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Such a beautiful and soulful culmination of empathetic storytelling that ensures to evoke the truest of emotions, leaving an indelible warmth that lingers on our hearts long after the credits roll. Films like these turn themselves into a creative testament to the inherent human experience that is inevitably fuelled by love. Films like this instill hopes upon the minds of individuals that are shattered by the consequences of others' inhumane and selfish behaviours. Films like these rekindle the lost ion to live, laugh and love- a life that everyone deserves. It serves as a stark reminder that human experience is not about relentless hustling and being narcissistic. It mocks the alienation that prevails among even the individuals of closest living proximity in this so-called era of global connectedness. It illustrates that it costs nothing to love and be kind to our fellow humans. An overwhelmingly wholesome film that feels like a warm hug.

Guy Ritchie deviates from his usual crime thrillers to deliver this bland and uninteresting take on globetrotting adventures for lost treasures genre that is synonymous with the franchises like Indiana jones and National treasure. Is there any reason for his recent subpar films that seems to release without any prior hype and ends up for consumption directly on digital media formats.

This film might've been a money laundering operation pulled by sundar c. If you dig his typical commercial elements and could survive the first 2 hrs, you might probably relax yourself to enjoy the last 30 mins of dumb, no brainer fun.

Watched on Saturday May 17, 2025.

Watched on Friday May 16, 2025.

The core reason for Minecraft's success and its perpetual appeal is its faculty of unparalleled player freedom in exploring and transcending its unbounded creative boundaries. The player is only limited with his own imagination, not a mere consumer but architects of their own gameplay. This sandbox nature of the game is open ended and subjective. A film by its very nature a ive medium, which typically needs a predefined and structured narrative, character arcs to thrive, its challenging to translate the spirit and unadultrated joy of creation such a host of endless possibilities has to offer. It becomes limited to the creative agency of the filmmaker and may make the audience discontent, as it would get turned into an object of constant judgement. This rationale might've saved the film from criticisms, if it had any creative merits barely to justify the incredible source material.

The film effortlessly blends alluring animation and an action packed narrative that serves as a reinterpretation of chinese mythology to cater to the fervour for novelty among the masses. Despite its somewhat unfinished appeal or abrupt nature, the powerful narrative essentially explores the 'nature vs nurture' psychological concept that deals with individual's innate qualities and predisposition. It plays around with different ways of discrimination and societal prejudice prevailed in such mythologies while championing the idea that such heaviest burdens of prejudice and destiny can be overcome with one's free will and concious choice of their actions which might even lead to redemption and heroism.

A gruelling recreation of the gut wrenching horrors of warfare that is guaranteed to leave you shell-shocked. The utilisation of sound design to create a viscerally chaotic and upsetting atmosphere was brilliant. But in retrospect it feels more like a video game mission, lacking any sort of emotional emphasis.

It was so uncompelling that i took 3 business days to finish watching it. Watching compilation of action scenes from Gareth Evan's Raid duo would be a lot more interesting than this.

Retro, an endeavour brimming with potential succumbed to mediocrity with lackluster writing, incompetent execution and overzealous approach. The ambitious narrative was sprawling unfocused all over the place trying to encom a number of themes, skimming the surface of different genres, mythological implications and contrasting subplots, only to leave all of them undeveloped and move to the next, becoming a collection undeveloped potential. Even the central theme of the film, Love, Laughter and War did not come to its full fruition and remained superficial. Suriya's painstaking effort to exhibit himself as a distinguished performer has been watered down by his poor characterization. Though Sana's music and solid technical elements tried to the film that's crumbling on its own ambitiousness, the weight of its sprawling narrative and underdeveloped characters proved their might. The prolonged single shot sequence was brilliant, as well as the ideas that got played around proved to be intriguing, the philosophical elements showed a hint of sophistication, some scenes evoked emotions yet nothing made an in-depth integration with eachother, hence leaving the viewer be amused at it's different components but not the whole film as an entity. Trying to be too many things at a time, in the end it only bound to become a stylish entertainer that lacked any depth of substance.

Bong Joon-ho's Mickey 17 is a distinctive divergence from its source material, Edward Ashton's Mickey7, and the result is a unique dystopian cinematic experience. While the book emphasizes being introspective and the exploration of identity fluctuated by the cloning through morbid humour, the film amplifies the narrative with a sharper socio-political satirical edge and a more immediate sense of danger. The book deals with the broader aspects of human space exploration and colonization, while the film sheds light only on an isolated event making the stakes more sharp and thrilling. There has been a lot of modifications to the narrative and reframing of central characters with the unique touch of the director's socio-satirical commentary. Pattinson shows subtle and nuanced variation between the multiples, empathetically encoming the physical and mental agony and anguish of being an expendable with a touch of dark humour. The technical elements such as the cinematography and sound design makes us immersed into the cold lands of Niflheim.

Thudarum dedicates its entire initial 90 mins to meticulously establish its beautiful world and introducing the characters, with Mohanlal's vibrant protagonist at the helm, radiating a contagious energy and a childlike innocence, only for the latter half to shatter all of it with its genre shift, leaving the man and his world in ruins. The narrative's approach to storytelling and character development fostered empathy by navigating through a spectrum of visceral emotions. The performances especially of mohanlal's was transcending his own creative zeniths and complimentary in accentuating the story's emotional depth as well as connecting audiences with the character's journey. The genre shift propells the narrative through a spiralling journey of vengeful thrills with an addition of a cathartic dose of action. Going in blind with this one actually enhanced the experience.

A really successful attempt at the experimentation of revamping typical commercial rural rivalry stories. The gritty narrative finds its authentic grounding in its rustic rootedness. It establishes the characters and the intertwined rivalry that encomes them through a methodical and persistent manner. The intensity of the film delves on its dramatic elements and the suspenseful thrill it delivers rather than the occasional action stunts which merely functions as a delightful distraction. Though sometimes it feels protracted and exhaustingly repetitive, it could hold the attention. The technical elements complement the elevation and intensity required by the narrative. The motives of characters and events transpiring in relation to that feels absurd at times. Works well at parts.

An Interesting premise that could've been optimised with an explosive editing and screenplay and enriched with some good music if not for its lackluster execution.

The harrowing tale of adolescence does not only depict crime in its cruelty but dissects it by every painstaking layer, offering a chilling and comprehensive examination of youth psychology, violence among youth and its aftermath. The 4 episodes were structured in a way that each episode deals with a dedicated facet of the crime. The first episode opens up chaotically with the English law enforcement procedural and provides an intense and immediate look at the disruption and trauma caused by the crime. The second one revolves around the concerned educational establishment amidst the circulation of the information about crime and the effect it has on the students as it explores the influence of social media, online radicalization, peer pressure, and the complexities of adolescent psychology. It also offers a general yet appalling view on English educational establishments, which can only be surmised as a worst nightmare. The third one operates as an in-depth psychological evaluation of the offender and the motives of the crime, probing the deeper societal and psychological issues that might contribute to such violence. While the fourth one depicts the raw and emotionally devastating portrayal of the aftermath it has on the family as it unflinchingly captures the shock, denial, and eventual shattering of their normalcy. Adolescence can be unsettling to watch, but it's undeniably compelling and deeply thought-provoking narrative that sheds light on crucial but imperceptible causes of violence among youth.

Without any exposure to trailers or synopsis, armed only with the word 'Vampires' and an anticipatory excitement, I've ventured into the screens blind to let the unfolding narrative of cinematic darkness completely enthrall me. Contrary to my envisioned outcome of a horror/thriller, the film took a delightful detour into a captivatingly grounded Drama infused with music and humour. In fact it's such a genre-bending film that masterfully blends elements of historical drama, horror, musical, and action, creating a uniquely rich tapestry. Ryan coogler seamlessly weaves in rich cultural details pertaining to geography, folklore, metaphorical horror and the historical struggles of the Black community into such a typical horror trope, creating an authentic narrative. The performances were lively and genuine. The musical and cinematographical ingenuity of the film pushes the creative boundaries in some scenes, that they are guaranteed to make one's jaw drop. There are moments which immersed me into the film and left me completely mesmerized. Unfortunately i couldn't witness it in its intended IMAX format, and to exacerbate this disappointment was the somewhat compromised quality of the picture on the screen where I was seated hindered my immersion into it. Audiences must be wary of the fact that this is not an out and out vampire movie where you get thrills and creeps from cgi monsters, but rather from the unsettling narrative that deals with subjugation, oppression and racism.

At times, GBU feels like a meta, self-aware, parody that ak has written to piss off his fans, like matrix 4. Sometimes it feels like a brainrot reels content. While it also appears to be an exhibition of love by a 14 yr old kid who just discovered video edits and could summon any star of his wish. Anyway with this over glorified, extended and fast-cut edit, paying homage and tribute to the actor using callbacks and references from his own filmography, adhik has redefined the newly emerging filmmaking style called fanboy-fan service which aim to satisfy fans with their the unfulfilled dreams. Because the films that hitherto made in this particular style may contain elements for such fan service, yet would operate as a standalone film bearing the mark of its creator. None of that can be said about GBU, for it is not a film of its own, a film that has no real foundation of its own but only made sustainable entirely through fanservice elements. Adhik has made a costly wager using ak, believing only in his fandom to make this work. Unironically, this survives only because it is entertaining, shallow or not.

In a stark contrast to his previous venture 'Longlegs', Osgood Perkins' endeavour to adapt Stephen King's short story of the same name turns out to be a gruesome horror with a blend of quirky morbid humour, making this one absurdly weird experience. But like the monkey in the film, it operates without any discernible rationale, outside the boundaries of any logic, making up the narrative as it goes lacking antecedent context or exposition, denying any explanation to anything. Regardless of intent, it appears to be as absurd as the humanity's constant denial of mortality in the face of its incessant awareness. It is sound in of technical elements and the gore strikes hard as the grittier it gets.

If prithiviraj had spent some time on crafting something soLid as much as the time he spent for scouting spots to pLace the 'L' and deviL symboLism, this wouLdn't have been such a huge L for him. It is apparent that he is infLuenced by KGF styLe storyteLLing that unraveLs multipLe intertwined narratives simuLtaneousLy, invoLving muLtipLe characters, but in process of reconstructing such a worLd he went overboard with styLe over substance. He juggLes between kureshi abraam and stephen nedumpaLLy actuaLLy doing justice to neither of them. The production design and technicaL elements incLuding cinematography and sound design were the onLy things serving in concurrence with his ambition to make maLayaLam cinema on par with international standard. The poLitics disccussed were reLevant and the portrayaL of spreading communaLism paints an accurate picture of contemporary poLiticaL Landscape of India, sadLy they had to ruin such authenticity by apoLogising for it. The opening scenes of gujarat riot were hard hitting and now they're removing it for the same reasons. The action scenes were good at best, nothing extraordinary. Overall, this sequaL is an unsoLicited expansion of a world that has not been properLy estabLished. Its the copy of the originaL that has nothing new to offer-A fiLLer.

Request to Netflix and Russo bros: If you're only collaborating to do money laundering then for goodness sake make it a least bit interesting.

Overburdened by its own complexity, Lucifer crumbles upon its convoluted and unfocused layers. The film succumbed to the ambitiousness of the debut director, showing that he bit more than he can possibly chew. Trying to establish multiple narratives encoming numerous characters, it loses the sense of a primary focus. Yet, the riveting political drama which seems to be the focal point rises above the rest eventually. The myth it tries to create around the protagonist as some anti-hero procures the intrigue efficiently with the star of stature such as mohan lal.

A heartwarmingly funny drama that succeeds in portraying the persistent challenges of a middle class man burdened by the needs of his own family in a tragicomedy style. It did not trivialise the hardships in the course of such portrayal as it neither keeps us weeping over it which would've made this less appealing to masses nor laughing it off on the of its prevalence. It balanced well between the quirks and emotions. Regardless of being a good entertainer this could've been short of 20-30 mins as at moments it felt recurrent. Manikandan embodied the middle class family man role effortlessly and delivered an efficient performance to evoke relatability and empathy.

The film initially proceeds to unfold its deceptive premise upon which it was calculatively established to pull the attention of crowd, one that controversially glorifies shortcuts and easy wins in life as the idea is very appealing to the masses, eventually takes a turn, only to shatter our expectations by imparting the inevitable lesson of reality that life invariably demands it dues and seemingly easy gains achieved by the means of shortcuts are fleeting in nature. The screenplay was well structured to keep the audience entertained throughout the film as the protagonist is as disillusioned as the audience and goes on the pursuit of redemption. The writing ensures both its funny and emotional aspects delivered while the core message intact. The message it seeks to convey would've been cliched and preacy if it had not been for the initial intrigue it created through its false sense of comfort portrayed by winning in life through hacks.

I neither had the opportunity to witness the original work of the director nor had any exposure to his filmography and hence rendered incapable to provide a comparative on this remake. This non-linear investigative narrative tends to grab our attention for the best part of its runtime and tries to surprises us with its already predictive plot. The distinction between portrayal of two different personalities of same character is rather a blurred line and relies heavily upon the performance of the actor which barely makes it through.

This has to be seen merely as a desperate attempt by marvel to recreate one of their creative zeniths, that seamlessly weaved together the two different genres, a super-hero action and an intriguing espionage thriller. Yes, reproducing the magic of The Winter soldier was the only way to make the falcon an worthy successor to the unrivalled legacy of Steve rogers, whose ascension is still dubious as the day endgame released. On the other hand they could've managed to mitigate the absence of primary figures that stood as the face of MCU only if they had tried to make a creatively solid film. Yet, they robbed themselves of such opportunity with their typical behavioural pattern which covers the wide range of bad filmmaking such as lackluster execution, uninteresting plot, poorly written antagonist and messed up CGI. The characters can only be perceived as the imposters of their predecessors. Like a wannabe Cap, wannabe falcon, wannabe black widow trying desperately to make a cheap ripoff of The Winter Soldier.

Ak exhibits a certain colour of characteristics in this faithful reproduction of 'Breakdown' marked by his subdued demeanor conveying a deliberate attempt to project himself as adhering to his ' I don't have no enemies' phase, which was evident in the fact that all the killings were calculatively made to appear as accidents. It was partly necessary for such a remake that stays loyal to its source material as well as conceived to become something genre driven rather than appealing to the fanatic population or confirming to the standards of commercialisation. It was great to see such initiatives taken out putting aside all the glory, but it was still flawed which were more apparent due to the lack of any distracting extraordinary moments for the most part of the runtime. The film tries to establish itself as a poignant drama on the fragility of relationships yet largely fails to address the issue.

To tell someone what to expect from this film, i would begin with saying that it is not at all a conventional horror film you go in to be spooked. At several instances, it reminded me of David Lowery's 'A Ghost Story'. The poignant narrative that lays out elements such as trauma, loss, grief, unfolds from the perspective of a naive paranormal presence. We witness the same throughout in the first person point of view, executed with an experimentative approach in cinematography. The plot was elementary yet the way it was disclosed to us tend to be nuanced and subtle, establishing an innovation in storytelling. With the divulgence of every new piece of information, our perception towards the presence changes, until the final moment that unveils the mystery of the film, the nature of the presence itself.

Its not exactly delightful to see the ancient fossil beat up several guys in a role that is so disproportionate with his age. I mean it has been done with other old fossils too, but the attempt to make him look contrary to his age makes his screen presence repulsive. The dialogues and the delivery of them made by him were imparting an effect, to suggest that this might be a parody. The director has dismembered various elements from films such as Petta, Kaththi, Vikram, Linga and assembled them in an attempt to reanimate life into it, on which he barely succeeded by making it ably entertaining. The music was blasting and elevating some moments. The cinematography tried to give it an exaggerated appeal trying to conceal its inherent flaws such as non existent character writing and lousy screenplay. Could be watched if you have to absolutely kill couple of hours.

My soul has attained salvation by witnessing the gargantuan grandeur in its full glory, in IMAX screens, finally after yearning and manifesting for 7 years. The fact that it feels fresh as ever even after numerous watches over these years, tells a lot about the significance this film has over my life. I doubt it very much that such a day comes in my life when my love for it fades as i know that my love for it transcends space time. That even after such a age of time i find new things, details i tend to appreciate more, different perspectives I've hitherto oblivious to, the beauty that tends to grows more on me. This time I've seen my love for it being shared by other people too, people weeping along with cooper, peole discussing the film with enthusiasm, people getting excited for things that has excited me as well etc.

There's literally no other person more capable than eggers to revive the slumbering abomination to its modern manifestation and he proved that with his craftsmanship. The technical elements consisting of cinematography that utilises low-key lighting with dark colours to recreate the eerie vibes of a black and white classic horror film and the creeping music, in culmination with each other imparted the ominous and gloomy atmosphere that evokes dread naturally. The atmosphere immerse us into the accursed medieval era as well as reminding us of the peculiar style of Tim Burton. The narrative emphatically delivers not only the horrors of supernatural tendency but also of historical importance- the black death called plague. The emphasis on the entwined characters of beauty and beast transcends the conventional boundaries of a horror film, expanding itself as a poignant drama, which was further elevated by the remarkable performances.

The mediocre writing didn't facilitate room for the complications the story was undertaking. An average entertainer.

Having massively fumbled in the arena of historical accuracy in his adaptation of Napoleon's biography, Ridley scott propagates his misfortune with this sequel to his greatest creation. Actually even Gladiator had its own inaccuracies but it was so convincing and arousing in its narration and technical elements, no one ever bothered to look deep into its accuracy part. This film tries to be visually and technically on par with its predecessor but fails in its ability to construct a compelling narrative. Scott failed to 'Conjure the magic' to entertain the mob.

Definitely better than it's predecessor in of entertainment. Fun little movie.

Waiting for 12 years and choosing to release this along with Game changer is a great market strategy that they pulled.

This film should be rightly named as '360° side changer' for it has milked the mocobot camera to its very unfortunate death, as much as to despise such an innovative technology which has been hitherto subjected to limited utilisation for the effective enhancement of certain action scenes for the entirety of human existence. It has been relentlessly exploited, tortured, murdered with such cruelty that if it had life, it would've cursed the humanity to its extinction and haunt the nightmares of cinematographers. Shankar exhibits his peak creative proficiency by creating characters that walks, looks and speaks sideways, a character that doesn't lift its head to see others, a character that stutters and a protagonist who bends the entire system of government to his whims and wishes. It felt almost as if it was written as an essay on 'How would i change India' by a 10th grade student for his Social sciences assignment or exam with the limited exposure or understanding such student has on the subject and Indian polity. The film thrives on such ambiguity of Indian polity. The biggest scam shankar ever managed to uncover through his craft in recent time is the fact that he has been an imposter film maker all along and he has been masquerading himself behind the veils of grandiose, barely surviving off the efforts and talents of others.

This might as well as be the most thematically dense film of the year. It deals with subjects so vast that you can take different aspects of it to implement in the various facets of your life. The most recurrent and my favourite theme the film advocates is to 'Live forward' with stripped bare of the abstract shells that we construct around ourselves.

Payal kapadia's 'All we imagine as light' is a poignant meditation on the intricate tapestry of human relationships offering a contemplative of the complexions and contradictions that our connections are inherently enveloped with and ultimately an optimistic endeavour to untangle it to simplicity. The city of mumbai acts as a central character where people find themselves disconnected from their respective roots yet inevitably woven into a mesh of strange relationships. This entanglement of strangers is portrayed as an alleviation for the lost connections and estranged relationships. While it also paves way for new relationships to grow amidst the constricting and tight grasp of the urban jungle. A soulful drama about moving on from the past and finding new hope for the future.

By now i have watched two film adaptations of Alexander Dumas' sprawling and slightly daunting 1000 page novel and I'm unsure of both its faithfulness to the dense source material. But I can take a hint from my past experience of book adaptations that every written material loses some parts of itself in the process of visual adaptation. In my opinion, such material justifies its 3 hours runtime. It was a story of epic proportions and never fell short of its own glory in this version. I felt the film didn't bother to explain a lot of things with exposition and rather left it as background information for audience's interpretation. The cinematography and production design was breath-taking and meticulous. The performances were good. Altogether, a good film adaptation from as far as i can assess.

85 mins masterclass on how capybaras befriended every species of animal known to existence and evolved into the most nonchalant and chillest species of animal in the existence. This beautifully animated tale of fantasy adventure recounts a narrative akin to the genesis flood myth in an ethreal and mesmerizing manner. It follows the unlikely combination of animals co-existing to survive the tragedy befell upon them, expressing a wide range of emotions without a single dialogue. The visuals were so breathtaking and meditative that it made me yearn for a big screen experience, while leaving our hearts warm with a sense of tranquility in its departure.

It was too much of a personal experience for me to assess it objectively. The poignantly beautiful and soul crushing drama made me almost re-live the past 2-3 years of my life.

With this I'm introduced to the Sean Baker's filmography. This modern take on Cinderella fairy tale featuring a young sex worker from America makes a wild genre shift and ends up as a entertaining tragicomedy. It was morbidly hilarious and ingenuously emotional in a sense that it seems to have equipped with a certain rawness and grounded nature to it. Potent with powerful performances that exhibited a wide range of chaotic emotions. It also reminded me of Kottukkali (Tamil) released in the same year in of its portrayal of women and the vicious cycle they are caught in, which makes them socio-economic prisoners of men.

The second installment of his laborious, cumbersome and protracted duology leaves the impression that this is Vetri's most personal work and for that very fact it is destined to provoke contentions among his own fans. It felt like he compromised the technical elements of the film to charge it with more political elements. It is indeed convoluted with his leftist ideologies, like it had the compulsion to dispense the most of information in the least amount of time yet it barely scratches the surface. Maybe he felt that this is his culminating point of his life's mission to educate people politically but he missed the balance or the sweet spot he maintained for years educating people politically while also keeping them entertained, by feeding them more than they could digest. I can really empathise with apolitical laymen who had complaints about the film not meeting vetri's standards because there's been compromises in making this a technically sound and narratively cohesive film, while a lot of information vetri trying to feed them went right over their head by overwhelming them. This is still an unavoidable film in his career but sadly the craftsman in him took the backseat in favour of the reformer in him. I really hope he finds his sweet spot again, because out of all the people in the world, he knows very well that to make people listen, you have to gain their attention first. People readily give their attention to things that entertain them.

Unlike the positive outlook offered by 'Perfect days' on the subject of everyday mundanity and things to appreciate in such a monotonous regularity, 'sometimes i think about dying' paints a depressing picture, depicting the same mundane aspects of life as hopeless, lifeless and simply meaningless. The isolating effect it has on the reluctant souls is depicted with utmost relatability of Daisey Ridley's insipid and unremarkable character that has a general lack of excitement. She lacks enthusiasm and energy, things that most of the world considers to be normal. She is apathetically indifferent to the things around her and finds indulging in conversations exhausting. This is an uneventful film to begin with and it's the very thing that makes this more resolute. This is too depressing to relate to yet if it does not with your emotions you may just find this tedious naturally.

This gripping thriller follows the real life events pertaining to the white supremacist, neo-nazi terrorist group called The order aka The silent brotherhood that operated in the US during the 80s. It constantly maintains the suspenseful atmosphere by oscillating between the parallel narratives of the law enforcement agencies and the cult, exploring their strategies and plan in action. Nicholas Hoult as the cult leader starkly remined me of Paul muad'Dib atreides and especially the church scene where he delivers a speech to inspire the brotherhood was directly reminiscent of the fremen speech of Paul from Dune 2. His performing abilities has already been proven with Juror#2 earlier last year, with the addition of this he once again proves he's going to nail as lex luthor.

I'm simply baffled at the decision to release this crap that lacks any visual spectate, ridden with lackluster execution of an already generic plot in IMAX screens. I'm bewildered on the grounds in which this qualifies as a worthy movie to be released in such exclusive screens made for visual extravaganza (if at all one exists), when a critically acclaimed masterpiece lauded for its extraordinarily stunning visuals exclusively shot on IMAX cameras denied a re-release.

Sookshamadharshini was a reminiscent homage to the crime noir masterpieces of Alfred Hitchcock. The brilliant narrative of the film lacks explicit exposition of the events transpiring in the screen. It rather places red herrings, important details, hints, all along the duration to reward our attention yet it gives away nothing solid till the very end of it.

This solid thriller propagates the Christmas-terrorism duo with its nail biting narrative and keeps our attention engaged. The highway scene was impressive.

It was a bland film to begin with, burdened with a story that lacks soul and it was as mediocre as anyone would've expected it to turn out to be. But to my surprise the ensemble technical elements backing the film was rather good. Especially the visuals and 3D worked well. It might as well as be the brightest movie of the year.

This film masterfully revitalizes the body horror sub-genre echoing the unsettling spirit of cronenbergian horror masterpieces. It exemplified in its utilisation of viscerally abhorrent images of deformed, mutated, or gruesome human bodies to evoke feelings of disgust, fear, and unease in the viewer, while also providing a stark commentary on the unrealistic standards of beauty set on women to confirm by the society. It leaves us with an indelible psychological effect that haunts and horrifies as much as it makes our skin crawl and stomach turn.

The film packs the powerful essence of Claire Keegan's novella as effectively as it could as it poignantly reproduces the closest thing to a faithful adaptation. Cillian Murphy adds layer to the character of bill furlong with his staring into abyss ruminations. The film sets up a bleak atmosphere of rural Ireland reflecting the nature of the Magdalene institutions.

1. Sinners
2. Adolescence
3. Dragon
4. Kudumbasthan
5. Veera Dheera Sooran: Part 2
6. Novocaine
7. L2: Empuraan
8. Deva
9. Good Bad Ugly
10. Vidaamuyarchi

...plus 6 more. View the full list on Letterboxd.

1. Dune: Part Two
2. Perfect Days
3. The Wild Robot
4. How to Make Millions Before Grandma Dies
5. Meiyazhagan
6. Vaazhai
7. Kottukkaali
8. Aattam
9. Lubber Pandhu
10. Bramayugam

...plus 96 more. View the full list on Letterboxd.

• Memories of Murder
• Prisoners
• Parasite
• American Psycho
• Birdman or (The Unexpected Virtue of Ignorance)
• No Country for Old Men
• The Prestige
• The Truman Show
• Gone Girl
• The Usual Suspects

...plus 23 more. View the full list on Letterboxd.

1. Logan
2. X-Men: Days of Future Past
3. Deadpool
4. Deadpool 2
5. Deadpool & Wolverine
6. X-Men: First Class
7. X2
8. X-Men
9. The Wolverine
10. X-Men: The Last Stand

...plus 3 more. View the full list on Letterboxd.

1. Monkey Man
2. Kingdom of the Planet of the Apes
3. Godzilla × Kong: The New Empire
4. Hanu-Man

1. Mad Max: Fury Road
2. Furiosa: A Mad Max Saga
3. Mad Max 2
4. Mad Max

1. Dawn of the Planet of the Apes
2. War for the Planet of the Apes
3. Rise of the Planet of the Apes

• Interstellar
• Arrival
• Blade Runner 2049
• Shutter Island
• Inception
• Se7en
• The Matrix
• 2001: A Space Odyssey
• Chinatown
• Prisoners

...plus 10 more. View the full list on Letterboxd.

Leave the world behind - civil war
2001 Odyssey-Interstellar-Solaris
Memories of murder-Zodiac-Prisoners-7

• Leave the World Behind
• Civil War
• 2001: A Space Odyssey
• Interstellar
• Solaris
• Memories of Murder
• Zodiac
• Prisoners
• Se7en
• Incendies

...plus 44 more. View the full list on Letterboxd.

1. Dune: Part Two
2. Oppenheimer
3. Dune
4. The Batman
5. Avengers: Endgame
6. Avengers: Infinity War
7. Mission: Impossible – Dead Reckoning
8. Vikram
9. Kaithi
10. Ponniyin Selvan: Part I

...plus 7 more. View the full list on Letterboxd.

1. Kong: Skull Island
2. Godzilla
3. Godzilla vs. Kong
4. Godzilla × Kong: The New Empire
5. Godzilla: King of the Monsters

1. Arrival
2. Dune: Part Two
3. Dune
4. Blade Runner 2049
5. Prisoners
6. Incendies
7. Enemy
8. Sicario

⚠️ WORK IN PROGRESS ⚠️ 2023 releases and dec 2022 releases which i got around to watch in 2023

1. Oppenheimer
2. Killers of the Flower Moon
3. Spider-Man: Across the Spider-Verse
4. Chithha
5. 12th Fail
6. Por Thozhil
7. John Wick: Chapter 4
8. Nanpakal Nerathu Mayakkam
9. The Holdovers
10. Mission: Impossible – Dead Reckoning

...plus 86 more. View the full list on Letterboxd.

1. GoodFellas
2. Silence
3. Killers of the Flower Moon
4. Shutter Island
5. The Departed
6. After Hours
7. Taxi Driver
8. The Irishman
9. Casino
10. The Aviator

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

John kramer puts people into a game with torturous traps to rehabilitate them of their apathy for life as the game is a test to ascertain their will to live and deem them worthy of their existence. I guess binging the franchise is the torturous game that i played to redeem myself from the apathy for movies, test my will to watch and deem myself worthy of watching movies again.

1. Saw
2. Saw II
3. Saw X
4. Saw VI
5. Saw III
6. Saw IV
7. Jigsaw
8. Saw V
9. Spiral: From the Book of Saw
10. Saw 3D

1. Kaithi
2. Vikram
3. Maanagaram
4. Master
5. Leo

1. Interstellar
2. The Dark Knight
3. Oppenheimer
4. Batman Begins
5. Inception
6. Memento
7. Tenet
8. The Dark Knight Rises
9. Dunkirk
10. The Prestige

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