4o3v2h

What did I just watch

Masterpiece, I just watched a masterpiece. I’ve been a stupid person for never watching this film, even though this name "Tron" has lingered in the back of my mind for so long. But now that I’ve seen it, I understand the magnitude of its cult power. I see it, I feel it. Technological boldness, existential reflection, and a world whose originality is digitally immortal😩 forever there for us to witness.

Utterly futuristic, so much so that the edges of reality begin to dissolve for me, and the familiar world slips out of reach. Each strand of code seems pulled by the gravity of its own written fate, bound to laws that echo like digital commandments. What emerges here is a heroic journey of rebellion against control, where surrealism bleeds into impressionism, which doesn't make any sense, and imagination battles logic. A world is revealed, so hauntingly foreign, so enigmatically constructed, that its very strangeness becomes a thing of raw, stumbling beauty, impossible not to marvel at, at least for me.

And now that I’ve gotten my word-vomit out of the way, I can start actually reviewing this film, one that visually is something weirdly incredible. A stripped-down, geometric world filled with digital, iconic set design that looks absolutely ridiculous, yet there’s a charm in it that pulls me in. I also appreciated how a few scenes contrasted the city’s night lights and traffic with the surreal otherworld where our programs and s ventured. I think I loved how this looked..? but at the same time, its absurdity slightly distorts its narrative straightforwardness.

The film also features Bridges, bringing his trademark sarcasm into a world that feels both perfect and mysteriously familiar. This is a genuinely bewildering work because its faithful to its own world through its story and dialogue that you can’t help but ire it, even with all its flaws. Somehow, the way its abstraction connects with its emotional core makes for a fascinating watch.

So embrace your own system and code it toward your own destiny. A truly unique film so distinct in its identity that it earns its own kind of praise. It’s strange, and far from flawless, but through its very imperfections it manages to reveal a greater truth hidden within its digital world. It’s an unusual film, one I’m not even sure how to properly review but in the end, an amazing movie, and it definitely sparked a much stronger interest in the new Tron film for me.
75/100

Vulgar, disgusting, hurtful, and downright obscene...I love it!

Knowing Nikki’s sense of humor, the special is exactly what you'd expect but definitely from the deep end. And it works, yet at the same time it manages to be a bit too exhausting, which honestly surprised me, because I usually welcome all things crude with open arms. But here, there was something that just didn’t fully ignite that usual spark her humor brings out in me.

The special is sexual confession at its finest, and her ability to plunge her audience into a perfect spiral of secondhand embarrassment is always masterful. But as I said, something pulled me in the wrong direction this time, and I’m not quite sure what caused it. There’s also something deeply introspective here, and it comes through in her jokes. Like holding up a mirror, the kind of reflection that her comedy often forces us to confront.

So in the end, a good special but something left me a bit unsatisfied. Also I just finished Clair Obscur: Expedition 33, which is one of the most flawless masterpieces I’ve ever played, so only thing left to say is, this special felt more like Whoo than Whee😔

I think there's some kind of allegory around culture and society, but I'm not sure...🤔

This animation clearly holds personal meaning for Sohn, and that intimacy shines through in both the story and its characters. The narrative feels deliberate, as if it knows exactly what it wants to say, told with warmth and empathy that make it accessible to almost anyone, maybe? What’s certain is that the world it builds bursts with vibrant color, mirroring the depth of emotion it conveys.

Visually, it's absolutely delightful to watch, and the interaction between the elements and their environment is a joy to observe (like the way water jiggles😏). Exploring the little details happening in the background adds to the charm but that also highlights where my main criticism lies...the story and characters are, unfortunately, a bit forgettable.

The film is surprisingly mature, and that maturity emerges through the elements themselves. Inner fire merges with watery sensitivity, flowing along its own current, and the story teaches us something we all inherently know but don’t always recognize right away, because our prejudice blinds us to the truth that’s right in front of our eyes. Here, opposites seem to complete one another in exactly the way the world should operate.

And at the same time, we also see all the pressure that can be placed on children to continue their parents' legacy, and the way the film presents this is well done because some scenes even blend together on such an emotional level that I didn’t expect it to hit so hard when you look at the bigger picture.

In the end, it’s a fairly linear animation, but one that holds the beating heart of Sohn’s own life experience, something he’s offering for all of us to see. The characters and plot might fade a little from memory, and a few moments don’t quite hit with the force they reach for, but still, I think, I see this as a beautiful piece of animation. Its message is simple on the surface, even familiar, but like all things rooted in real emotion, it grows more intricate the more you zoom out and take it all in. Great animation.
66/100

Okay Zlokovic, color me surprised. What an interesting film. Body horror as the physical embodiment of mental illness? Or something else? And inner pain as grotesque love. I think we have something special here.

And that specialty manages to wander quite a bit throughout the film, because the setup is pretty weak but once it gets going, its quality rises in a really good way, only to drop again in a really bad way. There’s this very strange vibe throughout the whole film, which makes it a bit heavy to watch, even though in the end, I actually liked it.

At times, the film feels a bit like a comedy but in a not-so-great way and some scenes just don’t land the way they’re clearly meant to. There’s also something genuinely surprising in how it treats its characters. The pacing is definitely a bit off, because it dances between subtlety and intensity, especially when the film’s suffocating atmosphere fully takes control. Robinson’s performance is believably desperate, as the demons of her own mind chase her through the depths of this story.

But when it comes to the ing characters, the film’s emotional weight doesn’t quite find the right note in its writing to make everything land as effectively as it could. And that makes it all a bit frustrating to watch. The film tries to tap into the self-flagellation that comes with anxiety, and visually it’s well executed, the embodiment of that pain works but it doesn’t quite deliver the kind of deep, resonant anguish I was hoping for.

So in the end, I enjoyed it but there’s this lingering sense that it’s the kind of film that might quietly fade from memory, which makes me a little sad. Not because it’s a bad film... it’s not but because it never quite finds itself fully, and maybe that’s just something you have to accept😏 Still, there’s something special here. So, good film.
60/100

Renée Elise Goldsberry's voice does something inside my brain that you can't explain.

I expected this to be a bit of a demanding watch, the kind of monumental piece that would require my own intermissions but I can happily say I watched it all in one sitting without stopping even once. Normally, I’m always writing things down as I go, but this time I let the magic sweep me away. And it’s easy to see why because the talent and pull within this piece are so strong that it captivates. And that all is handled with remarkable steadiness and control.

And a huge part of the magic lies in what the cast conjures on that stage. Every single performer throws their soul into the fire. You can feel it, the spit in the air, sweat dripping, the fierce meeting of eyes, jazz coiling like smoke, hip hop jams, and soul rising straight from the marrow.

And all of it flows under the steady hand of the orchestra, it shapes the whole identity. Each note, each lyric, carves out characters, giving voice to stories that stretch far beyond the stage. And the way it all breathes is pretty amazing. Not just in the snap of rhythms or clever turns of phrase, but in the sheer force of a spinning stage becoming a living symbol. It turns into a world in motion, showing the wheel of life. It becomes a place filled with people of difference and depth, stitched together by culture, struggle, and hope. Here, history literally dances and fights with the present and the collision is pretty damn electric.

But I also understand the critique of this musical. And Hamilton isn’t pretending to be a documentary. It feels like a theatrical retelling a stylized, metaphorical lens on the past that uses modern forms like hip hop, soul, and spoken word to reframe who gets to tell America’s story. And it takes liberties. It compresses timelines, elevates certain characters, and omits some uncomfortable truths and it leaves a lot in the dark. But it also does something different, it invites people who’ve historically been left out of the narrative.

This is not a history lesson. Lin-Manuel Miranda wasn’t erasing the past, he was asking who gets ed, and why. The musical asks me to reflect, not to ively accept. History books tells us what happened. Hamilton asks why it matters.

This musical isn’t meant to be pure, it’s meant to provoke. And Hamilton provokes with beauty, contradiction, and spectacle, all while making space for people to feel included in a national story that often leaves them out. That’s revolution in Broadway . And is that a good thing...eeeeh... I don't know. But what this manages to build as a whole deserves a certain kind of respect maybe not in the way its creators intended, but in what it made me feel. But what do I know🤷‍♂️ not much, really. But one thing I do know is that this stage play sure knows how to provoke.

So In the end that glance at the camera is a flawless embodiment of how a single, artistically charged breath can ripple through an entire work like a emotion through time. It doesn’t seal Hamilton’s story as a chronicle of one life lived for me, it cracks the frame wide open, letting the light in. And in that moment, history dissolves into humanity, and the tale becomes ours and I'm not even an American. Really contradicting musical/stage play because this sparks conversations I've heard and read about. About race, memory, representation, and who deserves to have their story told. And I think that’s what makes it valuable, the fact that its contradictory setup creates that very conversation. Because for me great art is always a conversation starter, not a final statement.

So I cannot lie and say that I didn't enjoy it. It's not perfect, it's complex. Four stars.
81/100

What a weird Disney movie.

Absolutely insane premise, so I was expecting much, much more... I'm a disappointed man.

Early motherhood and the emotional baggage it drags in tow takes center stage here, and Amy "I could crush a walnut with my vagina" Adams and Heller paint a compelling, almost primal portrait of that experience. The whole film is a bit off and strange in a bad way but it has uneasy edge, like it’s always half a breath away from slipping into something feral. And I loved how it slowly, almost imperceptibly, starts showing its own rhythm, to its own myth.

Also the relationship between mother and child is shown in a believable way, along with the creeping fear and uncertainty of motherhood, something that’s far from self-evident.

There’s a certain fearless commitment radiating from Adams, she throws herself into the role with a raw, all-fours kind of energy that’s absolutely gripping. But everything around her feels a bit surface-level, a bit too cautious and amateurish. Well not amateurish exactly that’s not quite the right word, and I’m not really in a position to judge that but you can sense a larger whole that doesn’t quite know what it wants to be… or maybe it knows, but just doesn’t dare to fully go there.

So in the end, this doesn’t really leave much of an impression on me, which is a bit of a shame, because there was something here that could’ve delved deeper into its own depths. That way, the absurdity and weight of the various scenes could’ve had more time to resonate. But instead, this feels like it’s happily speeding down a highway toward its conclusion, staying on the surface, without delivering the painfully strong grip that this might have actually deserved.
45/100

I absolutely loved how they portrayed Sentry from the comics to this film. Such an amazing character concept.

All of Marvel is drifting in a perfect void of its own future and then comes literally the same Bob from Top Gun Maverick and ragtag crew, who shift the course toward something real, something greater. Just the right length, paced convincingly with small, somewhat bad but also well-placed deus ex machina moments, and an open, aching wound searching for its lost meaning. A clear victory for Marvel and for me, because I enjoyed every moment of it.

A familiar universe and familiar faces. Pugh is amazing...hell, everyone is amazing. And Bucky. He looked just like me riding that motorcycle. Sure, I’ve got a Milan sport scooter and a bowl helmet, but it’s almost the same thing. Gray-toned and fractured, with a heart that carries a past it can never quite escape. The film holds within its shadows a familiar emptiness, ironically, something MCU is like right now. And that’s exactly what makes this such an intriguing piece.

We have a story here that isn’t really about saving the world, but about characters trying to save themselves from it. The weight of depression hangs heavy, and the film does lean into it with a touch of over-explanation that doesn’t go unnoticed. But it still works. And the way the film connects that struggle into its story, its universe, and its characters is a quiet miracle in itself, though really, it shouldn’t be.

Also what I really ired was how the film gently charts its course toward the future. The MCU’s wound right now isn’t one that can be stitched up with triumphant battles or universe-saving stunts, it needs something more intimate, more human. It needs the quiet gravity of what these heroes, stories mean to us. And this film. It tells a humble story. Not some towering epic or universe-shattering spectacle, but something smaller, quieter, something that knows exactly what it is. It doesn’t puff itself up or twist into something it's not. It just breathes, steady and sure, embracing its flaws, and in doing so, becomes something remarkably whole.

So I guess, in the end, we’re kicking and swinging between the old foundations, pushing toward a new era. What the film accomplishes might not be the salvation of the entire world, even though the threat is definitely Avengers-level but what it does save is its "soul". It holds that soul tightly, reminds it that it still matters, that there’s still meaning to be found. It’s not the "best movie ever" I feel like I’m always expecting from these kinds of films nowadays, but rather a story grounded, one that stumbles through the void and slowly begins to dig its way out. Soooo..honestly...I know its not that deep but I cannot lie, I really liked what they did with this movie. An amazing film👍
78/100

Florence Pugh eating breakfast with her cat after doing something diabolical has a mood all its own. We have an ancient tragedy, clinical and crushingly amoral allegory of time and place that dares to show me something extremely powerful with its characters.

Pugh is placed in an emotional vacuum an empty stage where something raw and uncanny begins to take root. This isn’t only about gender, it’s also a slow-burning indictment of class, and the way those forces come together builds a silence so heavy for me it feels like the walls themselves are holding their breath. It's pretty amazing how powerful this movie feels.

And the power is exercised not in grand gestures, but in sharp, minimalist control, a glance, a withheld word, a shift in tone. Dialogue becomes a battlefield of restraint, where the one who dares to speak conducts the unspoken symphony of dominance. The ive-aggression is crafted with surgical precision, every word is like a blade, every pause an accusation. And it works.

The music vanishes entirely, and in its absence, every other sound surges to the surface, food being chewed, breath drawn in slow defiance, the restless sounds of nature outside the window. This film sinks into a deliberate stillness, a kind of aesthetic boredom, as the flickering heat of ion, "love" begins to radiate outward, softening the air, even while the hard spine of morality quietly splinters.

And that decay begins to ooze from the cracks, between the floorboards, behind the wallpaper, in every groan of the old house. If anything deserves to be singled out from this, it’s the sound design because when the silence takes place , the film’s themes don’t just emerge, they dissolve into it, into to that silence.

A nightmare with eyes of its own, it watches you, showing warnings of what unfolds when boundaries are not only crossed, but designed to be shattered. It’s always amazing to see a film this bold, this unapologetically lean, its tight runtime sharpening every blow. There's a clinical precision to it, a sense that every moment is sliding toward doom with quiet inevitability. For me, it was suffocating in the best way, not just because of the choices the characters make, but because of the prison you're already locked inside before the story even begins. Simple but remarkable and merciless film.
88/100

Goldstein is such a beautiful-looking MOFO, his whole essence seems to shine through here.

You can immediately tell he has a really funny personality, and it also shows in his work. What this special brings is exactly what works but at the same time, if you want to criticize it, the structure is a bit shaky and something feels a bit off. Still, it's exactly the kind of thing you might expect from a first comedy special. But overall I really didn't care at all.

Goldstein is someone I wasn’t really familiar with at all(I know about Lasso), so it was easy to go into this with an open mind and I’m surprised, in a good way. He is somewhat confident in his jokes here, so he radiates a kind of certainty through his own uncertainty, if that even makes sense. But like I said, I really enjoyed this a lot.

I can’t really think of anything else to add, but yeah this whole special feels down-to-earth and generally very approachable, even though his jokes also carry a punch with their own shock value. So In the end, it’s a special that feels like it raises his profile and I’m genuinely excited to see what he comes up with next.

Hold on...she eats eggs just like me🤔

The clock is ticking, time is running out. Our lives are full of limitations but what happens when we break free from them. A different, unusual horror film that leaves something behind as its clock ticks toward the end. You begin to sense something in its darkness, pressure and silence. An oppressive atmosphere crafted surprisingly well, so well in fact, that I found myself a bit surprised. The film’s visuals walk hand in hand with its own depth, and it works.

Dianna Agron gently smears eggs on her face(and something else...) and delivers a performance that’s not really subtle but emotionally charged, enough to make sure you truly grasp what’s unfolding. It dangles something in front of you and shows you things in a kind of “in your face” way that leaves no room for confusion. But what really works here is the film’s own absurdity, which creates a strange desire in me to anticipate every twist this horror-thriller has to offer and that’s something that I appreciate.

The film doesn’t exactly dwell on the edges of horror, but instead reveals the strange yet beautiful world of birth and having a child😇(this is not a lie), one that seizes you through its sounds. And that grip is intense, even uncomfortable. It gives the film a certain instability, but in a good way, because the whole time it feels like it’s scratching at you from the inside out, in a way that doesn’t exactly feel good.

But I have to it, the film also feels a bit off-beat at times, and some scenes don’t quite land with the impact they might have deserved. The internal chaos merging with the external discovery is, on the whole, unexpectedly compelling, but there’s also a noticeable off-balance to it all that might leave the overall experience feeling just a bit underwhelming for some.

So in the end, the film turns out to be something different, especially since I expected a more familiar formula and a touch of vanity. But instead, it digs deep into its own roots. It transforms into a deeply personal journey, where the horror stems not from monsters or mayhem, but from the seemingly ordinary choices a person makes about their life. The anxiety is overwhelming, the pressure steadily builds, and it feels as though something, or someone, is steering it all with an unrelenting grip.

Also nice close up shot Jacknow, thank you for that👍
65/100

I love how on Disney+, the top left corner of this movie has a warning for violence and scary material...Stitch is such a menace.

The meeting of brokenness and a genuine heart. An animated film often described as the story of a small family amidst big, grand events. While it's clearly aimed more at children, the way it portrays feelings of alienation and loneliness is irable and it's because of that I will always love this movie.

And thank you to the mosquitoes because otherwise, in this movie, we would’ve all just been gassed completely. The pacing of the animation and the hyperspace jump to its starting point are perfectly balanced with their own kind of humor, hope, and of course, sadness. A big thank you also goes to the film’s soundtrack, because the way the melodies connects with the characters’ expanding worldview and emotional growth is really memorable.

Because we humans are tender and simple creatures, just as the strange ass-looking alien in the film so wisely puts it. Visually, the film is a joy to behold, and that’s no accident, it’s rooted in the breathtaking world it’s painted in. The spirit of the culture pulses through everything, through the people, the landscapes, the everyday details and into that world arrives a mysterious newcomer, carrying both hope, destruction and a sense of wonder. I just love the way this animation feels to the eyes.

So of course in the end, it's Disney magic told in a way that’s entirely its own. The usual formula of these kinds of films is nowhere to be seen, this one is as fractured as the family it portrays. But "fractured" is the wrong word, and the way the film ultimately shows us that earns my nostalgic smile, the kind that surfs the waves and builds a home in the shape of a sandcastle. Good old, amazing animation I have nothing but great memories of.
86/100

A spirit of comedy, the dawn of noir, and a charming product of its time that seems to mock itself with its own sleazy allure. Interesting film.

A slightly wearisome film, as its mystery doesn’t feel particularly compelling. We’re immersed in the glittering world of show business, all smiles and glamour on the surface, yet beneath it lurk secrets and murderous intentions. The film carries a unique charm and a touch of playfulness, but I must it that its sluggish pace becomes, in its own way, part of the mystery itself for me.

Because outwardly, we’re treated to eye-catching brilliance. The film is all about theatre, maze-like backstage corridors, and the visual spectacle of burlesque. If there’s one thing that works here, it’s the set design and costumes, pure visual flair. There’s a sense of authenticity in its very chaos. I think this is one of those films you’d love to see in color, as its vibrancy would no doubt shine in a stunning way.

Wellman has a distinct directorial style and a clear narrative direction, but the blend of comedy, mystery, and a touch of eroticism results in a rather straightforward package, like a believable conversation happening around a world that dances. Yet, nothing here seems to learn or evolve. The cast is large, and Wellman doesn’t really do anything particularly memorable with any of them that would make someone stand out. Still, Barbara Stanwyck steals the show of course.

So, in the end, it’s a fleeting relic from the 1940s, something that slips through your fingers as soon as the curtain falls. The film dances and twirls while a sinister mystery smiles just beneath the glitter. It’s a stage play both in front of the lights and deep in the backstage, and though it carries the air of something bold and breezy, it never quite strikes the chord it’s reaching for...at least not for me.
52/100

The movie kicks off with Keanu Reeves moaning and bragging about how he's the bad dog. The world has officially gone off the rails.

And I also love how in the Finnish translation of this movie in Max, “bad dog” and “big dog” turn into "paha makkara" and "iso makkara". Which, when translated back into English, means “bad sausage” and “big sausage.” So basically, Keanu starts off the movie by bragging about his own sausage right from the get-go which is pretty damn bizarre for a film that’s already a seriously strange package.

The film holds a secret, and that’s one of the few things I genuinely appreciated but beyond that, the whole narrative setup doesn’t quite land. It skims the surface, never diving deep, and Reeves’ character is, well, just..I don't know...a dick? Thankfully Theron lights up the screen with a smile that never fails to make me blush, but as a whole, the story trying to steer love through the lens of manipulation and fleeting meaning never finds its own heartbeat.

Of course, there’s a reason behind why Keanu’s character is so closed off but the way it’s portrayed feels pretty flat. Still, the chemistry between the characters holds a certain charm, even through its clichés, their banter has a rhythm that’s pretty odd. Theron’s lines radiate a quiet warmth, a kind of gentle sunlight against Keanu’s emotional frost and somewhere in that contrast, if you look closely, there might just be something genuinely compelling waiting to be found. But when I found it, I felt nothing...

And that emptiness finds a flicker of life in Enya’s Only time, which drifts through the film with its own quiet musical soul. This isn’t a bad bad movie, it’s more of a middle-of-the-road experience, carried by a wistful tone. There’s a small something here, nestled within all the grand melodrama, a fragile, yet luminous reflection on life and its unexpected turns. The believability of the direction wavers, and the story lives in the moment, but the way it’s framed and how the final journey plays out just doesn’t quite come together for me. A mediocre film.
49/100

Daddario's eyes FTW

This is one of those movies that contains the potential for perfection within it, but its execution feels very detached from its own characters. I mean, there’s a scene where Hira tells Daddario that she’s eating a chicken shoulder, and when I looked at my notes afterward, I had written down, "Do chickens even have shoulders" That alone shows how the film lacks a strong weight that could elevate the whole thing. But the problem might also be me.

Daddario is the star of the film, and I appreciated what she brought to the role. She’s clearly chasing that one perfect kind of "suffocation" in bed, something extreme enough to jolt her into feeling anything at all. It's an existential drift through a country that never quite lets her belong. Pleasure and pain blur into one another, and Daddario had a chance to craft a performance built on quiet surrender. But when you step back and look at the film as a whole, her presence captivating as it is...isn’t quite enough to hit the emptiness around her.

The film creates a kind of duel between mind and environment, it doesn’t force emotions to the surface but lets them drift, weightless, through the world and its characters. The sounds of the street, the gestures and movements of strangers, they become an intimate dialogue with Daddario’s character, whose inner world is fragile and exposed in its own quiet way. The film pauses, reaches out, tries to connect with me but where it ultimately falls short is in the writing and whole direction. The weight of individual scenes drifts too much within its own style, a style that, no matter how hard you try to find meaning in it, offers little in return.

So in the end… yes, chickens have shoulders, of course they have(stupid me) and this movie just isn’t that good. It’s a tragic, longing-filled piece aching with "saudade", and its pain deserved more careful direction. There’s a kind of liberated mystery here, one that isn’t pushed forward but simply allowed to exist. But when you look at the whole, it becomes clear that too much is missing for the ending to truly land...Two stars.
41/100

I don't think about dying, I'm thinking about not living.

The saddest-looking microwave meal of a film. Gray in its tones and motionless in its camera like life stuck in a wheel. A story of isolation and its quiet agony in a place where the surrounding beauty comes from its ordinariness, routines and repetitions. A longing for something but what? What this film does, in its minimalism, is incredibly powerful, and it works because its silence is a delicate search for emotional pain, in hopes of finding meaning. And that meaning or you could say connection becomes something deeply, achingly human.

Lambert gives us a character who feels instantly familiar like someone we’ve ed a hundred times without ever seeing. Ridley, in turn, wraps that familiarity in mystery, making every glance and silence feel like a locked door. Merheje becomes the gentle pull in the opposite direction, the warm longing that cuts through the fog.

What struck me most was how the film breathes this strange, haunting melancholy, quiet but unshakable. It floats somewhere between a dream and a cage, grounded in realism but laced with sudden moments of emotional flight. Are we witnessing apathy, numbness? Quiet introversion? Or a slow implosion shaped by disappointment with oneself. Lambert isn't just inviting us to watch Ridley, she's asking us to search the spaces in between, to find out what this film stirs in us when we sit with its silence.

We all understand, deep down, that connection is the thread that pulls life into focus, that gives it shape, warmth, meaning. But this film also sidesteps the obvious. It doesn’t walk that path straight, it drifts, hesitates, like someone too afraid to speak. Maybe it’s a beautiful accident, or maybe I’m just letting myself fall too far into its quiet orbit.

What sets it apart emerges in the dreamscapes the strange, serene fantasies that haunt the edges. The title says it’s about dying, but really, it’s not about wanting to vanish. It’s about not knowing how to exist in a way that feels real. And that ache that soft, wordless longing to learn how to reach out, to stretch a hand into the void and hope something warm reaches back. That’s where the film lives. And how it handles that, how it tiptoes through that emotional fog without losing its way is actually pretty effing amazing.

So what stays with me is that awkward hug, the awkward silence, and a romance that isn’t what you’d call ionate love but rather an understanding that maybe, just maybe, it’s possible to feel something. The feeling of not living lingers in every scene, and the environment echoes it but the answers, the meaning, live in the spaces in between. Is it connection with another person, or the ability to finally step out of the void. The film moves like it's half-asleep and the question it leaves us with is does she wake up.
85/100

Zero stars... Rasputin didn't even dance in this movie😔 Wait... yes he does

I decided to spin my animation wheel of fortune, and it landed on a movie that had completely vanished from my memory. At first, I didn’t even know which animation it was. But when the first musical number began, I felt a nostalgic tingle in the back of my mind, and I knew I had seen this before or atleast some of it.

A story of a lost past, told with elegant narration, a tale that blends history with its own brand of fantasy, where the very mystery of the past creates something melancholic yet enchanting. Visually, it’s incredibly cold, and but it also manages to warm a frozen body into a new human being. The animation is a beautifully strange mix of realism and clear artistic stylization, and as a whole, it forms a package that feels unique and I honestly don’t understand how I could’ve forgotten this…maybe it’s not quite as unique as I’d like to believe but what do I know.

The strength of the musical is, of course, in its songs, and here there are quite a few of them, which creates a bit of a distracting feeling. But every music number moves the story forward, and they are surprisingly well-written. They aren't perfect visual spectacles but are restrained in their own way. However, when the situation demands it, the pace and visuals picks up. So, the level of entertainment stays high, even though it starts to feel a bit underwhelming, and I don't know why...

In the end, I love this, but its formulaic structure does wear down its appeal a bit, though that's usually expected with films of this kind. That said, there's something mysteriously magical here in its own culture, cities and characters. The voice acting is great, which isn’t surprising given the names involved. It's delightful in its own right, and it exudes a kind of old-school musical choreography that carries the story along to a familiar conclusion but certainly not in a black-and-white way. Great animation.
71/100

The greasiest movie there has ever been.

My leather jacket is on, and my hair is slicked into a perfect quiff, so sharp you could almost ski down it and leap into the unknown. Now, I dive into that unknown, a time both familiar and wondrous. The world of the 'oldies comes alive, and the brightness of it all is such an exaggerated brilliance that it dazzles with its own magnificence. I "love" how this movie transforms itself visually and the way that transformation is portrayed is really well done.

And that transformation isn't a good thing. Here, it's superficial yet at the same time, it reflects the very fear of youth. The film is so energetic, so full of life, that the amount of peer pressure is overwhelming. The movie's transformation is a form of acceptance into something that actually feeds that fear. You could say that this is paradise of caricatures, and the only way to survive in it is to adapt to your surroundings. To me, this is brilliant self-irony at its finest. Beneath all the brightness and beauty are just scared young people living in a paradise.

And these “youngsters” aren’t really young they look more like adults playing dress-up in a high school dream. But that doesn’t break the spell, if anything, it adds to the charm. Travolta’s every move is a hypnotic dance, and Newton-John glows with a timeless beauty. The whole film is like a perfectly tuned jukebox of joy, radiating warmth and nostalgia in nearly every scene, like a sunbeam caught in a dream.

And because this is a musical fully aware of its own magic, its value doesn’t fade it flows with time, like a vinyl record spinning louder with every ing decade. The film’s vibe is pure, unfiltered youth like a freedom poured into lyrics and blasted through its music. The emotions it shows feels real and epic. What this film/musical becomes is a rocket ride into pop-culture heaven, both literally in its final scene and metaphorically in its impact. And the energy it releases is enough to power a nation’s electricity for the rest of its life.

So what I’m ultimately left wearing is a short-sleeved T-shirt of pure black charm and a grin I can’t wipe off, the kind that forces you to it, this film works really well. It walks a tightrope between its own humor and aesthetic, and the way it shows a seamless love letter to filmmaking and a bygone era is like a dancing package with blue eyes staring into the future, trying to find its place there. An amazing musical.
82/100

Not the most groundbreaking live special in the world in of comedy, but this duo bounces off each other through their personalities in a consistently amazing way.

I’ve probably watched everything comedy-related and every special Netflix has to offer, so I was surprised this one had slipped past me. It’s full of joy, music, and that familiar back-and-forth banter and teasing you’d expect from this duo. Short is his sly, clever self, and just Martin’s presence alone makes me smile. Overall its just a great special

The only thing that leaves a bit of a scratch is the strange way it mixes improvisation with scripted scenes, even though they clearly have to stick to a schedule especially with something coming out on Netflix. In the end, it's just, you know, a great special, nothing less, nothing more from two familiar comedy actors.

There's a jumpscare in this because of one actor who sells pork at a restaurant called Love Guactually🤔 I’ll let you figure out who it is. Hint: it almost rhymes with Flirt. I think this is a masterpiece.

It's amazing what can happen in your life if you just wear pink shoes because...well I'm surprised and happy. This feels like a meeting under the red sky, where the heart is cracked yet it is exactly the connection between those cracks and the new glances that brings all the colors back into our world. There is something familiar here, and at the same time, something more, something really beautiful.

And even though I said this is a film where colors return to the world, I was of course talking about the transformation happening within the main characters because the setting itself is already incredibly vibrant. I loved how there was always something else happening around Oparah and Jonsson, whether it was ordinary everyday life or absurd amusement. This manages to create, in a wonderfully effortless way, a world that doesn’t just live...it bloody LIVES.

And the way that life is portrayed feels like its own dreamlike world. Weirdly a bit like giallo in its aesthetic boldness, wide shots, fisheye lenses and ultimately wonderfully vibrant, unreal yet so tangible world that works damn well. It creates a kind of unreal but real everyday life that you can’t help but ire. Incredibly sharply directed and shot.

And the fact that it’s under 90 minutes only feels like a plus. It’s just the right amount of touching, just the right amount of funny and even though the whole thing feels like a hyperactive burst of color, it never stumbles its pace or its own story. Somehow, it manages to be spontaneous while capturing the mystery and absurdity of life in a way that hits exactly the right note.

There’s love in the air here in a way that feels genuine, yet of course also slightly unrealistic. The romance thrives not just because of the connection, but in the world where it was always meant to begin. A unique yet familiar film that truly succeeds through its artistry, because it dares to take a risk and creates a rainbow and at the end of it, there’s not just gold, but the hope that love might guactually exist. A simple story, but executed brilliantly. An amazing romcom, innit.
84/100

Trier, you magnificent bastard. As tangled and elusive as the dreams we chase in real life, as electric as youth’s feverish need to make a mark in this grey, indifferent world. A story steeped in so much uncertainty, yet pulsing with the ache of true longing. An Amazing film but hard to follow but hey...that's life.

This isn’t my first rodeo with this film. It’s been some years since I last sank deep into Trier’s Oslo Trilogy, but this is one of those rare films that welcomes you back, not with spectacle or noise, but with a quiet, unmistakable truth. It’s not some hollow tale of youth, or a epic tale of life. It’s a raw, strangely beautiful reflection of that quiet ache we all carry, the search for meaning that never quite leaves us.

And I mean...I haven’t found my meaning yet. The only meaning I tend to find usually lies at the bottom of a Ben & Jerry’s Cookie Dough tub, and even that turns out to be just three chunks of dough these days, since they’ve gotten scarcer over time. Why the hel..wait, this isn’t a rant against Ben & Jerry’s, it’s an homage to this film.

Because what this film or you could say what Trier does is pretty masterful, especially coming from a young director. The movie takes a risk, and it either clicks with you or its lack of conventional narrative structure leaves you a bit confused and maybe even bored. What this one does is genuinely fascinating. It’s not perfect, but that’s exactly why it works. There’s a feeling, a space that opens up in the film, one that offers freedom, and the terrifying luxury of choice to become the person you want to be, or the one you’re afraid you might become. Trier points the way with his fantasies and his truths; he doesn’t explain, he gives us the chance to find it ourselves.

The film’s own potential merges with its characters in a way that frames each scene with meaning where existence itself, and simply coexisting within it, becomes a quiet kind of fear. The film’s calm, deliberate melancholy is a measured freedom for me because it normalizes the surrounding world without flattening it into despair. That’s why, somewhere in the depths of this, you might just manage to find yourself and a glimpse of the freedom that comes with it. Because this isn’t a film that offers answers, but the beginning of something new.

And in the end, the film leaves behind a tender ache, a kind of gentle afterglow that lingers. There’s no showy pretense here, just the quiet poetry of real human connection, unfolding like a half-ed dream of growing up. It’s a coming-of-age story told not with explosions, but with restraint. The film shows its Nordic soul, crisp, cool, understated. The music doesn’t pull your strings, it walks beside the characters, never louder than their silences. This is a film that doesn’t demand anything from you...it simply IS and that’s where its power will always lie.

And It’s rich, layered, full of contradictions: it can laugh and weep, freeze time or let it rush by. Trier doesn’t control his characters, he listens to them and in doing so, we’re drawn in, not as spectators, but as quiet witnesses. Still a stunning film because it isn't..? If that makes any sense.
85/100

A bewilderingly feeble nightmare but strangely charming in its own way.

Society with its little tulips. Is the idyllic setting just a performance or something more. The mystery grows as the film progresses toward its end. The tone feels off in a bad way, and it shows. There was potential here for a unique experience, a fairytale told through its own thriller lens. Because here, ordinary idyllicness meets its own strangeness, and if some of the pieces had fit together better, this could have worked for me. But I feel sad.

Kidman is her snappy self, seasoned with her own charm, and the family at the heart of the story is deliberately restrained. But the mystery at the core of the plot doesn’t offer the kind of strong directorial control over chaos that could have allowed for a few scenes to spiral into a more deliberate madness. In the end, the result feels a bit too surface-scratching for me. Macfadyen is just the right kind of ordinary, and Bernal provides a decent balance to the whole, but the end result is rather forgettable.

I did like how this looked from the outside, and a few scenes were decently crafted too. There’s a retro vibe to it, and the color palette creates a visually captivating world, almost like diorama of control, something you can appreciate in the moment. But that outer shell is the only thing really trying to steal my attention, as if to distract me from caring too much about the characters themselves.

And maybe there’s a kind of ambition here with its own flaws but what it shows me is a train ride that somehow crashes into itself on a circular track. The roots of a past life run deep, and in the end, it’s that red flower or is a tulip even a flower? (online check, it’s a bulbous plant but it's a flower) that seems to highlight the hidden ugliness and identity at the story’s core. As I said, there is a certain horrifying charm to all this, but ultimately, I can’t say I enjoyed the experience as a whole.
53/100

Swole Kylo Ren will always make me laugh.

I mean first of all, people can have many different opinions about this film, but one thing is certain: there's a kind of boldness here both in the themes of failure and in the film itself. For me, it's undeniably quality entertainment, because, well... it's still Star Wars, even if it breaks its own traditions.

The biggest problem here and probably always will be is how these new characters just don’t pull me fully into the adventure and also the way they're presented to me. There’s this strange sense of detachment lingering throughout, like the emotional pull and sense of wonder keep slipping away behind all the visual beauty because damn, this does look incredible. And now, watching it again on my big TV with new really expensive headphones, I felt that overwhelming sense of grandeur that only films like this can deliver.

The writing also leans into a kind of playful indulgence, and this is one of those cinematic moments where Disney’s branding really shines through. Disney and Johnson make their own choices, and the overall film isn’t so much a sentimental or emotionally resonant work, but rather a blend of intellectual depth and simplicity. In that sense, everything the film tries to say and build with its story feels far from balanced. It’s like a bold leap toward something greater but it forgets to bring its lightsaber along for the journey.

Because I ire the ideas here but I’m not feeling them at all. The sense of disappointment this film leaves behind is, in the end, a pretty deep wound. It challenges you with its story, but it feels like a one-sided duel that never really gives anything meaningful in return. But, I have to it, it also gives a little more, almost to its own detriment because everything I’ve said before creates this strange paradox of artistic ambition clashing with commercial intent. And that tension really makes it a fascinating pop culture experience for me.

In the end, the universe balances on a knive’s edge, and the true battle rages not across star systems, but deep within the characters’ minds. It’s not legacy that guides them anymore, it’s the act of letting go. The film, and Star Wars itself, seems to fracture its own identity, leaving behind a fading illusion of greatness...a mirage that, honestly, deserved something more real, more earned. The age-old clash of light and dark is unraveled thread by thread, until all that remains is a vast, crimson-hued void where the Force begins to rewrite itself. And yet… there's still something quietly powerful here. So, yeah 3 stars.
63/100

Jake Peralta jumpscare warning

Making and showing history one frame at a time. A biopic about a woman whose actions are part of our shared history. A story that deserves to be told. A frame narrative, straightforward yet confident, this historical drama finds its depth thanks to Winslet’s commanding performance.

The film imitates real events, and this also creates its own dramatized atmosphere of the horrors of war from a woman’s perspective. However, what somewhat restrains it is that it perhaps doesn’t delve deeply enough into Miller’s mind when considering the overall picture and what the film wants to convey. But at the same time it might be a choice from the director. The atmosphere is capable of transforming and evoking the impact of war’s horrors, but it somehow fails to bring that out in a strong enough way for me. The structure of the film doesn’t provide a suitably deep transition on its own, which leaves me feeling somewhat detached from the whole.

But of course there’s undeniably a great deal of ion behind this. The film strives for an emotional and heavy portrayal of everything it touches, and its honesty is evident in every frame. At the same time, it carries a unique ambition and a clear desire to convey trauma, fear, regret and the crushing weight that lies at the heart of it all.

The characters orbiting around Winslet’s Lee don’t quite land, and that has an impact. Samberg is fine, but there’s a lack of real connection with Winslet. Skarsgård, who looks uncannily like Stellan in this film(more than usual), delivers what’s needed, but still feels out of sync with the overall tone. And the emotional weight of the ing characters doesn’t resonate in a way that would allow me to fully grasp or connect with the film. Which is a bit of a shame.

But even if I may be criticizing it a bit too much, it’s still an affecting piece in its own way. It feels authentic, perhaps a little too "safe" in its setting, yet the film’s central character gets her story across. The music feels a bit disconnected from the whole and the visual tone carries with its muted colors. In the end, it serves as a reminder of how the ordinary vanishes in war, and how certain moments and truths go unnoticed. That’s why even a single image can become a haunting reminder of what might otherwise be left unseen. Good film.
62/100

A masterpiece of inherited past and the identity shaped by its distorted memories. Tarkovsky pours his own soul in this film in a way that loves the deepest part of itself, yet offers a perfect opportunity to reflect on its purpose. And I'm exhausted as always.

My artistic hat is on, and I’m ready to dive deep into the recesses of the mind where I’ve been summoned. Tarkovsky’s immersive creation, which serves as a mirror unto himself, is his gift to us, like an invitation to submerge ourselves within it. It is undoubtedly an intensely personal work, and the way this entire moving painting comes to life is a meditation at its best. You can quite literally feel the weight of every scene not just on your skin, but in the way it strokes your brain, reshaping the inner contours of how you see. Especially in the end. Its strength lies in the director himself, who masterfully orchestrates everything to speak in unison with the surrounding story and world.

Art is a bridge of souls. This film is a confession, a mirror so intimate to me its edges dissolve, not to contain the vision but to liberate it. Time is not measured here, but painted, so freely, yet with the invisible hand of purpose. It breathes with us, like a living presence, suspended forever in a frame untouched by time. And within that frame, reflection becomes like god damn metamorphosis, a cosmic pulse that communes with memory and the self in quiet reverence. It is Tarkovsky's way of touching the face of mortality, not to surrender to it, but to caress it, seeking release through beauty that aches with meaning.

There’s a reason the shadow of the boom mic drifts into view at the beginning, it’s as if the film is already breaking the illusion, handing us a key and telling us to question everything. It’s not clear whether it’s a slip or a statement, and that ambiguity becomes its own kind of freedom. Tarkovsky’s style here feels like a crumbling cathedral of memory, disordered, fragile, almost collapsing under its own weight. And yet, he guides it with the certainty of a master shaping memories.

At times, it’s as though he’s not just directing, but commanding the wind itself with some kind of huge ass wind machine, choreographing the rain and whispering to the trees. Everything, the cracks, the chaos, the coincidences, feels both accidental and sacred. That’s why the opening lands with such quiet force, it plants us in a world already broken, already dreaming, ing and it dares us to feel its trembling heart.

In the end, there’s a lot to unpack here, and I don’t have the time to dig into all of its depths and I don't know who would have the patience to read thousands of words about it. But I’ll say this☝️ the film’s meaning doesn’t come from clarity, but from the poetic resonance of its scenes, just as Mr. Tarkovsky himself has said. It flows like life flashing before your eyes precisely from the perspective of someone dying.

It’s a fragmented leap into a person’s own past, a soul trying to understand and something essential, something that may have been left unsaid. And somewhere between those gaps, understanding might emerge. Because the more often you watch this film, the more you begin to notice moments where things don’t seem to have meaning, until they do, later on or even earlier in the film. Sounds don’t always align with the scene they’re in, but might find their echo elsewhere.

It’s within these distortions of memory that accidents creates revelation and that’s what this film is. That’s what unique "masterpieces" like this tend to be...deep reflections into the past, whose heartbeat is tied to our shared humanity, to love for those close to us, and to the words we cannot say aloud, so they must be shown instead. This is an amazing film, and its personal experience becomes one with whoever is willing to draw something deeper from it.

And you can see it in how much I’m able to write about this. The sheer inspiration this gives to create something of your own. That’s what this film does best. The only other movie that can do that for me is The Cat In The Hat, a film that will never leave my mind.
90/100

The fleeting beauty of fragility echoing around one's own vulnerability. A film that takes you in with surprising gentleness even though it is an inevitable human tragedy.

Something disappears in this film, and it is up to you and me to find that beauty and pain ourselves. It moves slowly, calmly, but at the same time the slowness is a deep immersion into the story...it doesn't drag itself along, even if it sometimes almost does—but I guess I still wouldn't change anything about it. The film progresses in a truly interesting way; it is surprisingly subtle and, in a strange and wonderful way, really a soft experience to watch.

And that softness blooms from the quiet, tender way the bond between our main characters unfolds and of course then there’s Tombo the dog, the goodest boy. What happens here is a kind of suspension of time, where fleeting moments stretch and dissolve before your eyes, like wind brushing through leaves or water flowing past. Both of which ripple gently throughout the soul of this film.

The story is held together by Jae Wook and Nakayama. Even though I it I didn’t fully connect with them on a personal level, I can say this: where the film shines brightest is in the small gestures and glances between them. Together, they manage to create a beautiful dream. One that is inevitably coming to an end. For one, it is just beginning; for the other, it is quietly fading.

And in the end, it leaves behind a wistful, windswept ending all its own. The sounds of nature reminds you, and the fear of being forgotten by life isn’t the central point. It’s the understanding of it, the quiet act of observing. In some cultures, the butterfly symbolizes change, and at the same time, a small rebirth, a beautiful one, though delicate in its own way. A beautiful film that accomplishes almost everything it needs through its story, even if its minimalism and emotional connection didn’t fully reach me in the end
73/100

Violent, fun and maybe the real companions were the versions of ourselves we discovered along the way. Retro-inspired and at the same time futuristic. Overall, it's a surprisingly snappy package.

The runtime flirts with perfection at just over 90 minutes, clearly knowing exactly what it wants to create with its own sense of craziness. But this film is also a prime example of how much better this movie would be if you went in knowing absolutely nothing. However, since I'm a curious bastard when it comes to new films (thanks to this effing app), the overall value of the movie drops a little when you already know something about it.

Thatcher commands the film’s pace with an iron grip, and while the story at times seems to be chasing its own tail, I noticed it slightly stumbles in maintaining its rhythm which came as a bit of a surprise. Fortunately, Thatcher and the rest of the crew manage to balance things out with their strong perfomances, keeping the whole from slipping into dullness. The film constantly manages to surprise, whether through its clever homage or the unique way scenes are presented to me.

And the way the film brings that out is quite fascinating. As I mentioned, it’s a retro-styled yet futuristic experience. But what really stands out here is the tension between nostalgia and "innovation". The film romanticizes past but at the same time criticizes it—while blindly embracing a future shaped by control and the illusion of an “easier” life especially in the context of human relationships. Had it delved deeper into that dynamic, the film’s value could have easily soared higher.

But what the film offers is a kind of asshole incarnate and Quaid pulls it off perfectly. It’s entertaining, with even a touch of restrained gore. This tells a clear story about self-discovery in a world obsessed with control and hate. The film may not dive fully into its own depths the way it drills with its electric corkscrew, but I still enjoyed it. A great romcom to watch with your significant other👍
74/100

This movie rips off a Billie Eilish song.

Stallone powers through, fighting against the movie itself to keep the entertainment value high, because everything else here makes me decay just like the atmosphere of the city in the film. A city that has lost all hope and with the end credits rolling before my eyes, I realized I had lost mine as well.

Clumsy but restrained, written in such a straightforward way that the whole experience ends up being so dull that the movie's lore feels insignificant, and the moral ambiguity lives on without deeper acknowledgment. There’s a longing for something greater brought on by a fatherless world, and the idea of what the film could have been deserves something grander, perhaps a more emotionally charged story.

But this is a critique that doesn’t necessarily reveal everything, because the film contains something that might give me the opportunity to dive deeper into its story, because there is an idea, a cry that bites with its own shock, and the movie manages to present it in a good way, thanks to Stallone’s performance. There is one scene where it feels at its best. But overall..yeah it feels a bit dissappointing.

So... in the end, there’s this villain’s lackey who looks just like Lil Pump, a cliché characters, and a child character who doesn’t really work within the whole. I’m not sure if it was the child actor’s fault or the dialogue, maybe both... But what I will say is that there are elements of action and drama here that could’ve been better executed, and they could have created a surprising and impactful superhero story...But no.
42/100

Those damn beautiful eyes...

Well... I don't really know what to say, because this feels a bit aimless, lacking a clear vibe that would establish the atmosphere that would work best but maybe that's just me. However, Perkins excels at one thing above all creating an oppressive fun feeling that weighs down everything around it. This follows a familiar pattern, but it doesn't want to stay superficial; instead, Perkins is reaching for something deeper with this damn monkey, which I currently hate more than anything in a good way of course.

But at the same time, what makes this film feel so oppressive is also the way it tends to play around with itself a bit too much, which in itself creates a sort of playful atmosphere, but still doesn't really give me anything. It kind of throws everything, including guts, all around you without any real clear direction. Loved the gore, and overall this isn't among the worst, but something about it just doesn't click.

And honestly, what matters most is the entertainment value, and here it literally disappears towards the end. I didn't really care about anything that happened as it went on because it even manages to become a bit exhausting to watch. The writing and the characters feel like very uncertain attempts.

And what keeps lingering in my mind are the consequences of choices and a kind of very "healthy" comion at the heart of the story, centered around a monkey playing the drums. Surrealistic but very hollow experience in the end that maybe could have slowed down a bit with its own style. I liked the beginning and how it started, but towards the end, I just wanted it to be over, which is very rare for me, especially with horror movies. And I even watched this in a movie theater, so... mediocre.
48/100

One extra star because of that big ass apple...I don't even know...

I mean this is basically a Eurovision Song Contest documentary and how it ultimately becomes a part of all of our lives as Europeans. Because the music industry dictates the world of this film and its rhythm as well. This is a bad movie but with its dancing and singing it balances right on the edge of camp. But I have to say it goes a little(a lot) overboard with its glittery grandiosity in a bad way which makes it a slightly heavier viewing experience for me.

Because it never stops singing and it doesn’t help that the songs in our mushroom hallucination musical are not sensational camp masterpieces and they don’t even have to be, but that’s where the film’s heaviness comes through in a bad way. It’s just too much and it doesn’t really leave me with anything memorable. Even though the whole film is perhaps the strangest musical I’ve had the "pleasure" of experiencing in a long time.

There’s a whole lot going on here. Speedos lurking around every corner, neon lights exploding, latex brushing against skin, and silver armor dazzling my eyes with its blinding shine. Honestly, for half the movie, I had a massive question mark spinning above my head, trailed by an even bigger exclamation point bigger even than the movie’s giant apple...

And speaking of the apple, the exaggerated theatricality grows where good and evil meet. The film is a perfect accident in itself, but I didn’t really enjoy it even though I was ready to fully surrender to its charms. The soul is sold onward, but I held onto mine, and my clothing didn’t change into speedos as the movie neared its end. And just as the film lays out its deeper themes, its own corruption in direction somewhat spoils the whole, which is a bit of a shame when you think about it in the long run.

But in the end, the film walks toward the heavens with rock music playing in the background. There is a message in the movie that works, and it even predicts our future through its own manipulation. Truly unique, I it that, and the film’s value hovers between a peak and an abyss, but for me, it eventually falls from between the clouds into a two-star spectacle that takes a complete risk but, in my eyes, fails with its camp spirit.
44/100

That breathing....

A psychological nightmare that is portrayed and told in a truly fascinating way. Because Lustig does something that deserves appreciation. He doesn’t create a piece worth watching—he wants us to witness it.

This tells us very little and that is precisely the perfect choice in the context of the whole. The world built around this bloodlust and trauma is disturbingly believable. It's a stale, grimy, and at the same time cold and deeply deceptive piece. A dark atmosphere grows throughout, but it doesn’t merely craft a kingdom of shadows—it becomes a sadistic nightmare. The film wants to disappear into the background, to go unnoticed among the others—but we notice. Lustig coldly places us inside the mind of something insidious, and once inside, there’s no escaping—even after the film ends.

Spinell is almost too perfect in this role. The film unfolds through a constant internal monologue, a kind of awkward, grimy testimony to how Spinell tries to communicate within the film—and, on some strange level, even with us. It turns the experience into something deeply personal, something that makes me extremely uncomfortable—and it works.

At the same time, it also raises the question for me... does it perhaps push too far, chasing its own shock value a little too eagerly? I’m not sure. But there’s something sleazy here, and it leaves me feeling deeply, heavily uncomfortable.

And in the end, the feeling this film leaves you with is like having your soul ripped open. A filthy collapse into one’s own doomed fate, offering a kind of spiritual erosion—a slow, merciless carving you can feel deep in your gut. The light in this world doesn’t just dim—it dies. And even when the sun rises again, it carries no hope, no absolution—only the endless, gnawing ache of sins that will never be forgiven. I don’t even know how to properly rate this... but I know this🤔 it’s an amazing slasher that cuts deeper than most dare to.
78/100

Let There Be Havoc

If you're familiar with Evans' Raid films, you kind of set yourself up with that same kind of electric anticipation, which, unfortunately, is exactly what I did. Because something interesting happens here, but the flaw lies either in me or in how Evans paces the entire experience.

The first part of the movie builds this suspenseful, almost tantalizing expectation, even though it’s clearly trying to add more depth to the characters, but it kind of misses the mark. It stays in a somewhat flat, monotonous rhythm(and the writing). However, when the action finally kicks in, it completely detonates my head off my shoulders. Every time it unveils its raw brutality, damn, it knows exactly how to serve it up in a way that’s exhilarating—though, of course, that’s no surprise at all.

And that action—exactly that kind of butt-clenching, sadistic bloodshed, with its unlimited ammo gunfire and brutal beatdowns using whatever objects happen to be nearby. The handheld camera whips around with sharp, fast turns, capturing a club fight that even John Wick would be proud of, especially with the choice of music. I enjoyed it to the fullest and maybe started to get a sense of what the film is trying to say in its own unique way—though it's always a bit at odds with its own story.

Speaking of the film’s environment and atmosphere, it does hold up the whole, not just with its looming sense of Christmas, but with a Gotham-like darkness laced with neon lights. A gritty cityscape, but what was clearly missing was that it should have been a leading character throughout the film. More corruption, more gang dealings, and so on. In my mind, the entire city should have twisted itself into a living hell full of revenge, where justice bleeds from every new body hitting the ground. There’s no real world-building here the way it should have had, it feels weak and messy—but I don’t know.

In the end, what I'm left with is a feeling of disappointment, but at the same time, a sense of satisfaction. Hardy doesn’t turn into Venom, but he tries to yell in the same way, Timotei Olyphant creates his own havoc, and a very, very forgettable story that tries to distract you with pure action, even though the core of the story could have offered a deeper, familiar tale of corruption with its own twist. What I’m left holding is just an empty magazine, fired dry, because the film certainly doesn't drop you into its world. Good, because the action is top-notch—but sometimes, that just isn’t enough.
59/100

The inner echo of the soul resonates in the allure of romance, cloaked in a mystical fog, where realism brushes against the dreamlike waves. A unique creation of its era, and the film unfolds to me with uncanny confidence, as if it knows not just what to reveal, but why it must be felt.

There is fog—both in front of Hiller’s eyes and within her character. There’s an invisible pull, something that draws you in, if you just let it take your hand. Daily life and culture are present in everything, yet something else hovers quietly around them. Psychological uncertainty takes over, and I really loved how the film emphasizes its own contrasts in a way that feels calm, yet somehow incredibly swift. The film turns itself into a perfect existential crisis—of itself, by itself.

And that existential force emerges from a kind of quiet storm—even though the storm is also literal. Powell and Pressburger tap into something mystical that simply works, and it works especially well because it’s a black-and-white film. There’s a kind of duality in the shadows, a tension between light and dark.

Also this isn’t a film that tries to sur itself or become some perfect masterpiece—but what stands out is the fact that it makes me stop. It pauses me, because they trust in the atmosphere of the story, in the feeling that something more can be drawn from it, even if that something is never strictly required. And the mood—that’s the film’s true strength.

And sometimes, none of us know where we're going—and to be honest, I still don’t. But what the film does is that familiar melodrama, heavy and quirky dialogue with a weight that resonates, even if its rhythm never quite pulls you fully into its current—and that’s okay. For me, the film offered something that felt like watching a documentary, yet something underneath kept tearing through the surface, trying to break free and reveal itself.
82/100

"Two alcohols, please"

There’s something special here–a kind of improvised chemistry between the two main characters that creates its own kind of magic in the air, but still.. this for my surprise falls flat...

Kumail Nanjiani and Issa Rae are clearly the heart of the film, but at the same time, their “improvised” vibe also makes it a bit of a heavy watch for my taste—the film’s illogical adventure could’ve been something better, but it never really takes off because that heaviness weighs everything else down around it.

The story is of course about the endurance of love under pressure, and how the right kind of murder mystery can bring new life to a relationship that’s heading toward the rocks. So a normal situation in life. And I have to say, I liked how the film’s connection seemed to grow again over time, even as everything around it became increasingly absurd. It might be trying a bit too hard at times—and that does show— but at the same time, this manages to reveal what matters underneath it all. And surprise, surprise it somewhat works.

In the end, the film gives us a sarcastic Kumail having a full-blown meltdown while Rae is wearing a unicorn hoodie—which, honestly, I’d love to have myself and a story about that kind of wonderful love and the mystery it brings with it. I had fun, though not in a way that felt mind-blowing. A good romcom, sprinkled with a bit of extra spice that even manages to surprise you here and there.
57/100

Recommend me something

Gina Rodriguez in her red dress carrying a gun. That’s the movie.

Catherine Hardwicke—the myth, the legend who directed Twilight—brings before me a story that should delve deeper into its narrative, which apparently is based on an earlier work. But what we get instead is tension without substance, and the result is an extremely superficial piece. And only my eyes had fun watching this.

And I don’t know why, but when I watched this on Netflix, the quality stayed around 480p and 720p the whole time—even though my internet connection was perfectly fine—so in the end, I guess even my eyes had a hard time enjoying the film. But maybe that in itself was a kind of omen for the movie, because while the story deals with a serious heartbreaking situation, the way Hardwicke handles it doesn't deliver anything with real weight that could resonate with me in a meaningful way.

There’s an Anthony Mackie jumpscare, conversations that are exactly the kind that do nothing to deepen the characters in the way the story needs, and overall, this could’ve made much better use of its own premise to create a cohesive yet complex whole—but it never quite manages to do that. However, my interest was definitely sparked in the original film, because from what I’ve read, it manages to be much, much better🤔

And what I’m left with from this film is a kind of action-filled emptiness—something that feels incomplete and fleeting, a package that, despite its drama and high stakes, fails to even make a slightly stronger effort. A few good elements here and there, but ultimately forgettable experience.
37/100

Vlog day inside Dante's Inferno. NOT CLICKBAIT!

I think I loved how this wasn't as scary as I had mentally prepared myself for. It's a claustrophobic and sonically very effective experience. So of course the best possible way to watch this film is, for example, with headphones on, your whole body, head included, under a blanket, watching on a laptop— letting the sweat and anxiety take over. Because the deeper the film goes, the more fragmented everything starts to feel.

The characters aren’t exactly the sharpest tools in the shed, and none of them really stand out from the group—which is a bit of a shame. But at the same time, I kind of liked how the depth between the characters is missing, even though the actual depth they’re in feels like it’s crushing down on them. The film isn’t really a physical survival story, but something else entirely, something maybe even liberating in its own twisted way.

And the film’s directing style carries its own kind of risk, but here I especially appreciated it during the last 30 minutes—how chaotic and shaky everything becomes. And yet, somehow, I stayed completely with it, even as a bit of nausea started creeping in from all that motion. The film holds itself together, and everything seems to work in this strangely controlled way, even as everything is going completely to hell.

In the end, it’s a surprisingly entertaining and bloody 90-minute horror package—an archaeological plunge into the deep end, with a little salty flavor tossed into the chaos of fear. I had fun, so the film does everything it needs to, but, but... I’ll it, it could’ve been much better if it had really bared its teeth. Great horror.
69/100

Hey all you beautiful people👋 I'm dropping a link here to my recommendations list where you can slam in your hidden gem movies—or really just any films you want to suggest. I'm putting together a new movie wheel of fortune for myself, and what better way to fill it than with picks from people who actually enjoy movies and have a damn good taste in them. And no worries if I've already seen it.

Thank you, bye👋 Love you all🫶.

link

Goth Maika Monroe jumpscare warning

Love the concept, but the execution is a bit hit or miss. It's your typical sci-fi disaster movie, yet at the same time it's trying to be a bit of everything else too—which makes it feel like this weightless, directionless wave that never quite finds its course...

The destruction begin and a psychological battle wrapped in mystery tries to destroy humanity—but the initially thrilling impact promises something unique, only to completely let me down. The movie starts dragging too much and turns into this strange mechanical wheel that throws out ideas but never really delivers on any of them. The characters are stiff, and a predictable force seems to lurk around every corner. And I just didn't care about them. But that's on me.

Moretz is the lead, and while she learns, cries, and fights against her hardships, on the other side of the story there’s a different kind of learning going on—a textbook example of a clichéd military complex. It kind of works, but at the same time it doesn’t, because it doesn’t really bring anything meaningful for me. The character dynamics don’t offer anything I can truly hold onto. Moretz’s internal monologue says everything you need to know about how much the film, and its overall structure, oversimplifies itself way too much.

And in the end, the film feels like a strange copy of its own genre. The generic action becomes tiresome, the clear concept dissolves into shaky uncertainty, and it gets trapped in its own mediocrity in a way that disappoints me a lot—because I was hoping for at least a hint of something better. A two-star sci-fi action flick "carried" by a young cast.
43/100

Nihilistic exploitation combined with masterful control of chaos. A cornerstone of American cultural trauma and a film that, to me, will always be perfect—not because it is a “perfect” film, but because it is a broken brutality that never lets you rest.

Family values decay like meat left in the sun, and the rural dream collapses into a grotesque Eden. Hooper doesn’t tell a story for me—he drags me into a world stripped of innocence, where brutality spirals with no clear direction, yet somehow forms a whole that transcends its genre and becomes something mythic. This doesn’t ask us to look at evil, it forces us to stare into the void until something inside us cracks. Fear you can't explain. It’s primordial, raw, senseless. And the way Hooper and his crew conjure that terror—it’s a kind of twisted perfection, down to the final, blood-soaked breath.

And all the while, as the brightness of the sun and its setting bleeds across the screen, everything feels like a limited, decaying aesthetic artwork—one that places itself in a timeless atmosphere simply by existing. And that’s why it works, and why it always will. Because this is nothing more than the raw presence of horror and evil, with no explanation offered.

The film’s descent into madness is filthy, chaotic—but exactly the kind you have to witness. It awakens the very illogic at the heart of the horror genre: the abandoned house you’re not supposed to enter, the madness and warning signs screaming all around—and still, you look. You MUST look. Human curiosity is part of what makes us human. And also what makes us inhuman.

Because this film is the blueprint—a revelation of where true terror really lives. Not in the monsters themselves, but in the twisted pull that draws us toward them. That’s the horror: not what’s chasing us, but the fact that we move closer.
What still blows my mind, even now, is how the film becomes almost a ritual—something primal, sacred in its desecration. Our own dark urges swell as the movie sway toward madness, as if it's peeling back the skin of sanity just to see what twitches underneath.

Its betrayal of itself—its collapse into chaos is a beautifully rotten offering to us. Culture crumbles before your eyes like bone turning to dust and somehow, I revel in it. This isn’t just smart—it’s brilliant in its broken wholeness and it’s no wonder this remains, for me, one of the greatest horror films ever conjured. Because the end is not just a dance for frustration, but the final step in the ritual that something so horrifying can be something so mesmerizing. Masterpiece and always will be.
96/100

When Denise Richards smiles, I smile. When Paul Walker turns into a dinosaur, I cry. What the hell was this? I can't the last time I had such an entertaining movie experience. I literally clapped after the credits.

There are two things in movies that absolutely win me over: Denise Richards and a T-Rex. With that combo, you're already dealing with cinematic gold. As for the story—I wouldn’t even try to explain it. It’s the kind of madness that only the film itself can properly deliver. This is top-tier B-movie camp, the kind of glorious trash that knows exactly what it is and goes all-in with such wild confidence and absurd flair that all you can do is sit back and ire the chaos.

The heart of this film lies in its main and side characters—and their intentionally dumb dialogue. We’ve got small roles, Testosterone Man, Little Man, Uncle Bob, sexy evil, sexy good, and full-blown insanity. I love it, and what makes me value this even more is the fact that if you’re going to go over-the-top, then really go over-the-top. And this film does just that. To me, it's that perfect kind of clumsy chaos—not something that just wobbles in every direction, but something that spins and spins until you find yourself completely hypnotized.

The Academy Awards really need a new category for hand acting—because this performer pours their soul into bringing T-Walker's tiny claws to life. Every tender stroke, every dramatic phone call, every accusatory point is delivered with such flair that you forget you're watching hands at all. Or are they fingers? Are they claws? Who cares—they feel real. And the gore. It's the perfect cocktail of messy and macabre—just gruesome enough to make you wince, just awkward enough to make you laugh.

And what ultimately remains beyond the entertainment is a story of love that transcends the boundaries of science. An unique piece, one that laughs at itself and genuinely has fun. And the fun it delivers with its tiny hands is the perfect Beauty and the Beast tale—exactly the way it wants to be. An amazing B-flick.
77/100

The way Bullock's character puts her microwave meal in the microwave after work is one of the most relatable things I've ever seen in a movie. Just stabbing the pain away with a fork😔

Such a fun movie to watch. Sharp humor, just the right amount of deeper meaning, perfect balance between seriousness and comedy. It showcases a superficial world, and the film—especially Bullock—takes somewhat strong jabs at it. There's a very clear portrayal of an internally shaped experience that manifests through external appearance, and I love how it balances that.

And then we come to the star of the film—Bullock, of course. She's the perfect frosted heart at the center of all the sugar. At no point does she overplay her performance, even though the film constantly hands her opportunities to do so. She never comes off as annoying, even when comedy is practically pouring out of her. Just as the film walks a tightrope with its tone, Bullock balances right on top of it without swaying in any direction. She sets the film’s equilibrium, and that’s exactly why the whole thing works so well for me.

The ing cast holds their own in their own ways—Benjamin Bratt’s a bit too grabby, and I’ve never seen Michael Caine look as existentially appalled as he does when Bullock goes full carnivore on her meat. The pageant girls deliver, too, with a few unexpected gems hiding beneath all the glamour. What I really loved is how the film, much like its heroine, sticks to its own oddball identity right to the end—unapologetically itself, just as it wants to be.

And in the end, even though the film came out in 2000—and back then, everyone, especially the pageant girls, wanted world peace and well I think we're going in different direction. And luckily, the ending of this film was that perfect kind of calm—no violence, no explosions, no one getting punched in the face(sarcastic). Just pure, heartwarming resolution. A truly smile-inducing piece right at the start of the 2000s. Dated but I really enjoyed watching this one.
75/100

I think I got more anxiety when I saw how many people were at the beach. Because I hate beaches that are too crowded.

Also I have a great movie idea. A story where Statham seems like the usual main character in the trailer and poses as the star on the movie poster, but within the first few minutes of the film, he dies.

Because this movie isn't in a "rush"—a rush that needed to showcase its over-the-top nature and what it's missing is the right kind of arrogance and fun that such excess demands. I liked how it tried, but it just didn’t try hard enough, you know. I don't know...Because even though it had the potential for a unique kind of outrageousness, it ends up being overshadowed by its own massive bulk. And I'm not talking about the shark.

But I have to say that as the movie progresses, its pace picks up. It becomes more and more absurd, logic disappears, and Statham ends up hanging on to the shark’s tail like a seasoned pro. The entertainment value is there, but it comes quite late into the film. This is not helped by the fact that the ing characters and everyone else feel a bit too stiff, or like they don’t really bounce off each other with their own chemistry. Better chemistry between the characters would have easily raised the value of this, but for me, it wasn't there. (Rainn Wilson was great).

And what’s left of this in the detached bitten hand is really nothing that good, which is a bit of a disappointment for me because all the ingredients were there for something better. I didn’t even smile much at its absurdity because it didn’t provide a strong enough foundation for it, which is strange because this almost should have nailed that with complete certainty. But all I was left with was a kind of abandoned, soggy feeling as I was expecting something better.
54/100

Jeremy Irons says that forgiveness is the most important thing, and Gérard Depardieu lets out a massive stinker right after and ask for forgiveness. So, 10/10 movie.

Really forgot how stacked the cast was in this. And I gotta say, the film has an interesting vibe almost all the way through. It's over the top but also serious at the same time. So it ends up being this mix of fun entertainment but also kind of a slow watch. And it leaves me wanting a bit more in a bad way.

But I have to say the movie looks great—the costumes, the sets, the wigs, all of it makes for a visually delightful package. And I’m 90 percent sure John Malkovich took his wig home after filming. And DiCaprio is a smug narcissist but also the complete opposite in his other role. And the chemistry between the magnificent four works exactly the way it should.

And even though it stumbles a bit, I enjoyed the overly dramatic feeling it brings — it really seems to give its all with a kind of elegance and brilliance. At the same time, the writing and how it's delivered might that drama a bit too much, because in the end, the believability kind of dances around what the film wants us to see and feel. And maybe I have to it, it sort of trips over its own feet.

And what we're left with is wigs flying in sword fighting, a brief moment of DiCaprio shouting at his finest, and a story about freedom and fate. The moral struggle with loyalty grows stronger, but my interest wavers a bit too much. It's the kind of film that plays with itself a little too much, but its heart is sincere. So a good movie but it leaves me wanting more, a lot more.
61/100

An unrecognized deed and the timeless resonance of goodness. A minimalist film and significant, and Poitier deserves all the credit for his performance.

Nelson makes a conscious choice here: even though the outward appearance doesn't change, the internal growth is profound. It’s reflected in the desert, and it’s reflected in the buildings. Something does change externally, but it's a symbolic gesture for the entire story. Additionally, the slowness we feel here is deeply contemplative and calm—and it works quite well.

Poitier is relaxed and self-assured, almost a perfect contrast to the nuns. The film makes itself easily approachable, and its runtime ed surprisingly quickly—even though, in theory, it should feel a bit heavy to watch. That’s exactly why Poitier’s performance succeeds. The difficulty of communication is connected with the act of forming connection, and this is why the journey of growth keeps unfolding, deeper and deeper.

But it also has to be said that the film carries some contradiction and feels very much like a product of its time, leaving a slightly contemplative feeling as it approaches its ending. A deeply religious, meditative whole, that reflects the era it was made in. Yet within that lies a quiet kind of revolution—where everything is rooted in a single good deed, and that deed is the foundation of it all.

So the film’s own spirituality seems to grow steadily, and as I mentioned, it doesn’t manifest externally through the characters—it all simmers within, deep in the mind and body. The story’s sense of community becomes visible, especially in the townspeople and even in the pacing itself, which carries the steady rhythm of everyday life. That’s where the slowness—and even a hint of dullness can be felt. As a whole, it’s clearly an Oscar-style film, and Poitier did win his Academy Award for it, which was a historic moment in itself. A great movie.
72/100

Just to be there. To experience. So the memories never crumble beneath you. Because sometimes, we don't realize which moments matter until they're gone. Not the big milestones but the tiny, quiet ones. A warm hand in yours. A shared laugh over nothing. A look that says more than words ever could. We hold on to these fragments. Not to stop time… but to that we lived. That we loved. That even in the most ordinary life, something beautiful existed.

A realistic, deeply human story that knows exactly what it wants to say. The way the tragedy of silence comes through here is a reflection of a reality that only grows heavier the more you observe the world around you—and the way James Norton brings that to life is one hell of a performance, not to mention the little man, Daniel Lamont, who delivers something pretty damn remarkable.

And the way everyday life is portrayed in the film feels like the center of an authentic breeze and laughter. The way the director harnesses the emotional power of a scene without relying on music is incredibly powerful to me—because usually, music enhances the emotional value of a moment. But here, it’s turned completely on its head. And for that, I tip my reviewer’s hat to Pasolini.

I don’t know what happened, but what this film managed to do to me was nothing short of masterful. Not because it was a manipulative piece of melodrama—quite the opposite. The melodrama is almost entirely absent in any conventional sense. The emotions it evokes happen intimately, closely, and with a kind of rawness. Pasolini allows the story and each scene to breathe, to mature in a way that doesn’t rely on tricks or artifice. He lets everything unfold at a natural pace—which was the perfect choice for this story.

And as the end begins to approach, nothing hurts more than that feeling. When life revolves around the everyday and a world that is in no way "special", the real special is born from the small moments, from the connections that create something so beautiful—yet at the same time a reminder of how heavy life can be. Thank you, Pasolini. You showed something truly special —based on a true story. You bastard.
89/100

A movie that wants to say something in an insane and weird way. Fun to watch tho.

It's very, very clear right from the start what kind of movie this is, but at the same time it gives its all through its action, and that's thanks to Viola Davis. Otherwise, it feels a bit too caught up in its own familiarity, blending into its genre in a way that makes it feel quite superficial and fleeting. Like a missile flying past my head, and when I turn around, I miss the actual explosion. And the only thing that explosion leaves behind are shards in my calves.

And of course, it’s not a bad movie by any means, but what this political thriller/action blast does is at times almost too stiff to watch. Like I said, the action works, and it decides to go full throttle — logic disappears and credibility goes out the window, and in my opinion, in a good way. It makes the film more entertaining, because otherwise, this would’ve been a complete failure in my eyes.

The story is about a global coup, and its execution is just “meh” — maybe even in the most mediocre way I’ve seen. Starr is also, in his simplicity, good— not great, not terrible, just good. He doesn’t rise above his villain role or try to be too "villainy", but he keeps it entertaining enough that he doesn’t become too monotonous within the whole. Davis does everything that’s needed, but the writing overall doesn’t really allow her to fully shine in the best possible way. Thank god the action is atleast good.

So to put on your fun hat and take it easy—because it is what it is. It could have offered much more, but the direction feels too scattered to land any real identity. As a result, the film's focus and impact never fully come through. Meanwhile, things are constantly blowing up around you, distracting from everything else. And in the end, the moral of the story is... that there is no moral. Mediocre.
46/100

Surrealism raging in the subconscious, blended with a nightmare. Argento gives symbolism full control, and truth becomes our own hysteria within the mind. Intriguing, demanding, and my dancing shoes were ready, and in the end, they stayed hidden in the closet.

That distinct Italian style (Shit, I forgot the name—need to look it up online), oh yes, Giallo is present, and the absurdity of strangeness keeps growing as unreality is forced right before my eyes. The story loses its logic, but my interest only increases— which doesn’t surprise me at all. The film uses an intriguing technique to reveal itself, and even a sense of sci-fi begins to emerge within the narrative.

Argento gives visual aesthetics complete love—and you can feel it, maybe even to the point where it becomes too distracting for me. A watchful eye is ever-present, and the film’s environment exists in constant contradiction, as whatever hides around the corner is swallowed by a world of shadows. The film tries to maintain control, yet constantly breaks itself apart. Somehow, it feels like the entire work can’t quite keep itself in check and that’s exactly where the movie shines the brightest because Argento is in control—but we are not. And I was mesmerized.

And just as I was spellbound, the film starts to breathe heavily right next to my ear—and even though I said earlier that I kept my dancing shoes in the closet, there are a few jam sessions and scenes where I could feel my feet starting to move. But the soundtrack isn’t about that. It’s more about a kind of unsettling calmness, something that feels like an emotional prison—not because it overwhelms you, but because it gives you space. And yet, that space is still a cage.

And in the end, even as I try to escape that trap, I’m left exhausted, worn down. The Argento's control is firm—and he masters it like no other. The pacing is deliberate, a carefully orchestrated anxiety at its finest. Yet, surrealism keeps breaking through, and that tight grip begins to crumble inside my own mind. An unique film and even campy but unapologetically itself.

Oh, also Bud Spencer or you could say Carlo Pedersoli jumpscare warning
80/100

Fun fact our friend group was called "The Little Things" back in high school.

Hancock flips me off and the whole thing upside down and takes a gamble that could've been brilliance—or a blunder. Spoiler alert: it's a blunder. This isn’t a whodunit, it’s a slow unraveling of the human condition. And while that’s an intriguingly bold concept, I have to it—the execution fell flat for me. I genuinely wanted to like it, but it just didn’t land for me. SIKE, Actually I really liked this

First of all, I was never bored watching this. The atmosphere that starts to build is strange and captivating—playful, yet oddly melancholic. It’s as if the film itself is searching for direction in life. The pain of the past is written in the characters’ eyes. Rationality is lost, even though we’re in the middle of a crime story, and mistakes keep repeating themselves in a world that seems completely adrift, without realizing what truly matters.

And circling back to boredom—this isn’t a film that rushes. It simmers. A slow-burning, pressure-cooker of a story. And what it does—perhaps even by accident—is surprisingly potent. I’ve got to give it credit for that. It's the little things—wait a minute...that’s the title, but it’s also the entire philosophy behind the film. And Denzel probably says it like 10 times.

What Hancock and especially Denzel conjure is something that almost hypnotizes visually, pulling me into this quiet storm. I found myself obsessing over the tiniest details: the flickers of emotion behind a glance, the unspoken tension between characters, the ghostly presence of trauma etched into the scenery. It’s as if the movie dares me to look closer—like it’s not even hiding. Because the killer in the film isn’t what we’re truly investigating—it’s Denzel’s character’s past and his mind in the present.

But at the same time, it also hides something. I like the detail that both Leto’s and Denzel’s characters say “Boo” in exactly the same way, and the same kind of car es by Denzel and Malek during the surveillance scene as in the beginning. The movie contains something I enjoy when watching films—small details.

And yeah the suspense is missing here and the pacing is a bit odd—but in some ways, it still works. Leto plays himself, Malek is just Malek but without his inner monologue and clearly a miscast, and Denzel steals the show. There are clear and (lot) missteps Hancock could have handled better, but luckily, the overall impact worked for me—at least to some extent.

And in the end, it leaves me with a strange ache—for something that never came, a moment that never arrived. It’s a film of restraint, one that whispers instead of shouts, and it finds its power in the margins, in all the little pieces left unsaid. They're the only things that matter. The only things I have left after the film. It's a movie about obsession, and that's what it leaves you with after watching. This is like neo-noir adjacent. A 90s psychological thriller wearing a noir costume from the 40s or 50s. Great film for me.

Sorry for the long text
74/100

Wait a minute this movie feels familiar...🤔

I mean, the characters in this movie clearly didn’t attend the premiere of Alien, because obviously it’s hidden inside the body. But first of all, I have to say I really respect how this B-masterpiece makes such damn good use of its budget. It actually looks surprisingly great, and that rawness really shows.

And of course this is light and extremely straightforward space corridor with a familiar story, and its campy heart is right where it belongs. It is entertaining for me precisely because it is aware of its own clichés in a way that’s easy to follow, but I have to say that the traditional over-explaining that happens in movies like this makes it a slightly heavier experience overall.

This is also a horny-ass movie, which of course isn't surprising at all and I'm not complaining. The whole research lab seems to be chasing something else entirely, even though danger is lurking in the ventilation shafts. The film has a very strange atmosphere that draws you in—or at least it did for me—and it really makes use of that.

And on top of that, the sci-fi vibe floats in the air, and it's surprisingly impressive when you consider the budget. The synth-based music ties everything together. It's a shame that this campy B-movie package also ends up being a bit dull at times, which was kind of disappointing. I was maybe expecting more unintentional comedy from it.

But there's some of that self-aware humor in it too—for example, It feels like half the movie's subtitles were just "[Tracy screams]" and every single time it sounded exactly the same. And in the end, for all that it is, it’s still visually over-the-top and entertaining in its own way, and I had fun—and that’s always the most important thing when watching movies like this. Still, it’s missing a bit of that real fun I was hoping for. But what sometimes works in these '80s exploitation films is their mysterious, unpredictable vibe. Good B-flick.
60/100

Just sweaty, shirtless, muscular men dancing with their swords. This is the real sequel to Magic Mike.

Eva Green. That’s my review. 300’s own sequel, prequal(?) that, for me, couldn’t capture the allure of the original. Even though all the necessary ingredients are here—bold visuals, slow-motion battles that could make this film 30 minutes shorter, and great action driving the whole thing just like its predecessor but what’s missing is Butler’s powerful performance, which elevated the first movie in just the right way.

Sullivan Stapleton is fine, but he doesn’t radiate the kind of raw power this movie really needed. When he hypes things up, gives speeches, and talks to other characters, he lacks that gritted-teeth, primal scream kind of force that would have helped the movie a lot. He has something going on but I needed more(especially in that one scene)

The character development is pretty lost here, and overall the storytelling felt weak to me. But the movie is clearly aware of its shortcomings in the story department, and what it delivers through action is honestly entertaining as hell in the best possible way.

And in the end, there's not much to take away from this, no matter how hard you try to enjoy it. In the middle of the ocean, berry juice computer blood is flying and limbs are being torn off—but despite the visually impressive presentation, the whole thing doesn’t really deliver even proper goosebumps, chills, which I might have hoped for. So it's a pretty mediocre action piece, even though it overflows with a kind of visual self-love.
54/100

One of those movies where just looking at the cast, you can already tell it’s going to be entertaining and great.

Hip hop and R&B blend into the urban vibe, and the film’s identity shines through effortlessly. It deals with topics that mattered, and what Ice Cube brings with his chemistry with everyone is a kind of natural flow that carries all the way to the end. It moves within the reality of its own everyday life, at its own pace. And it works pretty well.

The film also takes a bit of a risk in its own way. It revolves around its comedy, but it also knows how to take itself seriously. Fantastic Four Tim Story knows how to warm up the atmosphere of the film in just the right way, while letting the characters’ dialogue take full control. Financial uncertainty is present, and overall, all the strength and comfort are found in that sense of community. And that really comes through here—which honestly surprised me a little.

And I loved the dynamic between the characters in this movie, that's where its heart lies. The conversations between Anthony Anderson and Lahmard J. Tate remind me of the banter between Anderson and Hart in the Scary movie flicks. Keith David is a business man from the streets. And at the same time, the Chicago neighborhood and its surroundings feel alive in the best possible way. It's a movie filled with warmth and atmosphere, even though the cold is clearly visible around them.

And in the end, if you can't be real in the barbershop, you can't be real anywhere else either. This kind of jumps between genres, but this movie has soul in the best possible way. Genuine dialogue and just another day among many, yet somehow something more. Great movie.
71/100

• Blade II
• Blade
• In the Mood for Love
• Blade Runner
• Kill Bill: Vol. 2
• The Silence of the Lambs
• Schindler's List
• Suicide Squad
• Morbius
• Death on the Nile

...plus 336 more. View the full list on Letterboxd.

1. The Lord of the Rings: The Return of the King
2. Schindler's List
3. Titanic
4. The Dark Knight
5. City of God
6. Parasite
7. Everything Everywhere All at Once
8. Her
9. The Godfather
10. Before Sunrise

...plus 230 more. View the full list on Letterboxd.

here and I will maybe review and yap about it🤔 But it has to be better than the Cat In The Hat!

• The Cat in the Hat
• Little Fish
• Coherence
• Waiting for Bojangles
• Nine Days
• I Know Where I'm Going!
• Maniac
• Reprise
• Demon Pond
• Dancer in the Dark

...plus 31 more. View the full list on Letterboxd.

• Donnie Darko
• Being John Malkovich
• Minority Report
• eXistenZ
• A.I. Artificial Intelligence
• The Witch
• Seconds
• TÁR
• Get Out
• First Reformed

...plus 1508 more. View the full list on Letterboxd.

• Twin Peaks
• Twin Peaks: The Return
• Scenes from a Marriage
• Fanny and Alexander
• Dekalog
• Band of Brothers
• Eight Hours Don’t Make a Day
• Berlin Alexanderplatz
• Chernobyl
• Watchmen

...plus 3522 more. View the full list on Letterboxd.

1. Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles
2. Vertigo
3. Citizen Kane
4. Tokyo Story
5. In the Mood for Love
6. 2001: A Space Odyssey
7. Beau Travail
8. Mulholland Drive
9. Man with a Movie Camera
10. Singin' in the Rain

...plus 254 more. View the full list on Letterboxd.

• Punch-Drunk Love
• All About Lily Chou-Chou
• Chungking Express
• Drive
• s Ha
• Right Now, Wrong Then
• Lars and the Real Girl
• Lost in Translation
• A City of Sadness
• Pain and Glory

...plus 697 more. View the full list on Letterboxd.

• Before Sunrise
• The Worst Person in the World
• The Double Life of Véronique
• s Ha
• The Umbrellas of Cherbourg
• Love, Rosie
• 20th Century Women
• But I'm a Cheerleader
• Lost in Translation
• Shiva Baby

...plus 134 more. View the full list on Letterboxd.

• Nick and Norah's Infinite Playlist
• Eternal Sunshine of the Spotless Mind
• In the Mood for Love
• Titane
• Uncut Gems
• Rope
• Inside Llewyn Davis
• Game Night
• ages
• Showgirls

...plus 18 more. View the full list on Letterboxd.

1. Past Lives
2. The Taste of Things
3. Asteroid City
4. The Boy and the Heron
5. May December
6. Poor Things
7. ages
8. Anatomy of a Fall
9. All of Us Strangers
10. The Zone of Interest

...plus 15 more. View the full list on Letterboxd.

• Psycho
• 2001: A Space Odyssey
• Schindler's List
• GoodFellas
• Back to the Future
• Lawrence of Arabia
• The Virgin Suicides
• Come and See
• The Prince of Egypt
• The Princess Bride

...plus 554 more. View the full list on Letterboxd.

• When Harry Met Sally...
• Ponyo
• Under the Tuscan Sun
• Steel Magnolias
• Castle in the Sky
• The Breakfast Club
• The Holdovers
• The Princess Bride
• Airplane!
• Monty Python and the Holy Grail

...plus 41 more. View the full list on Letterboxd.