Long-overdue revisit after only seeing this once years ago. So much better than I ed; downright revelatory this time around. Oppenheimer is firmly Nolan’s best, but this jumped up to a close second for me. There’s parts of it I can understand taking issue with, but I just can’t help but be completely won over by the gargantuan scale and ambition of it all. The spectacle is overwhelmingly gorgeous, of course, but what really made it click for me this…
Top-tier Nolan for me. This improves so much on second watch after taking the “don’t try to understand it, feel it” line to heart. This time, I just went along with the ride and let it wash over me, and I came around to fully loving it. As a work of pure spectacle, this has few recent matches. Nolan’s craft here is so confident and assured. One of the most formally exciting blockbusters of the last decade. I may not…
I started typing out a more detailed review of this, and then promptly deleted it because there’s nothing I can say that would properly do this justice. I’m at a complete loss of words for this. One of the most staggering, monumental, life-changing works of art I’ve ever witnessed. Cannot believe this exists and that I’m lucky enough to be able to see something like this. Holy shit!!!!!
You could argue that this is maybe too heavy on the exposition at points and a little overly sentimental, but there’s a heart-on-its-sleeve earnestness to the sentiment that really resonated with me. Found this quite moving and beautiful in its unadulterated awe and wonder at the vastness and limitless possibilities of what could be out there in the universe. Also love how this basically beats Arrival and Interstellar to the punch by 15 or so years.
Absolutely adored this. Right up there with Evil Dead II in the pantheon of horror comedies. One of the most deliriously entertaining experiences I’ve had watching a movie recently. Right from the jump, Stuart Gordon lets us know he isn’t fucking around. This is filled to the brim with gleeful absurdity, imaginative set-pieces, and some of the most gloriously disgusting practical VFX work in cinema history. The final act especially is an all-timer stretch of horror. Had me losing my shit at every increasingly unhinged gore gag. Sublime on every level. A cult masterpiece.
Can’t believe I’m actually out here caring about an MCU movie again. I’m the last person to want to it to loving a new one of these in 2023, so I’m as surprised as you are to see that Gunn got to go out on his own and stick the landing. Maybe a step down from Vol 2 (which remains easily the peak of the whole affair), but it’s so refreshing to see one of these feel like a…
Easily the best MCU movie, and probably the only one I would go as far to say I sincerely love. So far beyond everything else in this dumbass franchise that it’s almost unfair. A dynamic, rousing, colorful, and emotional blockbuster about the importance of accepting and moving on from familial trauma, and finding your own true family in the process. Genuinely moving in a way none of these other movies have even come close to approaching. Marvel never deserved a movie as good as this, and it’s a miracle we even managed to get it in the first place.
I completely stopped giving a shit about the MCU a long time ago, but I have fond memories of the Guardians movies and the characters are the only ones in this stupid franchise that I still care enough about to see through to the end, so I figured I should give these a revisit before seeing the new one. This still has some of the same problems that typically bore me with Marvel, the action kinda sucks, and by the…
Finally completed Lynch’s filmography; I saved this one for last knowing it’s unanimously considered his worst, and yeah, it is. I ashamedly have still not read Herbert’s book, but it’s easy for me to tell that this is a terrible adaptation, and pales in comparison to Villeneuve’s version (which is undeniably a much better movie on all fronts, despite how much I want to be loyal to Lynch). And yet, this still kinda rules in its own weird ways. It’s…
Didn’t love this, but there’s still undeniably some interesting things going on here. Felt like a lot of cool ideas and concepts that just didn’t really go anywhere. A step down from Possessor, but just as in that film, Brandon Cronenberg has a strong sense of mood and atmosphere that does a lot of the heavy lifting here. At its best, this has a psychedelic, assault-on-the-senses fever dream quality that I really liked. It’s nice that Cronenberg Jr. inherited his dad’s…
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Really liked this. Don’t want to get too caught up in comparisons to his namesake, but it’s impressive how much Cronenberg Jr. manages to stand apart from his dad while also unavoidably inviting comparisons to his films by working in such similar territory. This has a really strong sense of mood and atmosphere, fascinating ideas about corporatization and dehumanization, and a generous helping of genuinely nasty and gruesome shocks. Some very upsetting and memorable practical effects work here.…