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this is what happens when a director gets high on his own legacy. david cronenberg returns to body horror with all the subtlety of a sledgehammer & none of the bite. it’s pretentious, plodding & stuffed with half-baked ideas masquerading as deep commentary. viggo mortensen growls through the entire film like he’s choking on gravel, while léa seydoux & kristen stewart are wasted on characters that seem allergic to actual human emotion. the pacing is glacial, the dialogue is laughably stiff & the film’s obsession with its own weirdness becomes exhausting. it’s less “provocative sci-fi” & more like watching someone read their edgy high school diary out loud for two hours.

hugh grant in rom-coms is what i live for.

tyler perry trades melodrama for tension in straw, a taut & deeply affecting psychological thriller that doubles as a haunting character study. led by a phenomenal taraji p. henson, this is perry’s most mature & emotionally resonant work in years—stripped down, restrained & strikingly focused.

henson is absolutely riveting as janiyah, a woman crushed under the weight of systemic failures, personal loss & emotional trauma. her performance is raw & lived-in, pulling us into janiyah’s unraveling psyche with heartbreaking clarity. she carries the film with such intensity that even its quieter moments feel electric.

what begins as a tense hostage scenario slowly peels back layers of grief & delusion, culminating in a devastating final twist that redefines everything we’ve seen. the reveal—hits like a gut punch & perry handles it with surprising subtlety. for once, he lets the silence speak louder than the sermon.

straw isn’t flawless—some dialogue edges toward the didactic & the pacing dips in the second act—but the emotional payoff is undeniable. perry delivers a gripping, grounded piece of work that feels both urgent & intimate. it’s not just his best film in years—it might be the first time his vision has fully met his ambition.

stolen is a gripping, meditative thriller that quietly crawls under your skin & refuses to let go. rooted in the stark landscapes of rural india, the film navigates themes of guilt, privilege, complicity & the often unseen violence of apathy. what starts as a seemingly simple tale of a stolen baby soon unravels into a chilling moral parable-one that forces its characters & the audience, to confront their own blind spots.

abhishek banerjee delivers a hauntingly brilliant performance, restrained yet emotionally loaded, capturing a man torn between self-preservation & a creeping moral reckoning. his eyes carry a storm—rage, regret, helplessness & he never once overplays it. the film thrives in silence & shadows & banerjee inhabits that space with unsettling precision. opposite him, mia maelzer is heartbreaking & magnetic as the mother in search of her missing child. her presence grounds the film in raw human pain, never letting us forget what’s truly at stake while the privileged circle debate ethics from their air-conditioned bubbles.

director karan tejpal’s stripped-down storytelling style allows the social commentary to emerge organically. stolen subtly critiques the indifference of the privileged in the face of tragedy, asking uncomfortable questions without shouting them. it’s a film that lingers—not because of flashy twists, but because it holds up a mirror & quietly asks you to look.

sharp, restrained & emotionally loaded, stolen is a standout piece of socially conscious cinema.

housefull 5 is the cinematic equivalent of a group chat that should’ve been muted in 2012. it’s like the franchise is actively challenging itself to see how low it can go while still calling itself a “movie.” plot? who needs one when you have recycled jokes, plastic performances & akshay kumar running on autopilot. five films in & they’ve mastered the art of doing absolutely nothing new—just louder, dumber & somehow even more unbearable. congrats, it’s not a comedy anymore, it’s a hostage situation.

bhool chuk maaf is a layered, emotionally intelligent film that dives deep into themes of guilt, redemption & the quiet ache of unresolved pasts. it’s a story that asks: how far can forgiveness stretch, especially when it’s yourself you can’t forgive? rajkummar rao delivers one of his most restrained & affecting performances—haunted, human & heartbreakingly real. the screenplay resists melodrama, opting instead for quiet moments that resonate. while the pacing stumbles in parts, the film’s emotional payoff is well worth the wait. a thoughtful, mature drama that lingers.

ballerina hits hard—literally. the action is brutal, stylish & often a thrill to watch, with fight sequences that snap & crackle with sharp choreography. ana de armas delivers a commanding performance, bringing a cool, determined presence to the chaos. she owns the screen.

but while the punches land, the story doesn’t. the film never quite locks into a compelling rhythm, lacking the mythic pulse that made the john wick films so magnetic. the screenplay feels disted, veering between moments that hint at depth & others that feel rushed or undercooked. there’s potential in the world it expands, but the emotional core is faint & the narrative just doesn’t pull you in the same way. keanu reeves in his brief appearance carries more weight & magnetism than most of the film combined—he reminds you exactly why the john wick films work as well as they do.

overall, a brutal, fun ride & occasionally stunning but not fully satisfying.

that was a lot of masturbating.

i’m not the biggest jordan peele fan, but i’ve always appreciated his creativity & distinctive style. i liked get out, though it didn’t completely blow me away & nope felt a bit overwhelming. i’d been meaning to watch us for a while & surprisingly, it’s the one i ended up enjoying the most out of all three.

us is jordan peele’s most ambitious film in concept & scope. it dives into something more abstract & allegorical: a violent doppelgänger invasion that spirals into a full-blown national nightmare. the film doesn’t always hit its marks & the metaphors stretch thin the more you pull at them—but damn if it doesn’t hold your attention.

the real anchor here is lupita nyong’o, whose dual performance as adelaide & her eerie counterpart red is phenomenal. it’s not just impressive technically—she fully inhabits two distinct psyches & the contrast between them is unsettling & deeply moving. her performance elevates the entire film, grounding it emotionally even when the plot gets tangled in its own symbolism.

where us falters is in its attempt to be too many things at once: horror, social critique, sci-fi mystery. the ideas are intriguing—class division, identity, collective trauma—but they never quite coalesce into a coherent whole. the final twist is clever, but it raises more logistical questions than thematic insights.

still, us succeeds as a horror experience. it’s visually striking, unnerving & filled with inventive set pieces. jordan peele clearly takes risks here & while they don’t always pay off cleanly, the film holds a magnetic tension throughout. with nyong’o at the center, it’s impossible to look away.

cabin fever is gross, weird & hard to forget. the disturbing imagery sticks with you, especially the bathtub shaving scene—easily one of the film’s most unsettling moments. the ending is bleak & chaotic, matching the film’s overall descent into madness. it’s not perfect, but if you’re into body horror with a sick sense of humor, it’s worth a watch.

enzo: we’ll be heading home soon. but for now, all i want is one more lap. just one more. 
i’ll bark again so he knows. (barks) 
faster denny. faster! 😭😭

Watched on Tuesday June 3, 2025.

this was surprisingly fun mostly because of michelle monaghan & the baby.

a stylish, if shallow, throwback to noir-era crime flicks, gangster squad delivers on looks more than substance. emma stone turns heads in a killer red dress, while ryan gosling’s laid-back drawl is oddly charming, even if it feels out of place. the visuals pop, the action hits hard, but the story stumbles with clichés & shallow writing. it looks the part, but doesn’t quite earn it.

Watched on Monday June 2, 2025.

mountainhead is a 90-minute TED talk hosted by four delusional tech bros who think they’re philosophers because they own apps. it’s set in a luxury glass box where the air is thick with buzzwords & unchecked ego. steve carell gets called “papa bear” — not as a joke, but as an actual attempt at character development. the film thinks it’s saying something profound about ai, power & mortality, but mostly it just feels like watching a bunch of billionaires argue over who gets to play god first. bleak, smug & deeply allergic to subtlety — it’s less a movie & more a slow-motion eye roll.

i want what nicky & joe have.

the great wall is one of those movies that looks way better than it actually is. the production design is genuinely stunning—massive, colourful & full of detail. the creature design is way more creative than i expected. giant waves of alien-lizard things storming the great wall? kinda rules visually.

but once you get past the surface, there’s not much there. the story feels thin & formulaic, like it’s just going through the motions. the characters are barely developed & most of the dialogue feels stiff or forgettable. matt damon tries, but it’s hard to care when the script gives him so little to work with.

it’s not a total disaster—there are moments of fun & some impressive action—but it’s hard not to wish all that visual creativity was matched by a better story & more compelling characters.

the best scene:
walter: dad, i promise you i will fix this.
arthur: you can’t. stop calling me dad.
there were so many women, i have no idea whose bastard you are.

the only reason i will be watching the third movie is because it’s got rosamund pike & dominic sessa.

now you see me is the cinematic equivalent of someone shouting "ta-da!" after tripping over their own shoelaces - you're not sure what just happened, but you know it wasn't impressive.

hellboy ii: the golden army is a visual feast & a testament to guillermo del toro’s singular imagination. this sequel dials up the fantastical elements, pushing deeper into myth & magic, while still keeping its feet grounded in the dry wit & emotional heart that made the first film memorable. del toro’s direction is confident & fluid—he balances spectacle with intimacy & his affection for monsters & misfits bleeds into every frame.

what truly sets this film apart is its creature design. from the bizarre elegance of the angel of death to the earthy menace of the forest elemental, every being feels like it walked straight out of a dark fairy tale. the troll market sequence alone is worth the price of ission—a dizzying showcase of practical effects, intricate puppetry & sheer creative madness. it’s del toro’s playground & he doesn’t waste a square inch.

ron perlman once again brings a gruff charm to hellboy, making him both demon & everyman. the story might falter slightly in pacing & thematic depth, but the emotional arcs—particularly between hellboy & liz—carry real weight. there’s heart beneath the horns.

a darkly whimsical, richly textured fantasy that could only have come from the mind of guillermo del toro. 

ps: saw the trailer of frankenstein right after this & i’m already seated. in guillermo del toro i trust.

lucy starts with a bold concept but quickly loses itself in pseudo-science & style over substance. scarlett johansson gives a committed performance, but the script veers into absurdity fast. by the end, it’s less thought-provoking & more like a flashy philosophy lecture gone off the rails. intriguing idea, clumsy execution.

ever wonder what it’s like to be trapped in a snowstorm with the world’s most miserable people? the lodge delivers—painfully. it’s a horror movie that forgot the horror & settled for emotional torture with a side of dead silence. slow, joyless & so full of fake depth it might as well come with a philosophy degree. riley keough does her best, but even she can’t save this frozen slog of gaslighting, cult trauma & the world’s worst children. it thinks it’s profound. it’s not. it’s just cold, cruel & boring.

ridley scott crafts a sleek, well-paced thriller out of the 1973 getty kidnapping, with his trademark precision & visual control. the true standout is michelle williams—quietly devastating, all resolve & raw maternal fear. christopher plummer, stepping in last-minute, is magnetic as j. paul getty: icy, stubborn & utterly believable as a man who values art over family. the film stumbles a bit with wahlberg’s bland turn & a few saggy midsections, but scott keeps things compelling. not top-tier scott, but a sharp, stylish story about wealth, control & the cost of being priceless.

downsizing presents a truly intriguing premise—shrinking people as a solution to overpopulation & environmental decay—but it never fully capitalizes on its potential. the film starts strong, hinting at sharp social commentary, but it quickly spirals into a scattered & unfocused journey that feels like several movies awkwardly stitched together. instead of diving deeper into the implications of its world, it sidetracks into melodrama & half-baked themes.

the runtime doesn’t help. at over two hours, the film feels long-winded & padded, with stretches that drag & add little to the core narrative. it’s a movie that constantly promises something profound but never quite delivers.

what does work, though, is hong chau. her performance is by far the film’s highlight—funny, heartfelt & completely captivating. she brings a much-needed emotional anchor & injects life into scenes that would otherwise fall flat.

overall, downsizing is an ambitious project that bites off more than it can chew. while its core idea is fresh & hong chau is fantastic, the execution is too uneven and drawn-out to truly resonate.

bob trevino likes it is a quietly powerful film that surprised me in the best way. it doesn’t rely on big twists or dramatic flair—instead, it leans into honesty, vulnerability & the complicated ways we seek connection. barbie ferreira delivers a beautifully restrained performance, bringing so much depth to her character with just a glance or a pause. you feel every ache & every hope she carries. and john leguizamo? he’s phenomenal—warm, grounded & unexpectedly moving. his presence adds a layer of emotional weight that sneaks up on you.

the story unfolds gently, but it’s never dull. it builds toward an ending that hit me harder than i expected. i didn’t just tear up—I ugly cried. it’s rare for a film to earn that kind of emotional release without feeling manipulative, but this one does it with such grace.

overall, it’s a film that lingers long after the credits roll. honest, tender & full of soul.

bring her back is more proof that the philippou brothers are not the future of horror — they’re just a loud distraction. i wasn’t a fan of talk to me (style over substance with tiktok horror vibes), but this one somehow manages to be even worse: emotionally hollow, painfully predictable & trying way too hard to be edgy. it’s all noise — no tension, no payoff, no soul. just vibes. 

the only saving grace here is sally hawkins, who gives a performance this film absolutely does not deserve. she brings nuance & weight to a role that’s written like a bad first draft. it’s honestly frustrating watching her carry scenes that are otherwise dead on arrival.

the philippous seem more interested in aesthetics & shock than anything resembling story or character. bring her back brings nothing but boredom & recycled ideas.

i, tonya is a fiercely unconventional biopic that skates the line between tragedy & farce with remarkable balance. director craig gillespie crafts a wild, kinetic narrative around the infamous figure skater tonya harding, painting a portrait that’s as darkly comic as it is emotionally raw.

at the heart of the film is margot robbie, who delivers a career-defining performance as harding. she captures both the defiance and vulnerability of a woman perpetually scorned and underestimated. robbie doesn’t just impersonate harding—she inhabits her, making the viewer feel every punch, both literal and metaphorical, that tonya takes along the way.

allison janney is an absolute force as lavona golden, tonya’s caustic, chain-smoking mother. with a razor-sharp tongue & a hawk-eyed glare, janney turns in a performance of toxic brilliance that earned her every ounce of awards season acclaim. her presence is chilling, yet laced with a biting humor that makes her scenes both cringe-inducing & unforgettable.

the film’s mockumentary style, frenetic editing & a soundtrack that barrels through decades give i, tonya a swagger & pace rarely seen in true crime dramas. but beneath its chaotic surface lies a deeper commentary on class, abuse & the relentless spectacle of american media.

room is one of those movies that hits hard in the moment but doesn’t fully stick the landing for me. the first half is tense and claustrophobic in all the right ways, but once it opens up, it kind of loses its grip. pacing gets messy & some of the emotional beats feel a little too forced.

that said, brie larson absolutely carries this. her performance is grounded, raw & way more nuanced than the script gives her credit for. she brings a weight to the character that the film sometimes struggles to . without her, this would’ve felt way more hollow.

overall, room is a tough but rewarding watch, elevated by larson’s standout performance & the poignant connection between mother and son. not perfect, but undeniably impactful.

the phoenician scheme arrives like a sly whisper in a crowded room—subtle, serpentine & unexpectedly devastating. it’s a film that coils around you slowly, trading spectacle for shadow & exposition for implication. in an age of loud narratives & louder conclusions, the phoenician scheme is a rare act of cinematic restraint, unspooling its intrigue with the elegance of a ciphered letter.

stylistically, the film is immaculate. its palette is bruised & sun-faded, evoking a world where power has aged poorly and secrets fester beneath diplomatic niceties. the direction is assured, never overstated, allowing silence to act as dialogue and gazes to carry the weight of consequence. it’s a film built for those who understand that real tension lives in the pause before the lie, not the lie itself.

but let’s talk about michael cera—because this is the performance that redefines him.

known for his quiet awkwardness & boyish charm, cera here weaponizes those very qualities, turning them into a mask for something far more calculating. his character is a ghost in the machinery of international deceit—a man whose unassuming nature becomes the perfect camouflage for intelligence work. cera doesn’t chew scenery. he evaporates into it, delivering a performance so restrained it becomes magnetic. each line is clipped with intent, every blink a possible tell. he moves through the film like a man who knows ten more things than he’s letting on.

it’s not a flashy role, but it’s the kind that great actors live for: layered, internal & delicately dangerous. he makes you lean in, listen harder, second-guess. it’s brilliant work—his best yet.

the phoenician scheme doesn’t beg for your attention. it earns it. this is cerebral cinema with a heart full of shadows & cera’s performance is its most finely cut gem.

like watching paint dry, if the paint had a shield. mackie’s doing his best impression of a cardboard cutout, ford looks like he’s regretting everything & the villain? might as well be named “who cares.” it’s not brave, it’s not new — it’s just a long, expensive nap.

drowning in style, gasping for substance.

the tourist is like ordering an espresso & getting lukewarm tap water. jolie struts, depp mumbles & the plot twists feel like they were made up on the flight to venice. it tries to be sexy & clever, but mostly it’s just confused. kind of like me, wondering why i watched it.

Watched on Monday May 26, 2025.

feels like everyone involved had fun making it. too bad they forgot to let the audience in on the joke.

it hurts to know that this shit is associated with the trilogy.

so apparently the secret to eternal youth is bad dialogue, mid-tier CGI & pretending chemistry between characters just happens if you throw enough dramatic backstory at them.

john krasinski looks like he’s wondering why he said yes to this script the entire time & natalie portman is doing her best “i’m too talented for this but here i am anyway” routine. the plot? it’s like national treasure got lost in a wellness retreat & never came back.

it thinks it’s deep. it’s not. it’s just wet. from all the fountains. watch it if you’re curious. or bored. or immortal & have time to kill.

there’s a lot to enjoy in the live-action remake of lilo & stitch. the hawaiian setting is gorgeous & maia kealoha brings genuine heart to lilo. seeing stitch come to life with solid CGI & chris sanders returning as his voice adds a fun, nostalgic spark. the film does a great job honoring the original’s themes of family & belonging.

that said, it isn’t perfect. while the remake stays true to the original in many ways, it doesn’t quite capture the same emotional depth. some scenes feel rushed & the added action elements at times distract from the intimate family story that made the original so special. it also lacks some of the quirky charm & humor that made the original stand out. still, it’s a decent & heartfelt retelling of a classic disney story.

no drag pleakley is a crime.

contagion is a meticulously crafted thriller that plays out like a slow-burning puzzle, piecing together the global fallout of a mysterious virus with unnerving precision. steven soderbergh directs with clinical detachment, allowing the tension to build through realism rather than spectacle. what makes contagion especially clever is it’s focus not just on the virus itself, but on the ripple effects: misinformation, political breakdowns & the fragility of public trust. it’s a film that’s both gripping in the moment & haunting in retrospect. less a disaster movie and more a mirror held up to modern society.

Watched on Monday May 19, 2025.

the diplomat is a tense, slow-burn political thriller that benefits greatly from john abraham’s commanding performance. alongside, sadia khateeb & jagjeet sandhu who are good in their particular roles. while based on a true story, the diplomat offers enough tension to keep the story engaging for the most part. some sub plots feel underdeveloped & the pacing drags in parts but the core of the story definitely makes it’s impact. worth the watch.

the assessment is a cold, calculated look at love under surveillance. visually striking but emotionally distant, it’s more concept than connection. alicia vikander is easily the film’s strongest aspect. she is a force & gives the film it’s only real pulse. overall, the film’s clinical tone and uneven pacing keep it from landing as powerfully as it could have. it’s fascinating, but not always engaging. more to ire than to feel. worth watching for the ideas & vikander alone.

Watched on Sunday May 18, 2025.

in ethan hunt i always trust. 

tom cruise doesn’t just raise the bar, he jumps off it mid air while defusing a fucking bomb. the final reckoning is a cinematic juggernaut that fires on all cylinders. it is a symphony of chaos, precision & heart, delivering a finale that’s as smart as it is spectacular. 

every scene is a masterstroke of tension & timing, with action choreography that borders on wizardry. but beneath the explosions, there’s real emotional gravity. the kind that makes the final moments hit hard. the direction by christopher mcquarrie is razor sharp, the pacing is relentless & the payoff? absolutely worth it.

tom cruise is magnetic, doing the impossible with fearless commitment. thank you legend.

it’s bold. it’s breathless & it proves one thing: the impossible was never out of reach.

a bunch of tourists get hunted by a giant croc & somehow the dog still ends up with the worst deal. the plot wades in shallow waters, the characters are as dull as a swamp & even the crocodile looks bored. if you came for fun, scares, or a happy ending for the dog, keep walking.

the moogai has a compelling concept rooted in indigenous lore, but it’s execution feels disted, with pacing issues & underdeveloped characters that weakens it’s emotional impact.

feels less like a movie & more like accidentally walking in on someone’s 9-to-5.

Watched on Friday May 16, 2025.

“it’s gonna be shea butter smell all over the hood.”

bold, hilarious & full of heart. one of them days is a wild ride you won’t forget. keke palmer & SZA shine with magnetic chemistry, turning chaos into comedy gold. it’s sharp, stylish & surprisingly moving. give me 10 more of these.

la cocina is a bold, visually striking exploration of life behind the scenes in a bustling time square restaurant. it is set over one tumultuous day, where tensions boil over after money goes missing, the restaurant’s back of house becomes a pressure cooker for class, immigration, and power dynamics. director alonso ruizpalacios blends realism and theatrical flair to explore themes of immigration, labor, and survival.

the film is shot in black & white, the cinematography is poetic & dynamic, giving the film a gritty theatrical energy that feels both immediate and stylized. raúl briones is particularly compelling, anchoring the story with raw vulnerability, while rooney mara brings a quiet intensity to julia, though her character sometimes feels underdeveloped compared to pedro’s arc.

where the film occasionally stumbles is in pacing & tone. it’s stage play origins are evident & some scenes feel more like social thesis than character driven drama. while its message is powerful & necessary, the delivery can come off a bit didactic at times. 

overall, la cocina is a potent, thought provoking film that sheds light on stories rarely told. it may not be perfect, but it’s an ambitious, humane work with moments of true brilliance.

the insanely shot service scene is a chefs kiss.

1. Mission: Impossible – The Final Reckoning
2. The Phoenician Scheme
3. Black Bag
4. One of Them Days
5. Tinā
6. The Penguin Lessons
7. Bob Trevino Likes It
8. Presence
9. STRAW
10. Forgive Us All

...plus 40 more. View the full list on Letterboxd.

1. Kesari Chapter 2: The Untold Story of Jallianwala Bagh
2. Stolen
3. Mrs.
4. Superboys of Malegaon
5. Dhoom Dhaam
6. Bhool Chuk Maaf
7. Jaat
8. Raid 2
10. The Diplomat

...plus 12 more. View the full list on Letterboxd.

1. Housefull
2. Housefull 2
3. Housefull 3
4. Housefull 4
5. Housefull 5

1. Flow
2. Dune: Part Two
3. Conclave
4. Hard Truths
5. Challengers
6. Kinds of Kindness
7. The Wild Robot
8. His Three Daughters
9. How to Make Millions Before Grandma Dies
10. Memoir of a Snail

...plus 176 more. View the full list on Letterboxd.

• Main Hoon Na
• The Grand Budapest Hotel
• Paddington
• Paddington 2
• A Fish Called Wanda
• Paul
• Beetlejuice
• Phir Hera Pheri
• The Devil Wears Prada
• The Holdovers

...plus 79 more. View the full list on Letterboxd.

1. Poor Things
2. The Holdovers
3. Killers of the Flower Moon
4. Saltburn
5. Barbie
6. Maestro
7. All of Us Strangers
8. Anatomy of a Fall
9. Perfect Days
10. Asteroid City

...plus 118 more. View the full list on Letterboxd.

1. The Shape of Water
2. Pan's Labyrinth
3. Guillermo del Toro's Pinocchio
4. Nightmare Alley
5. Hellboy
6. Hellboy II: The Golden Army
7. Crimson Peak
8. Pacific Rim

1. Gladiator
2. Blade Runner
3. Alien
4. Prometheus
5. The Last Duel
6. Thelma & Louise
7. Gladiator II
8. Alien: Covenant
9. Napoleon
10. Legend

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

1. The Holdovers
2. The Descendants
3. Sideways
4. Election
5. Downsizing

• Cruella
• Lars and the Real Girl
• I, Tonya
• Dumb Money
• Fright Night
• The Finest Hours

1. Cruella
2. Cinderella
3. Christopher Robin
4. Beauty and the Beast
5. Maleficent: Mistress of Evil
6. 101 Dalmatians

1. The Grand Budapest Hotel
2. The Royal Tenenbaums
3. Fantastic Mr. Fox
4. Asteroid City
5. The Phoenician Scheme
6. The Wonderful Story of Henry Sugar
7. Isle of Dogs
8. The Darjeeling Limited
9. Hotel Chevalier
10. The Rat Catcher

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

1. The Gentlemen
2. Guy Ritchie's The Covenant
3. The Ministry of Ungentlemanly Warfare
4. Operation Fortune: Ruse de Guerre
5. Aladdin
6. Fountain of Youth

one of my favourite franchise 🤍

1. Mission: Impossible – Fallout
2. Mission: Impossible – Dead Reckoning
3. Mission: Impossible – Rogue Nation
4. Mission: Impossible – The Final Reckoning
5. Mission: Impossible – Ghost Protocol
6. Mission: Impossible
7. Mission: Impossible III
8. Mission: Impossible II

• Final Destination
• Final Destination 3
• Final Destination 2
• Final Destination 5
• Final Destination Bloodlines
• The Final Destination

1. Spy
2. Bridesmaids
3. The Heat
4. A Simple Favor
5. Another Simple Favor
6. Last Christmas
7. Jackpot!
8. The School for Good and Evil

in progress.

1. The Lord of the Rings: The Return of the King
2. The Silence of the Lambs
3. Rain Man
4. Gladiator
5. The Shape of Water
6. Unforgiven
7. Parasite
8. Titanic
9. Everything Everywhere All at Once
10. Chicago

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

2025 goal is to catch up on best picture winners. 
p.s: i’ve only added films that i’m eager to see.

• Green Book
• Moonlight
• Spotlight
• Argo
• The Artist
• The Hurt Locker
• The King's Speech
• No Country for Old Men
• The Departed
• Crash

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

1. The Sixth Sense
2. Unbreakable
3. Split
4. Glass
5. The Village
6. Signs
7. Trap
8. The Visit
9. Old
10. Knock at the Cabin

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

• Parasite
• The Host
• Okja
• Mickey 17
• Snowpiercer

bollywood films that i grew up watching. this will only include films that released until 2013. most of these films hold a special place in my heart. 

i will keep adding as i go & .

• Kabhi Khushi Kabhie Gham
• Kabhi Alvida Naa Kehna
• Kuch Kuch Hota Hai
• Amar Akbar Anthony
• Dilwale Dulhania Le Jayenge
• Andaaz
• Andaz Apna Apna
• The Burning Train
• Sholay
• Hum Aapke Hain Koun..!

...plus 153 more. View the full list on Letterboxd.

ranked by performance.

1. Call Me by Your Name
2. Dune: Part Two
3. A Complete Unknown
4. Beautiful Boy
5. Bones and All
6. Dune
7. Wonka
8. Hot Summer Nights
9. The King
10. Lady Bird

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

1. Call Me by Your Name
2. I Am Love
3. Bones and All
4. Challengers
5. A Bigger Splash
6. Suspiria
7. Queer

1. All We Imagine as Light
2. Lost Ladies
3. I Want to Talk
4. Amar Singh Chamkila
5. Bhakshak
6. Stree 2
7. Khel Khel Mein
8. Sector 36
9. Srikanth
10. Lucky Baskhar

...plus 38 more. View the full list on Letterboxd.

1. Roma
2. Y Tu Mamá También
3. Disclaimer
4. Gravity

1. The Northman
2. The Lighthouse
3. Nosferatu
4. The Witch

1. The Florida Project
2. Tangerine
3. Anora

1. Requiem for a Dream
2. The Whale
3. The Fountain
4. mother!
5. Black Swan
6. Noah

1. Alien
2. Prometheus
3. Aliens
4. Alien: Covenant
5. Alien: Romulus
6. Alien³
7. Alien Resurrection

1. Poor Things
2. The Favourite
3. Kinds of Kindness
4. The Lobster
5. The Killing of a Sacred Deer

1. Hereditary
2. Beau Is Afraid
3. Midsommar

• 12th Fail
• Rocky Aur Rani Kii Prem Kahaani
• Ponniyin Selvan: Part II
• Kathal
• Jawan
• Tu Jhoothi Main Makkaar
• Pathaan
• Dunki
• Three of Us
• Bholaa

...plus 21 more. View the full list on Letterboxd.

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

• Everything Everywhere All at Once
• The Whale
• The Banshees of Inisherin
• Top Gun: Maverick
• The Batman
• Guillermo del Toro's Pinocchio
• Avatar: The Way of Water
• Bones and All
• Elvis
• The Menu

...plus 5 more. View the full list on Letterboxd.

• Qala
• K.G.F: Chapter 2
• RRR
• Monica, O My Darling
• Drishyam 2