Can feel derivative with the whole concept at times, but there’s enough energy in here from both cast and crew to make this a wild time. Genuinely unsettling in spurts, Zoë Kravitz knows her psychological horror shit alright.

‘One does not simply come and watch a movie just because Sydney Sweeney’s in it.’
       - some guy

It suffers from a lot of things rom-coms usually stumble across (an absolutely non-sensical plot line, undercooked third act, a few hit-or-miss punchlines), but I had the fattest smile on my face as it ended and I think that’s all that really matters. Wholesome as shit!

Happily enjoyed 60% this movie (I was looking away completely or staring through the tiny gaps in between my fingers for the other 40% cause wtf)

Either I’m becoming too soft, or I just witnessed some of the most messed-up and repulsive shit imaginable.

A lot sillier and edgier than what I initially expected, but who doesn’t like a bit of silliness and edginess every once in a while? The ending would have been even more perfect if I didn’t know where it was heading, but still though… WHAT AN ENDING WOWEEEE

Swifties be like:

My quintessential movie form of a drug. Probably the film that gets me the most excited and in love with the art-form than anything that has come before it and anything that dares to come after.

It’s a bit of a letdown that I’m seemingly not on the “Creed” train like everybody else, but I am really only one movie in and haven’t seen any of the films from the original Rocky saga. Still though, Creed at its best is a truly inspiring film rooted with courage and integrity and doesn’t hold back any punches (pun intended). The Jordan + Stallone duo just rules, and this was surprisingly way more dynamic and energetic in its direction than what I initially expected.

Wright kills it here production/aesthetic wise, and once again proves he has just such killer music taste while in the game right now. Sadly, this is close to the definition of a “downhill-going” film. Starts out incredibly intriguing, particularly with the introduction of Anya Taylor-Joy’s character, who far and away gives the best performance in the entire film. It’s just one of those cases where the third act falls completely flat in a mainly thematic sense and kinda ruins a majority of the movie for me, which was already starting to get bogged down with pacing issues and a muddled screenplay midway through.

Might actually be Fincher’s best shot film? I’m not 100% sure, but regardless, winter on a little island in Sweden could never look more bleak but gorgeous in the hands of another director.

There’s not really a similar experience like watching a Fincher film for the very first time - within seconds, its his control over his craft in symphony with the editing (*chef’s kiss*) that completely takes over. 

The ending was surprising to say the least, but I don’t know, I think I liked it?