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Weird off kilter characters in a dystopian reality superficially distinct from our own but subtextually very much the same. Strange CGI creatures, heavy themes of class and speceicism: All the characteristics of a classic Bong Joon Ho film. Not the new crowning achievement of his filmography but a welcome addition nonetheless.

Watching this after having traveled India by train was extra enjoyable.

I think this film hits that happy medium of style without it being overbearing. Not to hark on Wes Anderson’s style at all, it’s incredibly unique and I love it. While, I do like some of his later films that lean even more into said style, I think this is my preferred dosage of Wes Anderson-isms in a single film I’ve seen from his work so far.
Still stylistic, slightly more tame and tasteful.

Loved the opening Fake Out with Bill Murray.

The man next to me on the plane recommended this. Him being the 3rd person who has recommended it to me I decided it was time to give it a watch. This film is quality across all aesthetics and what initially presents itself as a lighthearted college comedy becomes incredibly nuanced and layered. There are so many things that build upon each other and come back around hours later into the film. The characters start off seeming like typical archetypes, charicatures of the college setting, but over time the depth begins to come in when it counts. I thought the film was going to end quite a few times and it continued for well over an hour each time. It’s the type of film much like lord of the rings where you are shocked at just how much is packed in to a single film and how it feels as if a lifetime has ed in under 3 hours. Musicals are not a genre that is typically my thing but I liked this one (though the singing was used very sparingly for a musical). Highly recommend.

A 2 hour film has never felt so long, in the absolute best way possible. I am floored at how they were able to tell this story in such a concise timeframe without the pace feeling rushed. It’s wild just how influential this film has been since its release especially on western cinema and that’s just an observation as a one time casual viewer of this film. I’m certain its impact ripples out far more than I could imagine. I love the 90s animation style it reminds me so much of Batman the animated series. A style that has long since disappeared. I genuinely have no qualms with this film. I loved every detail. Pure artistic expression, powerful evocation of humanity and emotion all neatly packaged into a 2 hour block. A story so small and so big at the same time. I don’t know how this was accomplished but this sets the bar for animation, film, storytelling and art in general. 

Very confident that this will be 5/5 after my second watch.

After experiencing my own first hand version of what I believed this film to be, I figured there was no better time to watch it. 

While the sentiment and situation are there and beautiful nonetheless I strongly feel Ethan hawks character Jesse was the wrong guy for this film. For every subtle sweet moment in this film there was also a moment where this character took me out of the experience entirely. Celine hit it right on the money when she said he constantly needs attention. His nihilism and consistent undermining of every local they interact with really took away from the films wholesome qualities. The film is consistently at its best when his character is not in the drivers seat which is only for sparatic moments. 

Maybe I am comparing this film to my own ideal and standards when really I should just be watching it as a neutral observer seeing the connection between these 2 for what it is. 
I understand Linklater wrote this film based on his own personal experience so Jesse is likely him speaking and this is his authentic story. I don’t want to undercut that whatsoever, but man I wish there were a version of this film with a different co-lead that better complemented the films sentiment, atmosphere and the character of Celine.

I’m always intrigued to see what the new “revolutionary horror film of the year” has to offer. This time around Longlegs clearly seems to have won that title and has been on my watchlist since it started picking up buzz.

As much as I must give the film props for its editing and cinematography and even having a decently unique mystery/horror plotline in theory, something about this film really didn’t gel for me. The 3rd act in particular felt far too convenient, unearned, unsatisfying and contrived. In the 30 minutes after viewing it’s already dropped a whole star in my head and I feel any lasting impact will quickly continue to dwindle in my mind over time. There are SEVERAL similar films I would recommend over this film any day. (Prisoners, hereditary, true detective, se7en, etc.)

I’m very tempted to rate this movie even lower but don’t know if it’s fair for me to do so as all the technical components are well executed. A very strong reminder to me that if the script and purpose driving the story aren’t there it really undermines the artistry and talent behind all other components of a film. 

Best thing the film has going for it is one of the most creative and unnerving trailers ever made for a horror film and it’s all a single still image and audio.

I’m not Vegan or vegetarian, but found immense value in this film. Everyone who’s ever found the concept of veganism confusing or who’s made fun of veganism should watch. Everyone period should watch. Free on YouTube.

A true horror film.
Not in the sense that it lends itself to belonging in said genre but rather because the horrors it depicts are so damn close to real life. Only the slightest dash off from what is going on in many parts of the world already. This film takes place in 2027. It came out in 2006. The fact that this being real life come 2027 doesn’t require much suspension of disbelief speaks volumes. 
More relevant now than it’s ever been. 

Very unique camera work that elevated the content extremely.

Was close to giving this a 5 but have never done that off of 1 viewing alone. Certainly a contender of earning a 5 upon rewatch.

My Halloween 2024 watch:

Praise the slow burn approach of classic horror. Spending half a film with characters before shit hits the fan yet the plot feels like it has its own agency and isn’t just trying to kill time to merit the shock value and carnage that will ensue in the latter half of the film is rare to come by anymore. It’s why films like this stand the test of time while others fall by the wayside.

The disturbing sequences of this film are not enjoyable to watch at all. That’s exactly why this film is great. Carnage and horror has developed into something novel over time, it’s treated like the audiences are meant to cheer for it when it’s on screen. That couldn’t be further from the case here. It’s uncomfortable, it’s disturbing and you don’t enjoy any second of it but you keep watching because you hope for the sake of the characters and your own peace of mind that it will end. You watch and endure for the hope of relief and that’s it. 

Even if there are some films I prefer on a personal level, no wonder this is often considered the crowning jewel of its respected genre.

The best example of what art distributed thru the internet can be…

Gonna go ahead and count this as a review for the whole 6 part series instead of reviewing them individually. Everything about this series is pure unapologetic art. It’s a living breathing commentary by the creators about their decision to stick to their guns and crowd fund their creative endeavors instead of selling out to gain success yet lose the integrity of their vision in the process. On top of the film industry it deals with the horrors of the age of the internet, the food industry, and communities with cult like traits for good measure. It’s just the perfect length for each standalone entry to be looked at with reverence. Every installment serves a purpose. 

Often when I recall a film it’s less so the entire plot that stands out to me but rather certain images and feelings so striking they sink into my memory. Don’t hug me I’m scared has a wide array of those images and feelings. More than most films would ever dream of.

A+ for Originality,
A++ for Artistic integrity
A+++ for “GETTING CREATIVE!” 

(If I had to rank I’d probably go: 3. Love, 5. Food, 6. Dreams, 4. Tech, 1. Creativity, 2. Time)

A movie I am not sure I have much to say that hasn’t already been said. For a film with its fair share of complex set pieces all else falls away in the shadow of the 2 lead performances. At the end of the day those 2 performances are what I’ll . A small scale version of a big story. A microcosm whose themes are carried through personal and grandiose performances.

The start of my PTA journey. Looking forward to what’s to come.

Any investigative Thriller Fincher touches will undeniably be quality. This is yet another incredibly strong installment in his beast of a filmography. However, this films personality in particular clearly stems from its source material rather than its filmmaker.

Lisbeth quickly became a new favorite protagonist of mine to follow and the two leads are a unique take on the odd pair trope. A pair I am eager to see more of, though would not mind if the sequels only followed Lisbeth from here on out.

This film is brutal on many fronts. Many would say unjustifiably so. A sentiment I on several levels agree with though I don’t think it’s my place to say one way or the other. It seems the philosophy and purpose of this work is to unveil the hidden horrors of the world that lie under pristine surfaces. While appearing more jaded and harsh than anyone else on the surface, Lisbeth works in perfect contrast to this world, as a victim of its brutality now going out of her way to do whatever she can to bring those horrors to light for herself and everyone else she can help making her the actual shimmer of light amongst the horrors of the dark. An interesting message though its depiction of those horrors should certainly be questioned. As great as Fincher is on a technical level I don’t know if he should be the one to tell Lisbeth's story. Would like to see how this film or even its source material would have turned out had a woman (someone much more fit to tell Lisbeth’s story) been at the helm instead.

Best example I can think of for a premise that would work wonderfully as a short film and translates just as effectively to a feature. 

Was there for 95% of everything in this film. Poltergeist activity was a little much at a few moments that’s all. The first 45 minutes especially had a hold on me.  

True visual Storytelling at its finest. Beautiful.

Watching this felt like watching nacho from better call Saul if he had no morals whatsoever.

A fascinating approach to a character study where instead of witnessing a slow unraveling of our protagonist, the constant stasis of fight or flight instantly pushes his true conniving colors to the surface and keeps them there. This guy is so subtley manipulative, so quick thinking on his feet, sees every angle possible as an opportunity for himself and sees every person he meets as someone to take advantage of, all with the justification of bettering the life of his brother. 

This is the second film of the Safdie brothers I have seen (the first being uncut gems). This feels like the more grass roots guttural version of that film. Same adrenaline, but our lead stoops even lower and destroys so many more lives in his pursuit of money.

Where comfort film and quality come together.

There are few films I watched as frequently as this in childhood. Even fewer that still hold up today as an adult. Out of all those childhood films this undoubtedly holds up the most!

A seemingly endless amount of memorable and quotable lines and moments in this film. Every character is hilarious and so incredibly distinct. It feels like one of the closest examples I can think of where more exaggerated theater like performances work when put to screen and actually elevates the goal and humor of the film.

Only recently realized chuck mcgill is Mr. green!

A very beautiful and immersive tribute to the mind of an artist. I felt it did a wonderful job at communicating the mental/emotional state of Van Gogh often through sound and visual more so than dialogue.

I feel like a lot of biopics lean incredibly heavily on the melancholy and mental torment of artists but for arguably one of the most mentally unstable artists in history this film is able to balance Van Goghs wonder and dysphoria in a much more ive way. 

Loved the camera work in this film. People might roll their eyes at it but I loved it so much.

Watched this on my flight home from Budapest🇭🇺

My first live action Wes Anderson film I’ve seen. Was interested to see how his artistic identity translated from animation to live action and it functioned impressively smoothly in this film. 
I feel like this is a story that is 100x more engaging just because of the artistic lens thru which it is told. 

Harvey Keitel sure snuck up on me.

A film everyone should watch but few likely have the attention span to watch out of their own agency. 

The best depiction of humanity’s authentic beauty I’ve seen put to screen. No dialogue, no narratives, nothing is exaggerated or stylized it’s all just as one would see it if they were there in person as an observer. It may require more patience than most films I took a few breaks myself but it’s a worthwhile investment in my eyes.

The final Battle in this movie > Avengers endgame final battle.

People shit on Adam Sandler movies a lot, this being one of the ones that gets the most flack. I think the thing this film actually has going for it though is that there really isn’t much of a proper plot, it’s just a string of random events and scenes with different people in one town. There’s not really even a proper protagonist. Objectively yeah it’s a bad movie but I’m glad with this one they stopped trying to make it be something it isn’t. 

**I’m looking at this with insane nostalgia glasses because 12 year old Ryan and his buddies used to watch this at every sleepover in middle school and it’s very much an inside joke now. Even if it’s not a “good” film, somehow it brought more joy to my young self than most films out there.

Having seen portions of this movie 4-5 times now I’ve got to say it has a lot better replay value than I expected after first viewing. Likely due to its more lax nature I find myself more open to the idea of putting this on over most all of Tarantinos other films when I just want to watch something that will put me in a good mood. 

This film feels like the most Tarantino has self identified himself in his work since True Romance, that version being his 20 something self, this being his older self processing his step down from stardom. This film could only exist through his vision and it is a shining example of how he has matured as a filmmaker during his tenure. Personally I would not mind if this did end up being his Swan song. Hard to imagine something more fitting to close out his filmography than this.

Set up like a psychedelic 70’s synthwave version of “Clue” with a very Panos cosmatos twist.

Genuinely seems like everyone involved in this really enjoyed getting to stretch their legs and collaborate creatively on something so weird yet so simple. I will certainly watch whatever cosmatos makes from here on out.

I’m a firm believer that most of the strongest trilogies in cinema seem to share the trait that their middle chapter is their strongest chapter.

This film is one of the greatest examples of that statement. The most I’ve been emotionally connected to a CGI character.

The beauty of this film is in its nuances. Nuances so small many of them likely go over anyone’s head who doesn’t relate to them. Many of these nuances I know go over my head. It’s a beautiful film and story regardless but those tiny details I did relate to and pick up on gave the film so much more emotional strength for me. I can only imagine how those who relate to it 10x more than I did would feel. 

The shot on the cover is a personal favorite shot in cinema for me.

Four of my favorite actors working today, all in one film directed by a filmmaker with one of my favorite growing filmographies. 

There’s no denying that Yorgos Lanthimos has absolutely cemented himself as a director with one of the most distinctively unique and odd styles out there. It’s not for everyone, but it is definitely for me. Way less linear than his other work, felt almost like an exercise or experiment in the artform for everyone involved.

One of my first tells for compatability when I start dating someone: She’s gotta like Over the Garden Wall. 

Very grateful someone put this on here even though it “technically” isn’t a film but can easily be watched as one. I love everything about OTGW with all of my being. Few things have ever creatively inspired me quite like this. I have the songs memorized, my sibling and I still quote lines to eachother 10 years later. The most aesthetically autum work of art I have ever seen, everything is modeled after old holiday greeting cards from the 1920’s. It is so strange in the most charming way and one of the best pieces of animation I have come across.

Watching this alongside KIDS and Gummo as a pseudo trilogy of commentary on US culture makes this a worthwhile watch. Following americas youth across these 3 films, the glorified ideals of the “American Dream” are gone and replaced with a blatant depiction of the uncomfortable underbelly that is the American nightmare.

The entire time I watched this film I felt like it was at 1.5x speed. Many complex choices in the edit gives this film a very strange hazy like quality. The movie evokes the feeling of blacking in and out of a chaotic multi day bender where you don’t exactly how you got from point a to b or when certain key things happened but some very prominent moments, phrases and images remain in your psyche. Another peculiar experiment of a film. 

Often found myself forgetting James Franco played Alien. Was impressive how much he transformed himself into the character.

This is undeniably a gimmick film. The gimmick is very creative and interesting no doubt but it often feels more like an experiment than a film with a gripping narrative. The fact that all the cameras were hidden was no doubt necessary for the approach of the film to function but the result is a film comprised of basically only wide shots. Thus, the emotionality is far more absent. As a viewer it almost feels like we’re watching fish in a fish tank. Curious but disconnected. 

A worthwhile installment in innovation and experimentalism, but isn’t too strong beyond that.

A rare instance where I prefer the soft reboot sequel (fury road) over its predecessor (this film). While the originality and influence of the road warrior can’t be appreciated enough, and I don’t really have any flaws or weaknesses to point out, the world building in fury road is what puts it above for me. This film almost feels like the conceptual template with which over an additional 30+ years, George Miller was able to apply to a film with a much richer mythology. The chase scenes, setting, action and practical effects are very much on par for both but fury roads characters evidently all carry a history with them, all of which I’d love to thoroughly explore more.

STRONGLY believe that the second film does not justify its own existence. Saw that tarantino said both films are actually just one movie and are meant to be watched in one sitting. So that is how I watched these, and they did not feel like one fluid film at all. Everything about the second film felt slower, lower stakes and out of left field until the ending with bill. Part 2 was seriously underwhelming after part 1 which I feel is very strong. 

Ideally in my head imagine a version of this script where kill bill was one film that consisted of part 1 as is and then you add roughly 30 minutes for the bride to kill bill and get her resolution. One slightly longer film, far more streamlined.

Cut the 2 other of the assassin squad remove their characters entirely. As much as I love Michael Madsen why is there a cowboy guy on the squad anyway? And how tf am I supposed to believe after the bride defeats an entire room of the most trained fighters in the world all on her own that this dude with no effort gets the jump on her? Have never felt he contributes to the film at all. If you cut the lady with the eyepatch that’s fine or have her die quick. The training backstory in film 2 is recognized for its iconography in pop culture but it’s also just more homage which we already have plenty of and it’s already implied the bride trained with hattori hanzo. So it’s really not needed.

At least 2/3’s of film 2 exists because Tarantino can’t get himself to cut things. And this is one of the rarer examples where I find the story to be worse off as a result.

Most original script for a “coming of age” film ever. 

I adore this film. There are few films I can’t describe by comparing elements of them to other films. This film is pretty close to achieving that which speaks to its uniqueness.

The six minute monologue and the final shot elevate this above the film that came before it. 

Weakest part of the film is the kills.

Kept thinking of the Fred bros the entire time I watched it.

Ti west certainly has a ion for the genre and was clearly determined to make his own contribution, which he does effectively. When it comes to slasher films it takes a good amount of extra innovation to breathe some vibrancy into the genre. This does that in several minuscule ways throughout. Production is strong on all fronts which as im sure west hoped, makes this a welcome addition to the world of horror.

I understand how and why this film makes some people uncomfortable, but I don’t think that is a justification for it being bad. Isn’t the film supposed to be that? It’s showing the beauty and uncomfortableness of a very questionable relationship between two people at a specific moment in time. The feeling the film exudes is how I imagine the two characters felt in that moment regardless of how the nature of their connection makes us as the audience feel as observers from an objective perspective. Not saying I endorse their connection in its entirety but I think highlighting a questionable connection from the POV of the two people in it was really the point no?

A filmmaker who shares a story that is so tangible and lived in it is very clearly deeply rooted in her reality, her story and her ambitions. After watching this I just wanted to see what other work she has made. As invested in the filmmakers real life story as I am with the story of the woman she plays on screen. Loved every moment of this film. 

It’s free to watch online, go watch it.

My 4th film to receive a 5 on here. This is a strange occurrence for me where a movie primarily built on action and spectacle actually has so much replayability somehow. What I would have expected to be a fun one time watch has cemented itself as what I believe is likely my favorite sci fi world I’ve ever seen created. Every little detail of set, prop and costume, all the terminology and jargon of the wasteland, the appearances of everyone is so thought out and yet theres never a need to over explain things. We know the basics of what we need to and can infer the rest. There’s no moment of heavy exposition explaining things to the main character (but really it’s just for the audience.) This makes the whole experience feel that much more real

 With little to no dialogue whatsoever I found myself feeling incredibly invested and connected to all our characters. 

Don’t think I can’t watch this film without smiling.

Mad Max fury road has got to be one of my favorite films to be released in the last decade. Primarily for the fact that the world felt so unique and distinctively fleshed out but it just threw the audience into the chaos. Little to no exposition given, you just have to hop on the train and get a feel for the rules of this world as you go. The world truly felt lived in. 

Because of this however, I have always wanted to see the many seemingly complex elements of the world fleshed out further. And this movie does that wonderfully. Every second I get to sit in this world is an absolute treat and I’m so happy this movie exists. 

Saddens me it hasn’t been performing too well at the box office as it’s an incredibly strong and welcome film to pair with fury road. Max’s presence is not missed whatsoever for me. And I’d argue many the best elements of fury road are present in this film as well. This is not another run of the mill bs Hollywood conveyor belt action flick cash grab. More people should watch this in the theater.

Shoutout Carson Guidotti for putting me on this as a kid. A certified Guidotti classic.

Much more interested in the abstract nature of the world Jim Carrey and his Memory of Kate winslet inhabit as a means of conveying all the turbulent emotions these two characters feel for each other over any of the memory eraser tech people having a party B-plot. I understand it’s a means to justify the artistry of the main storyline, and I don’t know if the movie would work without the secondary story as it helps ground the film much more but there is undoubtedly one plot line in the film that is far stronger than the other.

This may be a bold statement but I’m beginning to settle on the conclusion that this is one of the most overrated films I have seen to date.

For a movie that has been praised to me time and time again by people who actually consider themselves movie buffs, this film fell short of my expectations on most all levels. 

Every idea this movie goes for that has any sort of depth to it, is something I have seen done more thoroughly and effectively before. Any time this movie begins to dabble with depth and uniqueness it’s quickly cut short by the most over the top high school coming of age tropes and dialogue ever.

It’s even more shocking to me as the cast for this film is STACKED. Loads of talented actors who undoubtedly have the range and capacity to dig deeper into the serious worthwhile stuff this movie glosses over for another typical teen movie moment.

Some moments were so over the top cheesy that any dramatic weight or investment I could have felt towards the film was lost by the 3rd time I saw high school seniors hazing a freshman like they would in a Disney Channel Movie.

Definitely not a bad film but very few glimpses of anything special, certainly not enough to merit this as “one of the best coming of age films of the last 20 years” as I was lead to believe.

The setting in which this film takes place allows for much of the off kilter nature that Yorgos’ worlds are characterized by to instead be attributed to the time period rather than the filmmakers distinctive style.

For that reason I find this to be the perfect introduction into this filmmakers work for anyone who is less accustomed to strange and unique artistic liberties being taken in film that they may find off putting if faced with a less tame example of such work.

Love the ultra wides and production design. The score strongly elevates the pace and winding tension of the film. 3 very strong performances by the leads.

Thought about this for the first time in YEARS the other day and damn if it wasn’t the biggest nostalgia bomb ever. One of the earliest and few actually critically praised and acclaimed narrative pieces ever created by someone originally on YouTube. The fact that Conan O’Brien, Zachary Levi, Tony Hawk, Nathan Kress and Joel Mchale were all in this proves the mainstream media loved VGHS. Very cheesy and very 2000’s in so many ways, leans into countless writing tropes but that’s kind of its charm. Loved it as a kid, and still loved watching it now.

Much like how whiplash enthralled and invested me into the world of competitive jazz music, (something I genuinely had no previous interest in whatsoever). This film does much the same for professional wrestling in an incredibly effective way. 

One of the most underrated and forgotten films of the last 20 years.

Made by the filmmaker behind requiem for a dream and mother! this movie keeps the same somber tone but without the shock value of those films, which makes it in my opinion one of arronofsky’s objectively strongest works. While those other films are no doubt impactful, it’s incredibly refreshing to see a more subdued and just as quality piece by the filmmaker. 

One of my all time favorite character studies put to film, with a beautifully powerful closing sequence that implies a whole mix of emotions. The final shot of this film feels like you are body slammed with all the emotion the movie has put you through thus far in a single moment.

A rare occasion where the identity of a pretty solid detective film is absolutely eclipsed by the disgusting reputation of its many sequels.

Weird how many parallels this film has to memento and reservoir dogs:

-One of the directors first films (the one that put them on the map)
-Low budget mainly in a few rooms with the occasional outside set piece
-Story is told non sequentially to build intrigue
-Follows the relationship of 2 men who don’t know whether they can trust one another or not but who have to rely on each other due to the circumstances they’ve been thrown into.
-Surprise reveal at the end 
-Ends with lots of blood and one of the men not making it out alive. 

Also SAW has some of the most stylistically unique editing I’ve ever seen in a film. Never have I seen so much personality in a films edit to the point where it makes up a bulk of the films identity in a very apparent way. Some may say it’s too flashy but I think it works for this film individually. (Something all its sequels have tried to emulate with diminishing results.)

More people who consider themselves fans of Asters work should watch his short films. They have much more of his unabashed vision in them. 

The origin story of the naked guy with the knives from beau is afraid? Very strong and dense monologue, can’t think of many ways to make this film stronger, I think it accomplishes what it is trying to do.

Went to see this movie in the theater at 6 years old. By 45 minutes in I had already asked my dad if we could leave the theater several times because I disliked the film so much. Spent the rest of the movies runtime staring at the ground because my six year old self felt that was more worthwhile. 

You’d think you can put any colorful whimsical cartoon on and it should keep a kid glued to the screen regardless of substance but this seriously shows otherwise.

Will never look at the older brother from ANT FARM the same again.

Very bold. 
Right up there next to hereditary as some of asters strongest work. Fare to say this is his most disturbing work but that’s kind of a given simply due to subject matter. Regardless it’s another powerful example of such an exaggerating appalling set of circumstances being used to express genuine strife and emotions in the dynamics of humans, particularly family. The situation is larger than life sure but the intensity of conflict/emotions felt and exhibited are very human and real.

Getting to the end of this 3rd film in a triple feature and watching the credits roll on the final scene I was at a loss for how dramatically this story changed from start to finish. Like I don’t know how we got from point A to B it doesn’t make sense how these 3 movies are in the same series but I’m so glad they are and that this series exists. 

Amazing to see the character of Ash in an environment that seems to suit him so well. Just a lot of fun.

While this is most people’s favorite installment of the trilogy it’s surprisingly my least favorite though still enjoyable. (Probably because of how hyped up it was beforehand). Ash absolutely shines here and becomes the icon that made this series a cult classic but it’s very much in a transitional stage tonally. Not as raw and morbid as the first part and not as out there and zany as the final part. Don’t think the transition could be made any smoother but other than ash the film doesnt stand on its own 2 legs as much as the chapter preceding or the one following.

Of all the shoestring budget films that became cult classics, the story behind this one is definitely a little extra special for me. Watching the 3 movies in this series in 1 sitting is one of the craziest changes in trajectory I’ve ever seen a plot line take. Love each chapter of the story but this first part is still probably my personal favorite.