable character and series, predictability is the enemy. I can see how the McQuarrie tried to tackle that idea and theme, although maybe it needed to land a little more for me. And that ending, I just... don't like how it resolves itself.

As a film overall, I still think the series completely peaked with Fallout, but I do think this and Dead Reckoning serve to end the series on that high and despite having a couple issues with it, I can't deny these movies still absolutely rule.

Cinema is an illusion, a bag of tricks being exploited to evoke emotions, and A Short Story pushes the language to it's limits, constantly presenting you with new ideas and magical deception in it's imagery and fable-like structure. I can already tell from this 15 minute short that Bi Gan is the real deal and I look forward to now binging all of his work.

genuinely insufferable. Like a ten year old playing with action figures going “what if dinosaur race in outer space with loads of nudity and gore, and what if Mr Beast was there”

it’s fun, it’s cute, basically doing a riff on Creature Comforts but with smart appliances, which is kinda fun for a bit, and then overstays its welcome a bit too long.
Also again another one of these where they could’ve actually done a unique art style for real, but just chose to recreate it in CGI, weird.

Essentially this is Fincher returning to doing a music video, but this time it’s animated (although not real puppetry it seems, sadly). Still, kinda fun and silly, and obviously well edited and assembled

If Martin Campbell’s entire career now is just doing his own fairly generic spins on action movie classics, that’s fine by me. Doesn’t necessarily mean I like them though. 

I will give it this, this film does have a genuine curveball twist that I did not expect… but again doesn’t mean it makes the movie good.

It still has some of that Spielberg magic and gravitas to it, but this movie just feels very confused in itself. It fires in this scattershot manner in of talking about growing up and fatherhood and it becomes this hodgepodge of ideas and gags.

Thud Butt innocent tho.

God damn, I love Jacques Demy so much. He’s able to make a fairy tale about a king wanting to marry his own daughter where, in retaliation, she wears a skinned donkey carcass and flees, and he made that into such a whimsical, pastel drenched classic musical. What a guy, what a movie, colour will never look the same to me again

you just know that Armie Hammer enjoyed getting to pretend to be a dog and really lean into his inner animal… which makes this movie ten times worse.

Aesthetically this film rules, but it is also just a very 2012’s studio reimagining of Snow White

Men will literally wander through the desert aimlessly than go to therapy huh?

Wenders slow, reserved style just embodies these very real emotions, of feeling lost and unfulfilled, having these memories of what has been and having to confront what happened to move on. All this quiet anxiety and fear is slowly bubbling in the background, until it all seeps out in that final scene. An all-timer.

In the opening credits, Chevy Chase's name being immediately stamped out with a big "CANCELLED" stamp feel like a fitting moment

Actually went in a very different direction than what I thought. Thought this would be a more zany comedy about having to pretend to be straight, and lots of silly antics around that, but it’s way more of a dramedy about two queer relationships and the inadequacies and fears surrounding that. Very dramatic and emotional, while still being pretty sweet.

Also Youn Yuh-jung, holy shit just give her the Oscar again, fuck it why not?

God bless the All-Hamster

Holy shit he said “I’m talking nonsense” sabrina carpenter reference! that’s that me espresso!

also, the plastic hammock needs to make a comeback, because why the hell William Holden caked up like that???

Nic Cage going crazy in a parking lot at the hands of this Andrew Tate surfer bro is really a sight to behold

Simon & Garfunkel created a banger so powerful that they had to run it back like 8 fuckin times, incredible.

Dude I just really wanted this to be good, for Ke Huy Quan to have a great leading man action vehicle, but man this isn’t it. 

So sick of these John Wick-core action movies at this point, it’s super played out and getting continually worse and worse.

Massively let down with this one. Gareth Evans returning to do a big cop action film with Tom Hardy should be a slam dunk.

The action is crazy and insane, but it doesn’t feel like an unrelenting rush of insanity like The Raid. For a majority of the front half of this film there’s no action, just pure plot. And the plot is really uninteresting and generic, which wouldn’t be a problem if there wasn’t so much of it. Again, The Raid wasn’t heavy on plot, what was there functioned, and Evans visual storytelling through action did the rest of the heavy lifting.

It also feels a bit less practical and gritty, the opening car chase in particular feels incredibly digital and weightless. The hand to hand fights haver very cartoonish physics and movement to them, which in that case really works, but again it’s sandwiched in-between this bland crime story, where the wacky insane nature of the action feels like a shock to the system.

Such a shame that 25% of this movie is the coolest shit I’ve ever seen, but then there’s a whole 75% of movie attached to it.

Enter the Void is this slow decay into death, the reflection between the life and tragedies building to that moment, and the eventual fragmentation in its aftermath. And all this is told from a very subjective view that creates this trippy, disturbing perspective on death, from realistically experiencing that in a first person perspective, to then becoming this ive observer, viewing your past and future as this out of body experience.  

Gaspar Noé is so great at being able to prompt a physical response to his work, locking you into this tense, hypnotic state through the stories he tells and how he presents them, to just assault your senses at nauseam. I think I prefer the insane, spiralling chaos of Climax, but Enter the Void has this weird ethereal energy to it that makes it such a wild experience.

Feels like something between Mel Brooks genre parody that’s just entirely bits, but idk it’s pretty fargin’ funny. 

Also the fact that Pope Francis rocked with this movie hard is also hysterical, if only we could get Dom DeLuise as the actual new Pope.

It's super refreshing to have a Marvel movie that is actually about stuff, and looks and feels like a movie when taken outside of the Marvel machinery. It's a really fun time that's able to have these snarky, comedic characters with big fun action moments, while not undercutting any of the very real things the movie has to say about depression, loneliness and finding purpose and connection in life. 

Really good stuff, more of this please.

This is like Knives Out if instead it didn’t make sense by the end and if it was weirdly chill with incest

It’s so insane to see just how delusional these Israeli settlers are in claiming superiority and openly celebrating and actively condoning the murder and suffering of millions of Palestinians, all while actively stripping them of any humanity. Fucking disgusting stuff, free Palestine.

Judge Reinhold driving around in a pirate costume is a total vibe.
Really fun, really well written, great ensemble cast, kinda a defining 80’s teen comedy.

The neurodivergent portrayal is kinda not the greatest in many ways, but also can’t help but cheer and throw popcorn at the screen whenever Ben Affleck uses his ing powers.

Cute. It is pretty funny and silly, while still doing all the slasher & rom-com type stuff. I don't know if it necessarily does the rom-com elements super well, it's just that these two actors have really good chemistry and bounce off each other well.

Nothing crazy but a decent time.

Oh yeah, this is a big massive steaming mess from Spielberg here, but I do kinda miss flat out comedies like this having budgets of $150 million (adjusted for inflation) to use on like 1000 extras kicking the shit out of each other with an insane amount of explosions and chaos.

Listen… I’m all for calling shit out if it’s clearly pandering to nostalgia… but when that opening music to Animal Crossing: Wild World started, this movie had me in a chokehold going “OH MY GOD IT’S THE THING I KNOW!!”

Low key of the best video game adaptations ever made.

Did not realise before watching that this film is starring Mickey Rourke, pretty bad timing on my part.

That being said tho, he is really fucking good here.

bro where tf is my magical autism maths and killing people powers, all i know how to do is avoid social cues and stim 24/7

(for real tho, this is a perfectly decent dad action movie that I expected to be Good doctor levels of insufferable, but it’s pretty solid)

RIP Francis, my guy, can’t wait to see which one of these cunty divas will take up the mantle next 🙏💅

Sometimes it’s just how it be, you just gotta be bi and insane

The consequences of Pixar are rough. I don’t need to know about if shoes were alive and wanted to fuck.

Has animation so bad it looked like it was lagging, voice actors who sound half asleep, and music that sounds made up on the spot.

Best movie of the year.

Ryan Coogler has already proven himself as a really incredible filmmaker. His first feature Fruitvale Station was a really strong debut, he was able to revamp the Rocky films into Creed, and then was able to breathe life into the MCU with Black Panther. So getting to see him now, make this original idea, at this large scale is incredible to see, and I think it’s massively paid off. 

Coogler draws from the past, present and future of music, and how it’s this unifying, all powerful force that can transcend time and space and bring people together in a sense of community, where otherwise they’re marginalised. But that sense of community, that kind of power and influence immediately then invites conflict, either from those who want to take back that power, or who want to assimilate that community, robbing that sense of individuality and freedom. There’s really a lot of meat to the film to dig into, there’s a lot of symbolism at play here to really convey this all, while also being a vampire thriller film that goes incredibly hard. Really want to give it a rewatch soon just to piece the ideas together more. 

The way it’s structured is so great, you really get a lot of time to establish these characters and this world before anything remotely surreal or horror adjacent happens, but you get so much time to get invested into everything and all the characters in this insanely stacked ensemble, that once that scene happens, you are completely and utterly locked in for the rest of the film. 

On a technical level this thing is magnificent. The 70mm film cinematography is beautiful, the imagery and lighting created here is stunning and like every 20 minutes there’s some completely iconic shot or scene. The IMAX portions were used so well, it usually kinda annoys me when films are switching ratios like this but here those moments are carefully selected and bring the most impact from that extra scope.

Ludwig Göransson once again delivers a generational, absolutely wild score that breaks the conventions of a regular film score, diving into blues, ambient, metal, hip hop, folk, and throwing it all into a blender of just insanity that totally transports you.

Like I say, I’ll need a second viewing to fully grasp all of what Coogler has to offer, but safe to say this is easily the best work from a filmmaker who’s already been on a total winning streak.

Maybe the best movie of all time? Low key the funniest movie ever made? It's a proto-Pitch Perfect and it fuckin rips so insanely hard.

Really interesting and impactfully told doc. Has a lot of nuance in the discussion about art and culture, how in some ways that’s been stolen through these physical artefact's and how that this part of history and culture has been withheld from the communities who need them. But it’s also exploring how these are only small victories in the grand scale of how many stolen objects of culture are being held by these western institutions. 

It’s got a lot to say in a very short time, and Mati Diop constructs this really intresting framework and tone surrounding it, with an inner monologue of one of the statues being returned, to help further contextualise this process. Combine that with the hypnotising score, and it really grabs you for those full 60 minutes.

Has some amazing scenes and moments, but didn't work fully for me overall. Still, what an insane first movie to come out swinging with.

Moreso than Civil War, I do understand the criticisms being levied at this film. While Civil War is about this fictional, ambiguous civil war, Warfare is a literal recounting of an actual combat situation in the Iraq war. It feels almost an impossible task to make something so personal to your own experiences around war, where one of your co-directors is literally retelling a story from his own life in this way. 

In creating this stripped back, unglamourised, real-time construction of this event, based on recollections of the troops on the ground, it throws out any traditional elements of narrative, there’s barely any prelude, there’s no character backstory or any major arcs occurring, it simply wants to convey the feeling of being in this squad to the audience, down to the nitty gritty specifics. As much as the film does argue for a feeling of objectivity, there’s an unavoidable subjective cloud hanging over the film. 

That’s felt both on a sensory level, where the shifting sound design pulls you in and out of the sonic POV’s of these men, in a way that emotionally drives much of the film in place of these traditional narrative beats, but it’s also felt in the perspective they have on the incident as a whole.

What the film lacks in actual substantive criticism on the Iraq war, it makes up for in how it portrays the warfare itself. The ways in which it can completely destroy you psycologically. Even as highly trained and proficient as they are, these are still a group of young men, being exposed to physical danger and psychological damage, and in that 90 minutes trapped in with them, you definitely see that shift throughout the film. The prosthetic work and the performances from the ensemble really convincingly holds that sense of horror.

What gives the film it’s ambiguity is in those details the film rarely lingers on. There is no real objective or purpose behind their occupation of this home in Iraq (or at least, there is no solid reason conveyed to the audience). The US soldiers arrive and depart from this home akin to a natural disaster; arriving unexpectedly, leaving chaos behind, with little regard for those left in it’s wake. There is a valid criticism in how the film largely sidesteps the opposing end of the US squad, especially the Iraqi family whose home they occupy, and even their own translators who are treated as lesser. But again, it doesn’t really have these moments of self aggrandising the military as a system. There’s no dramatic music cues as they gun down these nameless enemies in slo motion, it’s presented in a matter of fact way that allows the audience to draw their own conclusions from what’s being done here. It’s less indebted to the military itself, and more the comradery of the men within it, as seen by the end credits montage of behind the scenes footage from the shoot.

Again, the film almost entirely devoids itself of traditional storytelling structure, to just give you that pure sensory experience, and as an experience, it is really well put together. But sometimes the intention behind what it’s doing and trying to convey is a valid critique. Garland’s approach to storytelling is overall pretty ambiguous, which works in stories like Ex Machina or Annihilation, but can become confused when dealing in more grounded settings like this.

The fits in this movie are wild, I love the genre of Mark Ruffalo running around europe playing tricks on people.

Should be much more of a cult classic than it is. Kinda Rian Johnston at his silliest, in a way that almost feels like a larger examination of his role as a storyteller and showman.

1. Sinners
2. Mickey 17
3. Black Bag
4. Companion
5. On Falling

   *Released in 2025*

6. The Phoenician Scheme
7. The Wedding Banquet
8. Presence

   *Released in 2025*

9. Thunderbolts*
10. One of Them Days

...plus 31 more. View the full list on Letterboxd.

1. Waves
2. It Comes at Night
3. Krisha
4. Hurry Up Tomorrow

1. Home Alone
2. Falling Down
3. GoodFellas
4. The Shawshank Redemption
5. Aladdin
6. The Muppet Christmas Carol
7. Crumb
8. JFK
9. Jurassic Park
10. Point Break

...plus 60 more. View the full list on Letterboxd.

1. Smiley Face
2. Nowhere
3. Totally F***ed Up

1. Dead Poets Society
2. Kiki's Delivery Service
3. Do the Right Thing
4. Cinema Paradiso
5. Ferris Bueller's Day Off
6. Back to the Future
7. My Neighbor Totoro
8. The Princess Bride
9. Midnight Run
10. Clue

...plus 45 more. View the full list on Letterboxd.

1. Clueless
2. Fast Times at Ridgemont High
3. Look Who's Talking
4. Johnny Dangerously
5. National Lampoon's European Vacation

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

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

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

1. The Mask of Zorro
2. Casino Royale
3. The Foreigner
4. Cleaner

1. The Fabelmans
2. Jurassic Park
3. Raiders of the Lost Ark
4. Jaws
5. West Side Story
6. Indiana Jones and the Last Crusade
7. The Terminal
8. Catch Me If You Can
9. Close Encounters of the Third Kind
10. The Adventures of Tintin

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

1. The Muppet Movie
2. Dog Day Afternoon
3. One Flew Over the Cuckoo's Nest
4. The Godfather
5. Network
6. Eraserhead
7. Apocalypse Now
8. Rocky
9. Fantastic Planet
10. Close Encounters of the Third Kind

...plus 45 more. View the full list on Letterboxd.

1. The Young Girls of Rochefort
2. The Umbrellas of Cherbourg
3. Donkey Skin

1. PlayTime
2. Mon Oncle
3. Trafic
4. Monsieur Hulot's Holiday
5. Jour de Fête

1. It's Such a Beautiful Day
2. Moonrise Kingdom
3. Amour
4. s Ha
5. Django Unchained
6. Seven Psychopaths
7. The Act of Killing
8. 21 Jump Street
9. ParaNorman
10. Chronicle

...plus 35 more. View the full list on Letterboxd.

1. The Shining
2. The Elephant Man
3. Paris, Texas
4. The Empire Strikes Back
5. The Thing
6. Raiders of the Lost Ark
7. Amadeus
8. Blow Out
9. My Dinner with Andre
10. Raging Bull

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

1. 12 Angry Men
2. Singin' in the Rain
3. Rear Window
4. Rashomon
5. Paths of Glory
6. Sunset Boulevard
7. Mon Oncle
8. Some Like It Hot
9. Vertigo
10. The Seventh Seal

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

1. Double Indemnity
2. Sunset Boulevard
3. Some Like It Hot
4. Sabrina

1. Le Samouraï
2. The Umbrellas of Cherbourg
3. The Face of Another
4. The Young Girls of Rochefort
5. PlayTime
6. The Sound of Music
7. West Side Story
8. The Producers
9. The Graduate
10. 2001: A Space Odyssey

...plus 19 more. View the full list on Letterboxd.

1. The Raid
2. The Raid 2
3. Apostle
4. Havoc

1. Fantastic Mr. Fox
2. Up
3. Coraline
4. Mary and Max
5. A Town Called Panic
6. Inglourious Basterds
7. Thirst
8. Jennifer's Body
9. Brüno
10. Mother

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

1. Climax
2. Enter the Void
3. Lux Æterna

1. Guardians of the Galaxy Vol. 2
2. Spider-Man: Homecoming
3. Avengers: Infinity War
4. Guardians of the Galaxy Vol. 3
5. Black Panther
6. Thunderbolts*
7. Guardians of the Galaxy
8. Avengers: Endgame
9. Captain America: The Winter Soldier
10. Iron Man 3

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

1. Unaccompanied Minors
2. A Simple Favor
3. Another Simple Favor
4. Spy
5. Ghostbusters
6. The Heat

1. Swing Girls
2. The Incredibles
3. Shaun of the Dead
4. The SpongeBob SquarePants Movie
5. Before Sunset
6. Napoleon Dynamite
7. The Terminal
8. Spider-Man 2
9. Mean Girls
10. Eternal Sunshine of the Spotless Mind

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

1. The Empire Strikes Back
2. Star Wars: The Last Jedi
3. Star Wars
4. Star Wars: The Force Awakens
5. Rogue One: A Star Wars Story
6. Return of the Jedi
7. Star Wars: Episode III – Revenge of the Sith
8. Solo: A Star Wars Story
9. Star Wars: The Rise of Skywalker
10. Star Wars: Episode II – Attack of the Clones

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

Because this'll be the first year where I'm using Letterboxd from the get go, I will try to write a review for every 2018 movie I see, which should be fun

2018 Shorts Ranked

1. Eighth Grade
2. Hereditary
3. Spider-Man: Into the Spider-Verse
4. The Miseducation of Cameron Post
5. Blindspotting
6. Minding the Gap
7. First Reformed

   *Released in UK cinemas June 2018*

8. Sorry to Bother You
9. The Favourite
10. Shoplifters

...plus 151 more. View the full list on Letterboxd.

1. La La Land
2. Paterson
3. Raw
4. Hunt for the Wilderpeople
5. Moonlight
6. Jackie
7. Tickled
8. Popstar: Never Stop Never Stopping
9. The Handmaiden
10. Arrival

...plus 79 more. View the full list on Letterboxd.

1. Despicable Me
2. Minions: The Rise of Gru
3. The Super Mario Bros. Movie
4. Despicable Me 2
5. Despicable Me 3
6. Despicable Me 4
7. Sing 2
8. Sing
9. The Secret Life of Pets 2
10. The Lorax

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

1. Children of Men
2. The Prestige
3. Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan
4. Little Miss Sunshine
5. Pan's Labyrinth
6. Casino Royale
7. The Pink Panther
8. This Is England
9. Paprika
10. The Host

...plus 40 more. View the full list on Letterboxd.

1. Synecdoche, New York
2. WALL·E
3. Still Walking
4. The Dark Knight
5. In Bruges
6. Speed Racer
7. Bronson
8. Kung Fu Panda
9. The Wrestler
10. Ponyo

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

1. Black Swan
2. The Wrestler
3. The Whale
4. mother!

1. Black Mirror: San Junipero
2. Black Mirror: Eulogy
3. Black Mirror: Fifteen Million Merits
4. Black Mirror: Shut Up and Dance
5. Black Mirror: White Christmas
6. Black Mirror: The National Anthem
7. Black Mirror: USS Callister
8. Black Mirror: Common People
9. Black Mirror: Hang the DJ
10. Black Mirror: Bandersnatch

...plus 22 more. View the full list on Letterboxd.

1. Before Sunrise
2. Ratcatcher
3. The Truman Show
4. Toy Story 2
5. Trainspotting
6. Good Will Hunting
7. Fargo
8. But I'm a Cheerleader
9. After Life
10. The Iron Giant

...plus 78 more. View the full list on Letterboxd.

for the record, the Community paintball episode is my real number 1 pick

1. Avengers: Infinity War
2. Avengers: Endgame
3. Captain America: The Winter Soldier
4. Captain America: Civil War
5. The Electric State
6. Cherry
7. The Gray Man

1. Sinners
2. Creed
3. Fruitvale Station
4. Black Panther
5. Black Panther: Wakanda Forever

1. I Saw the TV Glow
2. Nickel Boys
3. Hundreds of Beavers

   *Released in 2024*

4. Sing Sing
5. I'm Still Here
6. No Other Land
7. Nosferatu
8. Dune: Part Two
9. Look Back
10. Challengers

...plus 122 more. View the full list on Letterboxd.

Their best work is when Joel co-wrote Garfield

1. Inside Llewyn Davis
2. Fargo
3. No Country for Old Men
4. O Brother, Where Art Thou?
5. True Grit
6. Burn After Reading
7. Hail, Caesar!
8. The Ballad of Buster Scruggs
9. Miller's Crossing
10. Blood Simple

1. Knives Out
2. Glass Onion
3. Star Wars: The Last Jedi
4. Brick
5. The Brothers Bloom
6. Looper

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

1. Parallel Mothers
2. Women on the Verge of a Nervous Breakdown
3. Pain and Glory
4. The Skin I Live In
5. The Room Next Door

1. Mad Max: Fury Road
2. Room
3. World of Tomorrow
4. The Revenant
5. Anomalisa
6. Creed
7. The Lobster
8. Son of Saul
9. The Martian
10. Magic Mike XXL

...plus 62 more. View the full list on Letterboxd.

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

1. The Social Network
2. Scott Pilgrim vs. the World
3. Black Swan
4. How to Train Your Dragon
5. Inception
6. Who Killed Captain Alex?
7. Toy Story 3
8. Tangled
9. True Grit
10. Kick-Ass

...plus 31 more. View the full list on Letterboxd.

1. Napoleon Dynamite
2. Nacho Libre
3. A Minecraft Movie

1. Rango
2. MouseHunt
3. Pirates of the Caribbean: The Curse of the Black Pearl
4. Pirates of the Caribbean: Dead Man's Chest

1. Caché
2. The Squid and the Whale
3. Brick
4. Batman Begins
5. Thank You for Smoking
6. Kiss Kiss Bang Bang
7. Wallace & Gromit: The Curse of the Were-Rabbit
8. Lady Vengeance
9. Pride & Prejudice
10. Corpse Bride

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

1. The Blues Brothers
2. An American Werewolf in London
3. Beverly Hills Cop III

1. Beverly Hills Cop II
2. Top Gun
3. Days of Thunder

1. Baby Invasion
2. AGGRO DR1FT
3. The Beach Bum
4. Spring Breakers

1. The Social Network
2. Fight Club
3. Gone Girl
4. Zodiac
5. Se7en
6. Panic Room
7. The Killer
8. The Curious Case of Benjamin Button
9. The Girl with the Dragon Tattoo
10. Mank

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