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That was a great performance by a young Anthony Hopkins—his range as an actor is fantastic. I’m not sure why he shouted some of his lines when it didn’t seem necessary, but I can live with that.

The story takes a while to get going. The first half focuses on a struggling ventriloquist who clearly has a dark secret, though we can’t quite pinpoint what it is until the second half—and that’s where the magic happens. It shifts into full psychological horror, carried almost entirely by strong performances. At times, it’s genuinely disturbing—not because of anything supernatural, but because of the situation the main character is trapped in, if you can say that.

I thought it was fantastic. It really pays off if you’re patient. And I mean, how could you say no to a great Anthony Hopkins performance?

Well… they were psycho alright. To be honest, it was pretty good. I watched the 1998 version, but there’s also a 1994 SOV version I still need to check out. I enjoyed it for what it was. It feels low-budget and has lighting that kind of resembles a porno, but it features a high body count. The sisters go on a killing spree, targeting every man they come across, as revenge for a group that killed their sister years ago. The gore is surprisingly well done, and even though it doesn’t always make sense, it’s still an entertaining watch.

Watched on Sunday June 1, 2025.

Boring, not much to say to be honest. It’s nice to explore Australian exploitation cinema once in a while but I definitely didn’t enjoy this one. Nothing happens in almost the whole movie and the mystery just wasn’t compelling enough to move at a slow pace.

Huh… I thought this was going to be a horror movie based on the Troma logo at the beginning, but it definitely wasn’t. It’s a shot-on-video thriller about a dance instructor who used to be a drug dealer. He’s trying to get his life together and stay sober, but—surprise—his past comes back to bite him in the ass.

I’ve seen a lot of comparisons to other dance movies, though it clearly doesn’t measure up to the more commercial dance/thriller films. Still, it’s in that ballpark. The dance sequences aren’t groundbreaking, but they’re decent, and the synth-like soundtrack was great.

The plot is all over the place—sometimes confusing, sometimes underwhelming—but I was entertained the whole time. Maybe it’s a loose allegory about addiction and the struggle to accept your past. Just below average overall, but still fun.

Watched on Tuesday May 27, 2025.

To be fair, it’s not that bad— definitely way worse out there, but it wasn’t good either. After the absolute cringe dance-off in the middle of a slasher situation, I couldn’t concentrate anymore lmao. I think it relied solely on the 80s atmosphere, but even that wasn’t done well. Just slap on a few classic ’80s songs like Cruel Summer and Sweet Dreams, throw in some extravagant hairstyles, and call it a day. It didn’t feel like the actual 80s—you’re just constantly reminded it’s 1988 because they mention it multiple times.

The first 20 minutes are just weird, like they did the absolute minimum to get through the backstory as quickly as possible so they could jump to the main attraction: the prom dance (1988, in case you forgot again). That’s where 3/4 of the movie takes place, and it’s the lamest prom ever. Like, it’s logically impossible that no one notices the prom queen candidates going missing one by one. It doesn’t feel like a party—it feels like a movie set. And that was lame.

Naturally, every character—including the final girl—is an asshole. Like, cartoonishly asshole. But whatever, let’s talk about the positives.

One thing I really liked was the kills. There were a couple that were cool, original, and super gory. The highlight kill in this one is when the killer uses a guillotine paper cutter to slice off both hands and decapitate the poor bastard. That was cool as hell.

The killer’s design was pretty decent too. Nothing groundbreaking, but it definitely stands out compared to the many failed slasher costumes over the years. I also really liked the twists and turns the story took—especially in the last 15 minutes. I thought that part was great, and it actually brought something fresh, even if the killer’s motives were kinda over the top.

Overall, not completely terrible—not dogshit by any means—but it wasn’t very good either. Just a below middle of the road slasher film set in the 80s that could’ve been so much more.

Watched on Sunday May 25, 2025.

Fuck y’all. Jason X is fucking awesome.

So here we are at the end of the line—the end of the franchise, the farthest point in the timeline, and the last classic Friday the 13th movie ever made. This is probably the most ambitious and ridiculous idea for a franchise like this, but… it works. It goes full sci-fi slasher, and it’s honestly very, very entertaining, with a high body count and some of the most ridiculous situations ever put to screen.

The story is… something. Buckle up.

They finally captured Jason in 2010 and turned Camp Crystal Lake into a research facility. So, they tried every method of execution—and, naturally, nothing worked. So, they decide to cryogenically freeze him. Fast-forward 400 years: they discover his frozen body and bring him aboard a spaceship heading to Earth 2. And of course, shit goes wrong lmao.

Most of the movie is just Jason (played by Kane Hodder for the last time) stalking a spaceship and killing every horny teen in his path. The cherry on top of this shit sundae is when they finally kill him—only for his body to land in a medical regeneration machine. Enter Über Jason: a big-ass, metal tank motherfucker who’s basically indestructible. He is fucking amazing. I think that’s what made this movie soooo iconic.

Over the years, I think fans have started to come around and appreciate this movie for what it is. For me, it’s one of the best sequels in the franchise. It’s non-stop blood and guts, packed with campy sci-fi space nonsense, and loaded with the worst one-liners ever—but it’s an essential Friday the 13th movie that just works. It may not be everyone’s favorite, but it’s a proper send-off for the character until the decent remake.

This is the kind of movie where you need to turn off your brain, embrace the ridiculousness, and just enjoy the ride. Honestly, it might be the best “goes-to-space”-themed horror movie ever.

So here we are, really at the end of the line. The franchise was officially dead as a standalone after this movie, until Freddy vs. Jason came out a couple years later, followed by the remake. But we haven’t had a proper Friday the 13th movie in over 16 years—even after Jason dominated the 80s and pop culture.

Jason is cemented as one of the core horror icons of our generation—and for generations to come. The franchise has had its ups and downs, but it’s still awesome to revisit every now and then.

Jason rules.

I’m not afraid to safely say that this is the absolute worst Friday the 13th* movie in the franchise (notice the big asterisk on the holy name). Why did I buy it for like the fourth time—this time in 4K? Because I’m financially irresponsible, lmao. And honestly, I wanted to give it another chance.

So, what do I think about it after all these years? I think it’s still absolute fucking dogshit. I kinda appreciate that they at least tried to do something different and break the monotony, but come on—people watch these movies for fucking Jason, not some random body-snatching plot where he only shows up at the beginning and in the last 10 minutes. I don’t want to see another random, uninteresting guy get possessed by Jason and start killing in his name. It just ruins the whole game.

The plot is a convoluted, incoherent mess. Not that this franchise is known for its deep storytelling, but in trying to be different, they completely lost themselves in their own half-baked ideas.

There are two things I love about this one. First is the design of Jason—he just looks awesome, an absolute fucking tank, played once again by the man himself, Kane Hodder. Second is the ending, when Jason finally gets dragged to hell (don’t worry, he’ll stop by space next), and Freddy’s glove comes out of the ground and grabs his mask. The hype was real, but we’d have to wait a while before that epic showdown.

Overall, I hate this movie as a Friday the 13th entry. As a regular body-snatching horror flick, it’s still below average. I really wanted to give it another shot, but it just doesn’t work for me. But hey—it’s the last bump in the road before we get to the most ridiculous Jason movie ever made… To space we go! 🚀

The prospect of having Jason outside of Camp Blood was fascinating—every previous movie had been set there. But then this movie comes along and finally Jason leaves for… a boat? 🛥️

I know, I know—the “Jason Takes a Boat” joke has been done to death, but it’s still hilarious and hard not to mention, considering that like 3/4 of the movie takes place on a fucking boat headed to NYC. Supposedly, the budget was super low, so they couldn’t afford to shoot much in actual New York. There are only a few select scenes filmed there, and it’s painfully obvious they’re not in the city—until that awesome Times Square sequence.

It’s funny because the franchise was very successful. It’s not like they didn’t have money to put into this sequel, but I guess Paramount wanted to keep it cheap. So yeah, the promotional material was kind of a lie. Maybe the movie should’ve been called Jason Takes Manhattan* (20 minutes only).

As for the movie itself—if you can get past the false advertising—it’s actually a better-than-average slasher, with a surprisingly high kill count that kicks off in the first few minutes. That’s exactly what I want: slashers that move fast and don’t waste time. And this one checks those boxes. The plot is basically nonexistent, but whatever—at this point, you’re watching purely for Jason.

Once they get to New York (which doesn’t happen until 63 minutes into a 100-minute movie), it’s awesome. Of course, the characters get mugged and try heroin the second they get there—lmao. I think this was the only time we saw Jason outside of his usual setting (unless you count fucking outer space), and it’s kinda surreal watching him casually chase someone through Times Square—lol. Even the iconic I ♥️ NY poster is such an amazing piece of art. 

Speaking of Jason, he doesn’t look quite as cool as he did in Part VII, but he’s still an absolute tank. And now that I think about it, this might be the first film that gave us a definitive ending. If you stop watching here, you’ll actually feel like the story’s complete… kinda.

This marked the end of the Paramount era for Friday the 13th. It really was the end of an era—the franchise was never this popular again. New Line Cinema bought the rights and went on to make some… questionable sequels. But that’s a story for another time.

Telekinesis??? Uhhh… sure, why not.

To be honest, this is my favorite Friday the 13th movie just because of how Jason looks. He’s an absolute unit, played for the first time by the legendary stuntman Kane Hodder. The little details—his decaying corpse, the broken mask revealing part of his face, the actual face reveal — are just iconic.

Once again, this movie was severely chopped up by the MPAA, and it shows—the kills happen waaaay too fast. The scene where he grabs a poor teen in her sleeping bag and smashes her into a tree could’ve been one of the greats if they’d just let him hit the tree more than once.

Honestly, as ridiculous as it sounds, someone with telekinesis battling what’s left of Zombie Jason weirdly works. It’s a very entertaining slasher film. Not as good as Jason Lives, and yeah, the one-dimensional characters aren’t memorable—they’re just meat for Jason. But still, it’s classic slasher entertainment: horny teenagers getting chopped up, but with more effort than the lazier slasher movies.

By this point, it’s clear they were running out of ideas for compelling plots, so most of the effort went into Jason’s appearance and coming up with somewhat original kills. That said, it flows well, it’s never boring, and it’s just awesome seeing Jason at his peak. Not a bad sequel by any means—for me, it’s one of the best and easily the one I’ve rewatched the most over the years.

So far, all seven movies have been backwoods slashers. Where could Jason possibly go to break the monotony? New York, of course… kinda.

Jason is back! (for real this time lol), and he is not fucking around in this one. The Zombie Jason era is my favorite to be honest. Jason looks sooooo cool in this one, and he’s extra pissed off—he’s one unstoppable ruthless son of a bitch throughout the entire movie. I love it.

I mean, he was peacefully resting in hell until dumbass Tommy (played by yet another actor) decided to visit his grave, dig him up just to see if he’s still there, and burn his corpse. What could possibly go wrong? Well, he gets struck by lightning and revived. Simple, stupid, but effective.

Jason probably has the most screen time in the entire series here. I guess they finally realized people come to see Friday the 13th for Jason—not for a coherent plot. There’s even a nod to this when the caretaker says, “Dug him up? People have weird ways of entertainment.” Yes. Yes we do.

Speaking of the plot—it’s not completely bad by slasher standards. It’s pretty straightforward. Thom Mathewes as Tommy was great, even her horny companion Jennifer Cooke was good. What stands out is how the movie leans into a more comedy/slasher tone, with some weird slapstick moments that feel a little out of place. But honestly, it’s not a bad thing, because by this point the series was already becoming a joke of itself. But it’s self aware, and it was the best approach.

For us Jason fans, we ate good—and we still do—because this is a fan favorite in the franchise. And I have to agree: it’s one of the best in the series. The movie flows well, with never a boring moment where you’re just waiting for something to happen. It dives straight into the blood and guts from the very beginning and doesn’t stop until the very end. It’s a great sequel, with a great-looking Jason, a high kill count, some original kills, and just a great slasher overall.

Holy shit I can’t believe I just watched a new Final Destination movie—and holy fuck I can’t believe I’m about to say it’s the best in the series.

This is a sequel made with real love for the franchise (especially the second one, for whatever reason), and it’s the best use of the “Bloodlines” tagline I’ve ever seen in a horror movie. Usually, that kind of subtitle is just a cheap excuse to introduce new characters, but this time they actually expanded the lore around it—and it works.

Everything feels… different, in the best way possible. You can feel it right from the classic opening premonition. The tension is incredible—the absolute, impending doom hanging in the air is fantastic. I loved that the premonition ran longer than usual. It kept teasing you, making you think everything was about to go to shit, but it didn’t… until it did, and that just kept you on edge, watching every little detail. Brilliant.

Everything else? Just awesome. It’s your classic Final Destination bullfuckery—it doesn’t take itself too seriously, but still manages to set up completely ridiculous, over-the-top situations that are also original, which is huge since we’ve pretty much seen it all before. But this time, it all feels fresh. The cast of characters are interesting, many useless and annoying, especially the dad, but mostly likeable. There are so many cool kills—especially the MRI machine one, and that absurdly insane garbage truck scene. Watching that person get graphically crushed to death was just… wow. Classic Final Destination. Speaking of death, that theme of death being all around us is still front and center, and somehow they still kept things unpredictable and intentionally ridiculous, something that got old maybe in the fourth movie.

Overall, I really think this is the best entry in the series and a triumphant return to the franchise. If they’re gonna keep making them with this level of quality—please, keep them coming.

And oh boy… I almost cried when Tony Todd showed up. That speech of his—goddamn. It felt like a personal goodbye to us, and it really was. I miss the man. Thank you for everything my Candyman. ♥️

You guys are never gonna believe this… but Jason is back! I know, I know—you’re surprised. How could they possibly make six more fucking movies after one called The Final Chapter? The final chapter of what, exactly? Maybe the final chapter of not making enough money and finally deciding to milk the franchise to death.

Honestly, I don’t blame them. By this point, Jason had become a pop culture icon. Whether you agree with the move or not, it was a smart business decision.

Growing up with this franchise, I have to it—I don’t like this one all that much. And that’s mostly because of the final plot twist. For me, it just ruins the whole thing. It’s painfully obvious, especially once the poor dude gets literally axed. If you’re paying enough attention, you can see it coming a mile away.

Sure, it has a high kill count with some cool deaths. But most of the time, you don’t even see Jason—just his hands or arms swinging a knife or whatever tool he’s using to mess someone up. Now that I think about it, if you don’t count the opening dream sequence, you really don’t see Jason with the mask until one hour and 10 minutes (yes I checked).

I do like the continuity of bringing Tommy back as an adult after the trauma he went through in The Final Chapter. What I don’t like is how they made him look like a total chump. He should be the one who isn’t afraid of Jason, the one who starts hunting him down because he’s already faced him and kicked his ass. But whatever.

To be fair, the movie isn’t boring. It’s actually pretty entertaining as far as campy slasher films go. Definitely miles better than your average one, but that damn plot twist… I still can’t stop thinking about it, and not for the right reasons. Like I said, it tarnishes the name Friday the 13th, so I just toss the movie aside. Speaking of plot twist, the other plot twist at the very end went absolutely fucking nowhere. So yeah, if you skip this one you won’t miss anything, not like it has a recurring story but you’ll get the point when you watch the series. 

Buckle up though—because next, we enter the Zombie Jason era. 🧟

“The Final Chapter”… yeah, that was a fucking lie lmao.
Now that we think about it, it’s funny as hell considering there are still like 6 or 7 movies left if you count Freddy vs. Jason. But for the time, it really was the final chapter (for about two years). They actually gave the movie an ending that shifted the narrative to our new recurring character, Tommy—(just two movies, but hey, better than nothing). He’s an interesting, though sometimes annoying, kid played by Corey Feldman.

This was kind of the first Friday the 13th movie that had kinda character development—not amazing, but still something. I still don’t get why he can control Jason by shaving his fucking head, it doesn’t make sense but whatever. It made the story a bit more engaging. I also liked the continuity here; the hockey mask with the axe wound is hands down the best version of the mask, to be honest.

The movie moves at a decent pace, with a solid kill count, and the group of friends this time around are actually not bad. Everyone’s horny as fuck—but hey, that’s what sold in the 80s. And we even get a young Crispin Glover, which is a nice bonus.

I know this is a fan favorite among us diehards, and I’ll say—it’s good. Not amazing, but good. Probably the most entertaining one so far. Even if nothing is really happening, it’s still a good time. The gore is great too, definitely more graphic than the last three.

So now we say goodbye to the classic Friday the 13th era… and hunchback Jason. But this is The Final Chapter—where could they possibly go from here?

Oh boy…

“A new dimension of terror” my ass. They did the absolute clichéd minimum to make it look like it’s 3D—but it’s definitely not. It ranges from an arrow shot straight at the camera to a hobo holding a piece of fucking chicken in front of it. Most of the time, it’s dumb stuff like that, and it just comes off as cheap and stupid lol.

As for the film itself, even on rewatch, it’s still kinda hard to get through because nothing really happens until the last 30 minutes. That’s classic 80s slasher pacing (and something I always bitch about), but this one definitely feels like a step backward from the first two. Not that the first two are masterpieces, but you can tell they were trying to make a quick buck with this one.

That said, once the carnage begins, it’s a damn good time. The scene when Jason first appears wearing the hockey mask—after stealing it from some dumbass guy—is fucking awesome. Speaking of Jason, he’s finally the menace we know and love, but still a little weak, not the all mighty zombie powerful son of a bitch.

The cast of characters are your typical clichéd bunch. No one really stands out, and some are just plain annoying—especially Shelly, who the writers couldn’t decide if he was stupid or just your average high school jock. At least they gave the final girl some backstory with Jason: she saw him a few years ago, and his face still haunts her. That was a nice touch.

One continuity issue (or maybe they just didn’t give a fuck) is that this supposedly takes place right after the events of Part II, yet Jason looks waaaaaaaaay different. Like, night and day. In Part II, he looks like a deformed middle-aged man with a beard. In Part III, he suddenly looks great—like a semi-undead monster, even if he’s still kind of mortal.

I could write all day about Friday the 13th movies, but overall, this one’s a solid sequel. It becomes a good sequel once the blood and guts start flying. Before that, it’s boring and dull as hell.

Some people say the sequel to the original Friday the 13th is one of the best in the series. I say it’s… okay. It’s definitely better than some of the other sequels and definitely flows better than the original, but overall, it’s just a good time — even if not much really happens until the last 30 minutes.

What stands out is the group of friends; they’re a surprisingly interesting people, and that alone can make a slasher film memorable in its own way. Of course, this is the first film in the series to feature Jason Voorhees as the main villain. He has that iconic sack over his head with one eyehole cut out — no hockey mask until the next movie. The iconic Pamela Voorhees head is there in the altar, and it’s just a really good visual. 

Amy Steel is the highlight here. She’s adorable and makes for a fantastic scream queen. It’s a shame they killed off Adrienne King in the opening scene, but according to her, she was being stalked by a deranged fan, so her safety had to come first. Still, it’s unfortunate — she could’ve been a great lead for future installments.

One very noticeable aspect of this movie is the censorship it suffered to get an R rating. Most of the kills happen off-screen or feature minimal gore. Scream Factory actually found the cut scenes, which you can watch in their box set. If those were incorporated into the film, it would be a very different experience. Personally, I enjoy blood and guts in my slasher films, and many people forget that this entry is pretty light on that.

Overall, I think it’s a good early Friday the 13th film. It still retains the feel of the original — no supernatural elements yet — just a classic summer camp slasher. I fucking loveeee the zoom in to the head at the end just before the credits, it makes you nervous lol

Well, I decided to watch the Friday the 13th movies again and give my obviously non-biased opinion—and I think this movie absolutely rules. Cinema was reborn from the ashes when this was released, and nothing tops it… just kidding… or not?.

To be honest, the first entry in the soon-to-be-legendary horror franchise is kind of boring most of the time. It’s your average (but not terrible) late-70s (even though it was released in 1980) backwoods summer camp slasher but it’s THE backwoods summer camp slasher. It’s about some horny camp counselors fixing up Camp Crystal Lake for reopening after a tragedy occurred there in the 50s. And of course, they start getting butchered one by one.

The kills aren’t particularly spectacular, but the twist ending is the real surprise here—and the jump scare in the lake at the very end definitely catches you off guard because of the context of the scene, great psychology there. The score is amazing and iconic, and cinematography is surprisingly decent. Betsy Palmer is the definitive highlight of this movie, even if she has 10 minutes of screentime. The legacy of this movie is really built on the sequels and how they managed to keep the series alive, all the way to the surprisingly decent 2009 remake. Jason eventually became one of the most iconic figures in horror movie history.

You probably watch the first installment just to get a prelude of what’s to come in the sequels—kind of like the first grueling (for some) step toward the more exciting stuff. It’s probably not a movie you watch on its own without continuing the series, because as I said, it’s an average backwoods slasher—not completely terrible or dull, but just… okay.

Still, whether you liked it or not, this is a very important film in the horror genre—celebrated to this day and likely for years to come.

Also, the 4K Blu-ray looks fantastic—but it’s very dark. You can’t see shit most of the time.

Have you ever watched a “horror” movie where absolutely nothing happens—just a group of dumb ass people looking grim in a “ghost” town while synth music plays? I have. It’s called Scream (1981). Not to be confused with the actually good Scream from 1996.

It was a great war movie that keeps things relatively simple—but that doesn’t mean it sacrifices what makes a war film great: suspense and tension. Speaking of the latter, the first half hour is all about buildup, raising the tension minute by minute, until shit hits the fan—and it doesn’t let up for a full hour.

The story follows a team trying to evacuate wounded soldiers after an IED explosion. It’s based on a true story—one of the many harrowing s of the war—and it’s as brutal as they come. I’ve never been to war, of course, but this film seems to capture the fear, anxiety, tension, hopelessness, and tactical complexity of such an operation in an active war zone. Alex Garland has a striking vision of war on screen, and this movie was excellent. That sound design.. it feeds families. 

The real-life photos shown at the end really made me happy to know the wounded soldiers are alive and kicking—and even helped advise on the making of the film. Not every country has a positive vision of America’s military and can feel like propaganda because it forgets the atrocities of war, but it’s still an inspiring story. Politics aside, the movie is well done, well acted, and well paced. That’s what we’re here for.

Another movie where bullies get exactly what they deserve. Well, maybe not as extreme as slaughtering them—I was thinking more like some jail time—but hey, it’s the 80s and it’s a slasher. A group of sorority sisters prank their house mother (I think?) and accidentally kill her. After that, the sisters start dropping like flies, with an unknown killer butchering them one by one.

Honestly, it wasn’t bad. I expected shit, but I ended up with a very enjoyable slasher that’s well-paced and has a high kill count. The weapon this time was a cane with a sharp edge. Maybe they fucked it up with the ending, but hey!, it’s the ride that counts.

What a great made-for-TV movie but that poster absolutely sucks—it makes it look like a soap opera lol, but it’s nothing like that. It’s a classic cinematic tale of obsession, based on real events, where Laura (Brooke Shields) gets stalked by a coworker until things get very dark, very fast.

The film wastes no time getting things moving, and as a result, the pacing feels just right. This is actually the first film I’ve seen where Brooke Shields doesn’t get sexualized… well, kinda—but at least she wasn’t exploited like in many of her earlier roles.

It’s suspenseful with some solid horror elements that I appreciated. And of course, we can’t talk about the movie without mentioning two things. First, the unfortunate reality many women face in the workplace—stalking and sexual harassment are very real issues, and in this film, so many problems could’ve been avoided if people just… listened. That shit absolutely sucks. At least an anti-stalking law came out of this case. 

Second, there’s some of that sad “classic America” shit—which I won’t go into, because spoilers. Honestly, it was a good movie. I was genuinely surprised by this one.

Wait, what? It was actually good?
In a sea of crappy horror movies produced from the late 70s to the 80s, you sometimes stumble upon a hidden gem—and I think this is one of them. The movie and its plot were genuinely interesting and entertaining throughout the entire runtime. Sure, the kill count is low and not much happens until the last 30 minutes (yes, I always complain about that, I know), but when the slow parts are done well, it doesn’t really matter.

It’s hard to explain the plot without spoiling it, but it revolves around a new college girl who’s trying to find a place to live. Unfortunately for her, the house she ends up in has a dark family secret.

Overall, it was surprisingly good and very enjoyable. Also, Rebecca Balding’s hair was just fantastic lol.

Hell of a dumbass protagonist. Seriously, could he be any more lame? Anyway, the movie is just okay—nothing groundbreaking, nothing new. Just your plain-ass, normal, everyday, no question about it modern comedy slasher film. It wasn’t complete trash, but the stink lies in the writing, especially the characters. The killer reveal was also lame and anticlimactic for me; the plot twist just didn’t work, since I think it happened way too soon for my taste. No surprises left for the final stretch of the movie—and I think that’s where slashers go to die. Kills are almost non existent because they were made off screen.. what the fuck? Still, it was a nice effort by Finn Wolfhard and Billy Bryk, venturing for the first time into the horror genre.

Watched on Saturday May 3, 2025.

It’s weird, it’s creepy, and it’s fucked up. It’s a Cronenberg film alright—but strangely, I wasn’t really a fan of this one. It didn’t engage me the way his later works have. Don’t get me wrong, though—it’s still a well-made film with all the signature elements you’d expect from such a great director.

Trying to explain what the fuck this movie is about won’t do it justice, but at its core, it’s more of a study of a divorcing couple—specifically, the power the woman holds, both physically and psychologically, during the process. I actually thought that angle was pretty interesting.

It becomes fairly straightforward once you understand what the fuck is going on—but that doesn’t really happen until about 30 minutes in, which is classic Cronenberg. Overall, I enjoyed it, but like I said, I wasn’t blown away.

Another “fuck the rich” movie that was fun and original— definitely good, but not great. It’s literally about the unfortunate death of a very real unicorn that gets accidentally run over by Paul Rudd and Jenna Ortega on a trip to meet some obnoxious rich clients. Naturally, the other unicorns go apeshit and start hunting them lmao. Everything is super stupid and doesn’t take itself too seriously. What I liked about the plot, is that humans react exactly as you’d expect to the discovery that this dead unicorn has blood with miraculous healing properties: with greed.

They tried to give some lore to the creatures, but it was pretty convoluted and felt like they didn’t quite know how to piece it all together. Of course, it’s a critique of corporate greed in some ways, but goddamn, every character besides Jenna Ortega (who’s the only one with any common sense) was soooo unlikable—even Paul Rudd, who honestly plays the worst father in the world. And while the “reasons” for his attitude are explained, he mostly just comes off as a dumb asshole for most of the movie.

The comedy leans into sarcastic black humor kind, with some of the jokes were actually really clever. Thanks to its great pacing, it still manages to be a very entertaining fantasy/comedy/horror flick—with some surprisingly good gore and decent enough CGI. It’s a good one-time watch to be honest.

It’s provocative and disgusting—but it’s mostly boring as hell to be honest. It’s really a film about absolutely nothing, and the overall message is just… wrong. At its core, it’s a character study of a woman who can’t connect with anyone and believes her self-worth lies in her body. She takes a job where she’s voluntarily sedated, allowing “clients” to do whatever they want with her—except penetration. It’s just as disturbing as it sounds. Still, I have to give props to Emily Browning; that role definitely took guts, as things get fucked up pretty quickly. Interesting concept though, but as I said, it’s a veeeeeeery slow movie—and odds are, the real Sleeping Beauty will be you.

An airdrop thriller that, surprisingly, works as intended.
Director Christopher Landon seems to have said “fuck logic” and developed the plot however he pleased—but somehow, it works. It’s interesting how the film humanizes awful first dates by mixing in a bit of fantasy, yet the message still comes resonates from the anxiety of the first meeting to making sure the date goes well. The suspense is spot-on, and the twists and turns are genuinely engaging. Meghann Fahy’s performance is just fantastic. I definitely give this movie a thumbs up for its uniqueness, entertainment, its batshit-crazy plot, and its solid performances.

God fucking damn, this movie goes hard as fuck! The most impressive thing about it is that it was filmed in one continuous shot. Holy shit, I don’t know how they pulled this off, but it was absolutely brilliant. I went in without reading the synopsis—just drawn in by the poster (I’m a blockbuster kid, that’s how we did it back in the day)—and it made for a great experience because you’re just as confused as the characters, learning little details as the film goes on. I really recommend doing the exact same thing. The cinematography was solid, the acting was great, the pacing was excellent, and the horror slowly builds up—that’s all you need to know.

Holy shit??? This was sooooooo much fun. Like, the filmmakers really just said “fuck the narrative” and gave us a hybrid of Pulp Fiction, The Warriors and probably Kill Bill, set in 1987 Oakland — and it’s so damn good. The vibes are spot-on, and all the interconnected stories were entertaining, especially the amazing Pedro Pascal one and the batshit insanity that was The Legend of Sleepy Floyd.

Even the music was great — we go from rap to fucking Metallica, and it just… works. It’s hard to even explain what the fuck this is about, but it’s basically a period anthology of interconnected stories involving neo-nazis, hitmen, basketball, and some weird green lighting omnipresent in the world. 

It sounds insanely stupid — and it is — but it doesn’t take itself seriously, which makes it entertaining as hell. Probably one of the best things I’ve watched this year.

trigger warning

A fascinating but mostly tragic story, Christine recounts the real-life case of news anchor Christine Chubbuck, who sadly committed suicide live on air in the 1970s. Her death has unfortunately fueled morbid curiosity among many, especially since the footage is considered lost media, with only the original audio surviving.

With that context, it’s clear that this is a deeply sad story about a woman who had immense ion for her work but struggled to reach the professional success she desired, for many reasons. At the same time, she faced personal struggles — difficulty connecting with others, dealing with the pain of being a virgin in her 30s, and feeling the pressure of limited time to find a partner and have children due to a cyst on one of her ovaries.

The film portrays her gradual descent into depression, ultimately culminating in her tragic death. It is very well produced, capturing the 1970s atmosphere perfectly through washed-out colors and accurate costumes. Rebecca Hall delivers an absolutely stunning performance — arguably the best of her career.

This was an excellent film and a powerful biopic. It may not be for everyone, given the heavy subject matter, but it remains a fascinating case and a timeless reminder of the importance of reaching out to those who are struggling.

People always ask me how the fuck I discover weird and batshit crazy movies. This release is one of the many ways how. It’s a great collection of weird, insane trailers from some of the most obscure movies out there — with a few familiar ones if you’re into weird shit — plus some vintage ads mixed in. Love AGFA♥️

Surprisingly enjoyable film. It’s a giallo with Donald Pleasence—I mean, do you need any more info? It’s an Italian-American production about a guy from fucking Wyoming who has a weird telepathic connection with his sister in Milan. He senses something is wrong with her and decides to go to Italy to find her. Entertaining from start to finish, with a nice plot twist at the end that I didn’t see coming. The thing I like about gialli is that you always get a nice gotcha moment at the end. Killer weapon this time? Long-ass scissors

Watched on Friday April 25, 2025.

I can’t believe I’m back in the theater watching this movie again in the big screen 20 years later for its anniversary. I clearly the first time I watched it in 2005. Still an absolutely perfect film, so fuck you if you think otherwise ♥️

Surprisingly good! I really enjoyed this one. I always complain when nothing happens in movies, but if they make the downtime entertaining, I honestly have no problem—and that’s exactly what this movie did. Everything was interesting from start to finish. It’s a semi-slasher, but I think it works better as a thriller.

The story follows a girl being terrorized by a creepy guy in white makeup and black robes who uses embalming tools to kill. I loved the whole “death”concept, and as I said, the main villain was creepy as hell. The kills are pretty much the same, but they were well done.

A young Bill Paxton shows up, and he’s a joy to watch. I really miss him.

Yet another movie where absolutely nothing happens until the last 20 minutes. Yeah, yeah—there are a couple of actually well-made death scenes in between, but eh… it’s annoying seeing, once again, the final girl with a grim face the entire movie just because she has a bad feeling about the place, while everyone else doesn’t give a fuck about their safety. The atmosphere is good, I guess, but come on—I wanna see blood, guts, and an interesting killer with at least a semi-interesting plot. But, and this is a big “but”, the surrealistic nature of the movie was amazing. Still, it kept me entertained and I liked it for its ambiguity. The last 15 minutes are genuinely great.

A classic cinematic take on obsession, where Creep somehow gets even more indie—if you can believe that. Everything feels… very somber and lonely. It’s a strange atmosphere the film aims for, but it really works. Not horror, exactly, but definitely creepy at times—the kind of creepy where a character is unpredictable and gives off all the wrong vibes. It’s told in a nice semi-circular narrative with awesome synth music that stays entertaining from start to finish. Not perfect, but a great movie overall.

Absolutely nothing happens most of the time (which seems to be a trend based on what I’ve been watching lately), and when it does, it’s just meh. It’s a basic backwoods slasher with some supernatural elements that never get explained or explored. The kills are nothing special, but the design of the “slasher” was somewhat decent—though it’s a shame they only showed him in the last five minutes. It’s boring. Next.

Stupid, but actually really fun. It’s a weird made-for-TV movie where Clueless—or any 90s romcom really—meets Species or Invasion of the Body Snatchers lmao. It’s like a hornier version of Tammy and the T-Rex, but instead of an animatronic dinosaur, it’s this body-changing, weird, paprika eating, horny stingray-alien-looking motherfucker in search of a planet with better resources, but then meets Amanda. 

The comedy is cheesy, outdated, and hit-or-miss—but mostly funny. Nicole Eggert’s character worked for me; she’s a sarcastic asshole Gen X teenager who was a joy to watch, even if her non-stop talking can get annoying at times. It’s 90s as fuck too—minus the flannel shirts and grunge. Honestly, I really wasn’t expecting anything, and I ended up being very entertained by this. 

What the fuck was the gift at the end??

A movie where absolutely nothing happens.

That’s 83 minutes I won’t get back

Kind of a weird-ass horror/slasher movie, but surprisingly entertaining. I found out the director only made porn before and after this film, so you more or less know what to expect. It was fun to see the carnival scene set in 1970s Long Island, and the film mixes in some stock footage—probably because about 85% of the movie takes place inside the carnival, but only around four attractions: the balloon-popping game, the haunted house, the spinning wheel, and the weird gypsy. A wild pre-Rocky Burt Young appears, and he was great as always. Definitely worth a watch if you’re down for some weirdness.

Not bad at all, to be honest. A very entertaining mystery thriller—though at times, it was uncomfortably racist. I get that it’s blaxploitation, but damn, one character was an outright punchable bigot. That said, it speaks volumes about the acting, because there were some great performances. It was surprising to see Mickey Dolenz, the drummer and vocalist of The Monkees, as one of the main characters—he was definitely good. Overall, it’s a great family drama slasher that keeps the mystery alive giallo-style until the very end, even if the most obvious person is the culprit. Everything is very tragic if you think about it, but still entertaining from start to finish

Nothing in this movie makes sense—hell, even the poster doesn’t make any sense at all lmao. But that’s the AGFA way: resurrecting weird-ass grindhouse movies from the dead. And you know what? I’ve got to it, I was very entertained from start to finish.

It’s hard to explain what the fuck this movie is actually about, but it’s kind of a mad scientist horror story. Bro believes evil lives inside mentally disabled people, so obviously, he tortures and kills them. Maybe an early example of torture porn? Also, there’s this weird tentacle thing in the woods that kills people too—but it was never explained what in the holy fuck was that thing lol.

Trash, but not hot garbage. The kind of trash that is entertaining.

Watched on Thursday April 10, 2025.

Watched on Wednesday April 9, 2025.

Goddammit, Bong Joon Ho—this was fucking incredible.

Very creative, imaginative, and original to a certain degree. This is the kind of movie where you have to adjust to its unique style and comedic tone before you can really get into it—but once you do, it’s a magical ride from start to finish. Strangely satisfying and surprisingly heartwarming, it touches on some deep themes—ranging from the meaning of life to a sharp social critique of humanity. 

Robert Pattinson was stellar as always, showing off his range by playing different versions of himself. Mark Ruffalo was excellent too—his character reminded me a lot of a certain orange fuck currently in office. The creature design was really interesting, and since I usually avoid trailers to keep the experience fresh, their appearance was a nice surprise.

I could spot elements of horror, slapstick comedy, and total absurdity—all mixed together almost perfectly. It’s a well-shot, nicely acted, and thoroughly entertaining film with high production value, and definitely one for the books. Maybe I’ll check out the source material.

I haven’t seen any of the Body Snatchers films before, so this was my first exposure lmao, I think it was the wrong adaptation to choose. The concept was definitely interesting, but the movie itself was kind of a convoluted mess. Still, it was entertaining from start to finish, even if it got a little tedious at times. Nicole Kidman totally saved it from being just plain bad—she must’ve had some serious back pain after carrying the whole film. The editing, though, was awful—really bad choices that made the movie feel cheap.

No particular order

• Joyride
• Miracle Mile
• How to Make Millions Before Grandma Dies
• Christiane F.
• Humanist Vampire Seeking Consenting Suicidal Person
• The Brutalist
• Flow
• The Coffee Table
• Fruitvale Station
• Brainscan

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

No particular order

• Guinea Pig: Devil's Experiment
• Death Wish V: The Face of Death
• Fatal Delusion

In no particular order

• The Iron Claw
• Door
• eXistenZ
• Freeway
• What Happens Next Will Scare You
• Butcher, Baker, Nightmare Maker
• Mute Witness
• To Die For
• Civil War
• The Last Picture Show

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

1. Godzilla
2. Godzilla vs. Destoroyah
3. Godzilla vs. Hedorah
4. Godzilla vs. Mechagodzilla II
5. Godzilla vs. King Ghidorah
6. Godzilla Minus One
7. Godzilla Against MechaGodzilla
8. Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack
9. Shin Godzilla
10. Mothra vs. Godzilla

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

• Paris, Texas
• Crash
• Suspiria
• Leave Her to Heaven
• Mulholland Drive
• Double Indemnity
• The Seventh Seal
• The Empire Strikes Back
• Star Wars: Episode III – Revenge of the Sith
• Licorice Pizza

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

yes, both Japanese and American versions of “The Ring” are masterpieces

• Suspiria
• The Exorcist
• The Texas Chain Saw Massacre
• Halloween
• Halloween III: Season of the Witch
• The Return of the Living Dead
• Scream
• Scream VI
• Alice, Sweet Alice
• The Bird with the Crystal Plumage

...plus 37 more. View the full list on Letterboxd.

Suggestions welcomed

• Titanic
• Back to the Future
• Dead Calm
• Back to the Future Part II
• Critters

In no particular order

• Almost Famous
• Benedetta
• Shiva Baby
• Infinity Pool
• Talk to Me
• Past Lives
• Lilya 4-ever
• Show Me Love
• Oppenheimer
• Asteroid City

...plus 20 more. View the full list on Letterboxd.

• Double Indemnity
• In a Lonely Place
• The Big Heat
• Dead Reckoning
• Leave Her to Heaven
• Rififi
• Out of the Past
• Laura
• The Lady from Shanghai