6u532b

summary of the documentary, pretty much

"The Catholic Church is a gay organization"
"They [wypipo] was living in tough conditions. So, any HOLE was ok at that point"
"Its interesting to see [...] that the pope [...] always looks at the obelisk [...] the obelisk representing an erect penis [...] so while they were removing penises, the pope looks out at a large erect penis everyday!"
flashes deviant art of bucks being broken
"The whole european expansion was a homosexual enterprise"
imitating a white slave owner "You're not going to fight me. Why? Because I destroyed your champion. I just destroyed your man. I just destroyed your father. I just destroyed your man. Your brother. Your uncle. Your grandfather! I DESTROYED HIM"
THESE TRANSGENDERS EXPLANDED SLAVERY!!!!!
shows more deviant art of bucks being broken because there's no old paintings of them doing this hhmm I wonder why?
"Listen, if your dick is getting hard for ANOTHER MAN, you're GAY! If you just thinking bout it- you don't even have to do the ACT [...] YOU GAY MOTHERFUCKA!" - Lord Jamar
some tobias funke mfer witha a cane talks in platitudes again and then BOOM ANOTHER DEVIANT ART PICTURE OF BLACK PEOPLE GETTING THEIR BUCKS BROKEN "DIDJA HEAR, THE CATHOLICS ARE GAAAAAYYYYYY"

Oh wait a minute....
...
"the only times my sexuality was fulfilled was when I was used to pleasure a slave-master [...] we become to base feminity to liking wypipo"

oh cool a normal talking point...

"cherry-pick bible verses to make slavery appealing [...] make em more docile"
references Sojourner's Truth's Ain't I A Woman
"put a black face on pedophilia just to stir up people"
**references the welfare queen phenomenon**
"men are usually going to be the targets of racial oppression in order to take out the **signified leader**"
"gay liberation is easier to tackle and solve than dismantling white supremacy so the elites focus on gay liberation than the latter for issues to solve in order to appease the masses quickly"
"Nixon wants to eliminate black male masculinity = buck breaking strategies used by slave owners"

wow these are actually understandable, not good points but understandable....maybe this is getting be-

...

WHITE LESBIAN FEMINISM AND WHITE MALE SUPREMACY ARE TWO WINGS OF THE SAME BIRD [..] THEM DAMN LESVIANS IN THE HORSE AND BUGGIES!
"THESE CHRISTIAN MFERS LYNCHED BLACK PEOPLE BC THEY WANTED TO ABSORB THEIR XENU BASED CHRISTIAN GASEOUS ENERGY (wtf....)"
THE LOUSIANA FOOTBALL TEAM IS ENSLAVING BLACK MEN; THEIR LOGO IS LITERALLY THE SAME LOGO USED BY THE MASTERS TO BRAND PEOPLE, ITS ALL LINKED L I N K E D
WHITE PEOPLE ARE CHOKING THEMSELVES TO MASTURBATE!!!!! NOTICE HOW **lynching** IS ALSO CHOKING!!!!! COINCIDENCE, I THINK NOT!
DRAMATIC MUSIC DUN DUN DUN! did you know..... THIS WHITE MAN WAS LGBT, not gay, not a lesbian JUST LGBT
slow dramatic zoom in onto a black dude pushing his ass D E G E N E R A C Y
**cherry picks a few gay government workers**
THE GAYS ARE WORKING TOGETHER TO UNDERMINE US!!!!
WHEN BLACK MEN STAND UP AS MEN **shows pictures of people brandishing AK-47s** WE'RE PUT DOWN, WHY???? **shows more pictures of gang violence as if that's a good thing** WHY?????
THEY'RE SELLING HIP HOP TO BERLIN, LIVERPOOL, uh JAPAN and why???? well JAPANESE PEOPLE DON'T KNOW MUCH, THEY JUST KNOW HOW TO JUMP UP AND DOWN (this pr much the actual quote lmfaaoooooo)

W H I T E L G B T

denigrates gayness and then a minute later talks about how Stonewall was **actually** done by straight black men. YOU GAYS SUCK but also all your great achievements were caused by my race. HOMSEXUALITY hahahahah CRINGE, but yaknow when **we** do GAY THINGS, its alllllrrrriiiigggghhhhhttttt

W H I T E L G B T say it with me THEY'RE AGAINST US ALL!!!!! BUCK BREAKING US ALLLLLLLLLLLLL THEY ARE BECOMING **S O P H I S T I C A T E D** with their buck- BREAKING techniques **DUN DUN DUNNNNNNNN**

BILL CLINTON IN THE BLUE DRESS MAN??? DO YOU KNOW WHAT THAT MEANS!!!! ITS A FREE MASONIC SIGN MEANT TO TEACH TO SHOW THE HUWHITE PEDOPHILES WHO ARE CONTINUING THE BUCK BREAKING TRADITION THAT THEY MUST CONTINUE!!!!!!!

masculinity and feminity at its core ARE JUST SEX (wtf?)

THE HUWHITE CATHOLIC WHITE PREDATORS ARE AFTER AFRICANS BECAUSE THEY ARE POWERLESS (flashback to when they said HUWHITES preyed on black people - buck broke em because they were powerful) **sweats** uuuhhhhhh yeah they prey on the P O W E R L E S S.

S C I E N T I F I C B U C K B R E A K I N G

ARE YOU FUCKING KIDDING ME??????

(a whole hour after saying homophobic things, "gayness is a disease-type convos" and calling wypipo gay catholic pedarests) YOU KNOW WE'RE NOT HOMOPHOBIC, these GAY CATHOLIC WHITE PEDOPHILES are HOMOSEXUALS look at our **cherrypicked** sources

#ShutUpTariq

FREE MY MAN KEVIN HART GUYS!!!!!! WHEN MATT SHEPARD GOT SHOT, NO ONE CALLED HIM HOMOPHOBIC, but but BUT WHEN KEVIN HART SAYS HE DOESN'T WANT HIS CHIRREN TO BE GAY, HE'S TREATED LIKE A MONSTER!!!!! WHERE'S THE JUSTICE!!!!!!!!!!

why are you the way you are

LORI LIGHTFOOT IS A HUWHITE LGBTQ-iER WHO S THE CABAL OF HUWHITE CATHOLIC PEDOPHILES BUCK BREAKINGS OUR BLACK MEN **symbolically** S C I E N T I F I C A L L Y and physically.

shows videos of white dudes and an old black guy twerking YOU SEE, these homosexual BLACK rap videos (WHICH DON'T EVEN FUCKING EXIST) are there to feminize uh WHITE BOYS!!! YOU SEE THEY AREN'T ONLY BUCK BREAKING BLACK PEOPLE, THEY'RE BUCK BREAKING WHITE BOYS TOO shows video of an white eboy twerking

doesn't that destroy your point that wypipo are intentionally symbolically "buck breaking" or feminizing black people ONLY? and you just said there are homosexual black rap videos, wtf are you talking about.... where! you know what they say, my enemy is infinitely weak and strong at the same time

"THE TYPICAL BLACK THUG IS A LESBIAN IN BOY'S BODY"

holy shit you're a repressed homosexual

shows video of a fat black guy twerking "E S T R O G E N A S S A U L T"

THEY ARE CONTROLLING THE AIR, WATER TO FEMINIZE OUR BLACK CHILDREN!!!!!!!!!!!!!!!!!!!!!! T R A N S G E N D E R I S M IS EUGENICS!!! AND SOON ITLL BE TRANSHUMANISM INTO TRANSGENDERISM ok, GOOGLE WILL CONTROL YOU, MEANING US BLACK PEOPLE WILL BE CONTROLLED BY AI!!! TRANSHUMANISM, ELON MUSK - THEY ARE THE MODERN DAY BUCK BREAKERS, THEY WILL EXPLOIT US BLACK OPPRESSED MEN!!!!!!!!!

THEY ARE PUTTING SOY INTO THE GROCERIES TO BUCK BREAK US!!!!!!!!!!!!!!!!!!!!!!!!!!!!! **guitar riff plays**

in summary and to psychoanalyze this journalistic documentary, this is just a bunch of homophobes talking about their nightly insecurity about being sexually dominated by men and spinning it into this perverted idea that white gay catholic people have imported gayness onto black people in order to maintain white supremacy - and they say all of this because... well... they just want their bucks to be broken.

basically, if /pol/ was run by black people: THE DOCUMENTARY.

its really flawed, but its still good

This movie perfectly captures the feeling of existing like you belong nowhere. You don't own a house, your family is gone or incapable of understanding you, the objects which you held a personal connection are being sold off, etc. Its like the feeling of dying; knowing everything within your human perception is slowly fading away and will soon be obsolete. And there's nothing you can do to stop it. The movie keeps going on, life keeps going on.

This is how the movie feels. Like you're dying but there's nothing you can do about it There is a beauty in that existential powerlessness.

I think the editing can instill this feeling of "driftiness" way too much that is becomes more jarring and its like this faux-art movie. A stream of consciousness-editing style needs to be consistent; here it just feels like stuff and ideas and cinematic sequences are thrown onto the wall and we see what sticks. Cinematic consistency doesn't really exist here; this is a slightly experimental movie but not radically experimental that it warrants an extra look. Its not experimental enough to capture imaginations and its not quiet and consistent enough to feel engaged and relaxed and calmed by. Its this quasi weird lullaby art movie that's in limbo between being creatively bold and striking; and quaint and simply observational.

Its messy and its use of montage feels as consistent as a car commercial's set of B-roll.

BUT, some cinematic sequences here really tie this whole movie together into something beautiful. Because despite some mushy quirks, it relays that feeling of existential powerlessness so beautifully that you kinda forget the cracks.

Kinda like how I feel about Three Billboard Outside Ebbing Missouri, its a flawed and messy and kinda of weird movie but ultimately the feelings it tries to invoke, gets invoked and when it does get invoked; when you grasp the big picture stuff its aiming at: it works beautifully.

its really flawed, but its still good

its TRASH

@JonStewart Shut the fuck up, no-one asked, you're not funny, and you're W H I T E.

All attempts at humor are just laughing at the humiliation of the milquetoast-liberal-east-coaster character of Steve Carell or hahahahah old east coaster is SEXUAL and they lie whhhaaaaatttt 😲😲😲😲. riveting POLITICAL SATIRE, that east coaster bad and rural community good. OOGA OOGA, jon stewart is a the SUPREME anarcho-primitivist.

R E S I S T ✊✊✊✊✊

wow the part where Steve Carell asks Rose Byrne to suck his cock for 1 hour is SUCH gripping and LAYERED critique of how money in politics has allowed urban nobodies to influence and be apart of the rural communities' politics all for the sake of self interest. wow the ESTABLISHMENT do be trembling. THEY TREMBLING! its just bad satire, satire is supposed to be sharp and attacking, bruh this ain't either this just bland as a your grandpa's flaccid dick

yeah bruh, we know sensationalism bad and east coasters being pretentious pricks BAD and politics centered around self interest B A D and the premise of urban elites superficially getting so caught up and influencing rural areas they have no idea how to deal with or address but are only curious in rural communities only because of self-interested politicking is B A D, yes YES, but the humor the movie tries to squeeze out of this thesis is god awful. LY BORINNNNNGGGGG. how this thesis is communicated, how its utilized to expose humor is just so horrible. so painfully unfunny and boring. Steve Carell is sooo BORING AND UNFUNNY. like... cast someone else PLEASE. H O L Y!!! literal 5 minute scene in a bar with Steve and a few other guys, there's no joke, there's no satirical moment, its just this normal ass conversation, where's the joke Jon, where's that biting satire, W H E R E? Chris Cooper has the charisma of a doorknob. Rose Byrne is the only exciting character, everyone else is just BORING, UNFUNNY, SIMPLE, AND WHITE. bruh Steve Carell and Rose Byrne are having a sexual affair, and that shit ain't even interesting.

the film editing is garbage, that's all I will say about that oml

not only is the humor just so bland, like Adam Sandler THE COBBLER level of humor, but as a narrative, forget the horrible humor, the monotone acting (cept for Rose Byrne she's the only exciting one), the narrative as a NARRATIVE is so uneven. this guy can't even make a clean plot here, it took the first 40 minutes for the plot to even start moving somewhere. AGGRESIVELY SLOW.

and then after an hour and 30 of this clusterfuck of aggressive slowness, monotone characters, dull acting and just pathetic attempts at humor, AFTER ALL THAT, this mfer literally lit a piece of shit on fire and put it at my doorstep; that's the ending, its the dumbest shit I've ever seen. it could've been a good ending, if it was developed well, but omg OMG, ITS NOT. its a cool ending... but it could've been built up so much better and the build up for the ending they did provide was so out-of-their-ass it seems like they just thought of the ending to compensate how horrendously boring this bullshit was. boutta pull out the I've-read/seen-theatre-students / film-students-write-direct-and-produce-better-shit-than-this card, really stopping myself because I don't know maybe Jon Stewart will make something worse and I don't want to waste it on IR RESIST IBLE. imagine finishing the movie and thinking, yep, I want people to see this.

I'd rather watch a live vasectomy than re-watch IR RESIST IBLE. This is the MOTHERS DAY of political satire. This is the THE COBBLER of political satire. mfer, pay 24.99 to the RESISTANCE of IR RESIST IBLE. T H E R E S I S T A N C E.

This movie makes me want to become a Nazi. / 10

so STFU didn't ask, ur not funny plus ur whi- wait wait wait, Jon is jewish? oh... OH COME ON! why did JON have to be JEWISH ffs! this movie is the greatest setback to the Jewish community since Howie from Uncut Gems.

its TRASH

its good

Came back just to say I love this movie.

Joe Biden is INDEED making us all into sensitive little liberals but shit its working😢 that ending made me cry like fuck FUCK

and there are only a few films that made me G U L P

1. Call Me By Your Name
2. (the daddy movie by Adam Sandler)
3. Crash
4. and some other movie I can't

POINT IS, I never (hardly) cry in a movie, and uuuhhhh yeah this just HIT ME god damn

well, time to do 100 push ups and deepen my voice and install tindr and fuck women bc this movie made me so sensitive and human I feel a bit too feminine and need to quash it all down with AGGRESSIVE MASCULINITY HELL YEAH

this movie's amazing and heartfelt and just fuck means so much

this movie dumb as tits. speaking of tits, nudity and other horny "things" men go apeshit about, this movie has a lot of them. like bruh, mr. director, you're so fucking horny and it shows.

just wank it off once bitch, stop this horniess.

there are some AMAZING scenes in this movie, like HOLY. ICONIC scenes. Hugh Jackman literally has to HACK while getting SACKED in his balls.... LIKE EXCUSE ME. but then there's just halle berry getting lynched. like wtf is that scene, like E X C U S E? the messaging, and the whole attitude of this movie screams early-2000s-we-too-cool-PUNK-ROCK-YES-HELL-YEAH-BOOBS-I'M-WHITE-AND-A-MAN! if you don't find that type of cinematic verisimilitude at least endearing to watch, THEN STAY AWAY FROM THIS MOVIE. this movie cranks those vibes to 5,000, FROM THE RAZOR SHARP PACING to the EXPLOSIONS to the ACTION SETPIECES to the VILLAIN OF JOHN TRAVOLTA AND HIS WHOLE VIBE to the SEXUAL SCENES - like this movie a vibe. a trashy, piece of shit vibe.

this movie makes you FEEL like a 19-year-old horny male college student from the early 2000s who listens to punk rock and thinks mullets cool and wants to the FBI for he chicks. right now that kid is probably a car salesman in IOWA, in his late 30s. probably is depressed. divorced.

if you wanna cheer up that late 30-year old man, boot up Netflix, and watch this movie with him. it might even make him cry and how good the times used to be for him back in the early 2000s and how full of potential he was...

this movie will do for DEPRESSED CAR SALESMEN to what MOONLIGHT did for GAY BLACK BOYS.

and the oscar goes to.... MULHOLLAND DRIVE and THE PIANO TEACHER my god its a TIE for BEST PICTURe, wait guys WHAT IS THAT, is- OMG guys... mulholland drive didn't win, piano teacher didn't win, guys swordfish won best picture. guys

Watched on Sunday September 6, 2020.

I really fw this movie when I saw it for my 9th grade musical score class, and yea. but now, I mean, there are a lot of naturalistic and REAL CINEMATIC elements to it. the elements which cement this as a true-to-form stream of consciousness piece. the non-chronological story-telling, whenever the character sees an object, a vase lets say, we automatically cut to a memory with a vase, or how the colors CHANGE with his mood / heart-rate, etc.

Those moments are powerful and still are to this day. I can 100% say for certain this movie excellently makes us get into the head of our main character in ways that are cinematically bold and breath-taking to watch. beautiful nice piece by TOM FUCKING FORD.

its REALLY good

don't if I saw this Friday or Saturday September 4th or 5th.

its good

I think I have a crush on Rebecca Hall 😳😳😳😳😳 not the character in the movie, but just the actress 😳😳😳

the CHARACTER in the movie is a brutally honest depiction of loneliness that I heavily fw. very real, very honest, just yeah powerful. I don't know how I feel about the use of "altering" parts of the true story to make this movie more concise, but yea,

this was a powerful movie for me mainly because I can HEAVILY relate to the character I see on screen.

I thought this shit was supposed to funny?

this was offensive af

John Travolta does not play a real character, he plays a stereotype of an autistic man. The ending is so dumb I can't even...

this movie could've been really good...

what if, instead of pitting this movie from the perspective of the FANATIC, pit it from the actor. and leave it LARGELY AMBIGUOUS. like the movie opens on an introduction to HUNTER DUNBAR. and we get a few scenes with the kids, developing HUNTER DUNBAR, and then the plot points of the movie - John killing the maid, John leaving kiss marks on him - happen and he has no clue wtf is going on. and we experience the absurdity of this movie from the lense of Hunter Dunbar. it would be a trip, because there's so much weird shit that the movie doesn't take time to show us his reaction. and I would to see HOW TF DID HE REACT TO KISS MARKS ALL OVER HIM??? and THE MAID???!?!?!? HOW TF DID HE NOT NOTICE HER CORPSE.

wouldn't it be awesome if this was a normal movie and Hunter Dunbar in one scene is talking to the maid, goes to sleep, wakes up, and FINDS THE BODY. we experience the sheer shock, and we're like wtf is going on. It would this movie so much more creepier and unsettling.

this was an OK movie for like the first hour, and I think THE FANATIC as a character on paper its not bad, but the choices given to flesh him out, having some guy in a tank top bully him in a restroom to make him seem more like a victim as if we're watching a high school movie, are so DUMB and JUST SIMPLISTIC. the ending just is the ultimate cherry on top. dumbest shit ever omfg and not all realistic or relevant. the only POINT is that Fred Durst really wants to make a COOL ENDING and wants to make you think he's COOL AND WOKE without actually thinking.

F-rate fucking character study about a manic man. I wouldn't call this movie GARBAGE if it wasn't for the fact that even as a SO BAD SO GOOD MOVIE, it isn't ENTERTAINING. its just DUMB. there's nothing funny to me about John Travolta acting like a dense and socially unaware idiot. in of the film's errors on the technical side, there are some moments, some cuts, some SOUND EDITING, that is just god-awful and funny to just gawk at. but other than that, THIS MOVIE ISN"T FUNNY, and most of humor derives from laughing at how retarded John Travolta is. the movie insists, through this SAD music that I'm supposed to feel bad for MOOSE, while simultaneously, the movie insists unintentionally, through it being SO BAD, that I'm supposed to laugh at MOOSE. and I just want this movie to end, I don't want to laugh at how dumb Moose is, I don't sympathize with such a poorly written character.

Moose is a stereotype that is too problematic to laugh at, and too thinnly written to sympathize with. cinema is supposed to be a medium where audience IDENTIFY with the characters on screen. and honestly that's like a bare minimum of cinema. horrible movies like MOTHERS" DAY, have at least IDENTIFIABLE characters. In THE FANATIC, Fred Durst and John Travolta make such a thinly written and pretentiously written character, urging that his struggles are skin to TRAVIS FUCKING BICKLE when its NOT, that I can't identify with him AT ALL. he's goddamn alien and not in a cute quirky way. in an offensive way to humanity.

this movie attacks the human spirit and is an insult to humanity itself. what a piece of fucking shit.

its good

better than UNBREAKABLE and SPLIT. you see, one must have a knowledge of super-hero movies to understand the complex arguments sh-mala-ding-dong does in this movie. like how the fantasy of superheros is really a coping mechanism for one's disabilities; one's weaknesses. and I mean that is true... this movie is impactful because it hits on this universal concept that all people feel, vulnerability. the whole act of being a child is being in this state of powerlessness, etc. Hence why loving super-heros, loving the cheesy concept of BAD VS GOOD is so enticing to children because one, they identify with characters that are grown or more powerful than they are BIG MUSCLES AND SHIT, two, its simple. simple symbolic figures of strength - superheros - fighting against simple figures of evil - the villain. its all superficial, its all stereotypical (the mentally ill man being a bad guy, etc)

Unbreakable and Split played among these two different archetypes, or villain and super-hero, although self-aware. Unbreakable made its super-hero character archetypal-ly strong and brave, yet there was a vulnerable edge to his character, his fear of water, that made it clear the movie wasn't JUST playing within super-hero-symbolism, but really grappling with those ideas and creating a more human character beyond simple symbolism. same goes for SPLIT. instead of making the movie a cut-and-dry ooo man HAS SPLIT PERSONAS SCARY, there is this grasp of empathy on James MacAvoy's character, realized through performance and narrative, that comments on the very basis of "what it means to be a villain", "why is he a villain." As for the series' whole self-awareness around archetypal super-hero story-telling, the character of Glass is the perfect evidence to prove such. I mean, what he does at the ending of Unbreakable is already INDICATIVE of how aware this movie is of the archetypes its playing with and how its using said archetypes to tell a human story.

Like how Glass as a character is the perfect evidence to prove of this series' intelligent wit on the super-hero genre, GLASS the movie ties up everything this strange series has been saying and finally gives an asnwer. Kind of like the 2049 to its original BLADE RUNNER. question being in this series, super-heroes are people too with trauma and memories and emotions, but so what?.

we get an ENGAGING (idk wtf ppl were saying that this movie is slow, NOT A SINGLE DULL MOMENT) 2 hour meta-textual commentary on the super-hero genre itself. Glass is done with humanizing its characters or trying to tell a human story, this is a meta-textual story about "super-heroes" itself and how they affect us, audience , as fantastical beings. this movie feels like its grabbing into your soul. we are not longer identifying with the sttong buff man or fearing the mentally ill, this movie is identifying with us. this series has moved away from "humanizing" its heroes and villains, and has begun to articulate why it is important to humanize them in the first place. who is it serving and why do we need guys in ponchos and villains with mental illnesses and social outcasts to be secretive villains? we need them because it makes US feel stronger.

through the whole MACGUFFIN of oh no what if their POWERS ARE IN THEIR HEADS, the movie is starting this meta-textual dialogue about how the narrative devices of them having POWERS is in it of itself causes audiences to feel more powerful AND how and why people would want to suppress that in the first place. the whole WORLDBUILDING this movie, from Sarah Paulson's character to the whole CROSS OVER APPEAL of it, expands this movie from being a movie with stakes and more so a meta-textual commentary on the genre itself by the sheer absurdity of it, etc. GLASS' whole spectacle of a last scene.

the characters aren't framed as characters like Iron man or Batman with desires and stuff; they're framed as what they truly are, NARRATIVE DEVICES to make us feel powerful. and through dialogue choices and Glass' monologues, it becomes so so CLEAR that this movie isn't a simple oooo bad vs good guy or just a classical narrative, its this final swansong for the genre of super-hero movies itself. I love how GLASS doesn't try to make us attached to the characters or shit, because it knows that super-heros and super-villains only exist for us to identify with; their strength, their wit; its really all superficial. and by taking all that out, all the hoopla with super-hero movies, in a precise way it makes us see what they truly are: empty characters searching for some purpose in a super-hero narrative. meta-textual commentary, they're not characters, they're narrative devices. and the movie embraces and uses its brash simplicity of its characters to tell not a HUMAN STORY, but a story about how these super-heroes affect us.

this is truly an ultimate anti-movie, it works better as a thinking piece than as an emotional work of storytelling. the only real emotional bit for me comes in the form of Glass' character arc. it just ends in such a powerful way. he first came into this world violently trying to find a meaning to his life, when ultimately the real meaning of his life was just being seen by others; and not being seen as the little shit society had always treated him. the cinematography really hammers that point as well.

its good

I literally watched this movie back to back because its just that fucking good.

also this movie kind of creates this feeling of awe for me personally. like i'm a college boy rn, freshman. and I mean no need to flex but uh its a good university ngl, 😎😎😎😎

kinda like HARVARD ok. don't know what it is? ok I'll tell. its ALASKA PACIFIC UNIVERSITY. ik, im a boss. has a 20% accep- oh wait that's the graduation rate.

point is this movie is offering me symbols, the college frats / the atmosphere, of college that makes me feel more ready for college. making me feel more ready for an institution that is enabling a predatory loan servicing industry that is crippling our generation for the sake of PROFIT all so that a bunch of infantalized adults can feel more like adults and be more accepted by the upper-class / upper-middle class. every single college symbol that QUIRKY AND COOL AND something ur supposed to like - from the dorms to the college atmosphere - are all a tool created to influence people to justify paying over $50,000 at an institution that inherently and intrinsically won't CHANGE YOU AS A PERSON AT ALL. you'll still be a dumb young adult, except now you get to learn a whole new lingo to communicate with you're other college minded friends to look more smart or intellectual. unless you're a doctor, or researching some heavy shit, COLLEGE DOESN'T matter at all. unless you're so sensitive or clingy to other people's opinions that you need to maintain this false image of importance to others. other than that, college is just giving students 4 years of work in exchange for a sense of entitlement. imagine paying $40,000 for a FILM PRODUCTION DEGREE at EMERSON COLLEGE HAHAHAHAHAHHhahahaheehehehehoohoohehhah- ha ha he he

😔😔😔😔😔😔😔

honestly after I clock in my mandatory hours at the local gulag- I mean college, I'll probably go to graduate school. remission for prisoners. I can't handle life on the outside. forever lock me up,

oh yeah what was I talking about, yea the social network. making me excited for college! honestly college so far is so pathetic like, everyone has horrible confidence and is socially starved. the zoom classes are miserable to be in because everyone looks like, why tf am I existing rn and the in-person classes are just WORSE because everyone lost their charisma being quarantined for a few months so NO-ONE wants to talk to other people. a bunch of cowards. while I'm out here trying to get that false sense of entitlement - you know college friends and shit - that The Social Network romanticizes almost. but really ik shit like that don't matter, its an illusion to sell me college. but man, i want that. and we not getting it right now.

I hate to it it, but I watched this movie again because right now I'm not having the typical college experience. and I know that gives white girl tumblr vibes of UwU, total struggle, I can't communicate with my white ass upper-middle class FRIENDS BECAUSE THEY IN QURANTINE!!!! alexa play how i'm feeling now by CHARLI X C X but yea its true. i'm a sad white bitch rn. and re-watching the social network gave me the ability to catch a glimmer of what I'm missing - the social competition, the clique-ness, the awkward and embarrassing moments. I should be FUCKING rn, starting some new shit, being an INDIVIDUAL and I only got 7 s.... 7 S??!?!?!?!?!?!?!!?

as crappy as shit is, The Social Network reminds me what's the normal, what is society and how we do be livin in it in an un-normal world.

I literally watched this movie back to back because YEA its just that fucking good.

this is a perfectly edited, perfectly acted and tightly written movie that exists

I've seen this when I was a 'wittle boi. and yea its good. certain scenes like the opening I . and yea COOL AS SHIT. the score, the editing, fuck me Fincher. yea that's much this whole ass movie.

this movie really taps into the current zeitgeist and feigning for getting money fast. getting views, getting attention, shit like that. really taps into that human need INCREDIBLY WELL. through the college atmosphere that it depicts to the characterization of Markl Zuckerberg and how he treats his friends, this movie has been a microcosm of our collective feeling of dirtbag-arrogance that's really always existed in most people's minds, those who live in a society but are now amplified ever more.

so so so engaging. like, this whole movie is ONE GREAT SCENE pr much.

I don't like how Sorkin made Zuckerberg into someone who goes UwU, I must CREATE THE GREATEST MACHINE EVER BECAUSE SHE BROKE UP WITH ME.

its a bit naive and I feel disappointed that instead of tackling the real emotional quandaries associated with being creative and innovative, it just lumps together the ideals of being creative / innovative as some misdirected form of masculine aggression. I mean sure its kind of true, i mean... like yea. I don't write these reviews for my own benefit, I write em to practice my wordplay and get mad pussy. duh. but to semi-quote Zuckerberg our digital fascist overlord,

Hollywood just can't frame inventors or creators in an interesting way without framing them as "broken up with losers" or "spiteful" or something along those lines. like, it can be true, but it leaves me this feeling that they're merely scratching the surface on what creation really is to men. honestly, I think STEVE JOBS better tackled that question, and that movie is well, yea, not as good as this but I digress.

this movie wasn't emotionally stirring for me, but just constantly engaging. I don't feel sympathy or empathy for Zuckerberg's anti-social fucktard of a character; honestly I don't have a strong emotional attachment to any of these white privileged ass young Harvard looking mfers having struggles. sometimes I detest how this movie's so tight and focused that it doesn't have time to BREATHE. its way too fast and as a result, I just don't care as much I would like to for these characters. like we UNDERSTAND the relationships Zucc has with his bois, but i dunno, wouldda liked some cute scenes with em. i don't care that much but I won't deny that this is a deeply compelling story MAINLY because the complex dynamic of Zuckerberg's rise, an anti-social geek creating the most social platform of them all, is emotionally interesting. and again editing wise screenplay wise, **chef's kiss**.

boils down to, its my type of movie, but I can TOTALLY get why other people like it. and I do FW this movie, cause again this movie just feels like one AMAZING SCENE.

this is a perfectly edited, perfectly acted and tightly written movie that exists

underrated

yall... just YALL, need to have some more fun. 1.8... 1.8 / 5.

BRUH!!!

like do you guys know how to have F U N??? most underrated movie since Cars 2 ON GOD.

first of all, the writing is god awful. the introduction of characters is so confusing. so basically, Morgan Freeman runs this retirement home or some hotel idfk, but basically he runs it. and his character earlier is portrayed as kind of a playboy. an old playboy. and he fucks these 3 old women, and he tries keep his affairs secret from each woman. but I mean, ofc they all know he's fucking every single one of em??? anyway, we get a few comedic scenes of that - him dicking around with em instead of actual development - and ITS FUNNY because old man humor and HOW TF IS THAT OLD SHIT FUCKING 3 WOMEN, and then all of a sudden TOMMY LEE JONES pops out of no-where with his cowboy hat and STEALS ALL HIS WOMEN. he literally swoons all three of em. its hilarious ALL 3 of EM, and loads all the old women into his van to have a foursome and sing poetry to them and obviously FREEMAN is jealous. lemme just say that Freeman is the MOST GIDDY, the most pathetic and the most "loser" or really vulnerable I've ever seen him play. he just plays an uncaring idiotic buffoon. and WHEN HAS HE EVER DONE THAT.

anyway, then Freeman is jealous and he thinks in this weird masculine way like, oh shit he's coming into my property, stealing my W O M E N how dare he!!! BRO YOU"RE FUCKING OLD!!!! and that's what's so comedic about this movie: it's so absurd and the character of Freeman takes himself so seriously as THE MAN DEFENDING HIS HOME when really its and old pathetic man defending his retirement home and his 3 old side hoes. the perfect satire of masculinity; really highlights male insecurity. but ANYWAY, OUT OF NO-WHERE there's this scene where FREEMAN is in a santa costume punching this other guy in a santa costume because the other guy is from corporate and Freeman wanted to be THE ONLY SANTA so he has to defend his homeland and KILL the FAKE SANTA. he literally says a punchline, ho ho on this and I'm already dead. AND THEN TOMMY LEE JONES comes out of no-where and punches the FAKE SANTA with Freeman. and Freeman IS MAD now because everyone likes TOMMY and he asks TOMMY why did he punch the fake santa, and he says, because I want the REAL Santa Claus. ITS ABSURD!. and then the rest of the movie is just scene after scene of non-sensical buffoonery, more male insecurity shit, more absurdity, more Tommy Lee Jones showing HOW MUCH OF A MAN HE IS (literally this could be No Country for Old Men 2, I'm not even joking), and Morgan doing some weird shit with CAMELS like wtf.....

This movie isn't 5-stars, I'm rating it that way only because THE SCORE IS TOO LOW. if I had to rate this honestly, like yeah the WRITING IS GOD-AWFUL, the characters are WAY to simplistic (morgan freeman is a buffoon and Tommy is a alpha player who is solemn and hot af and Rene Russo is an uptight person who learns to lose her uptightness). but just because writing isn't complex doesn't mean its bad. the movie would be BAD if it tried to take itself seriously or something, BUT IT DOESN'T. it KNOWS how simplistic and dumb it is. it embraces its label of stupidity and just goes fucking all out. like the third act literally turns into a spy thriller. like honestly, its a good movie. but yall are like ewwwwww its to simplistic, ooo its too dumb. YEAH ITS DUMB AS HELL, but its hillarious to see Morgan Freeman be an absolute idiot and be insecure that Tommy Lee Jones is stealing all of his old bitches. like if this was RELEASED in the 80s, yall would be saying OMG COMEDY CLASSSICCCC. its an absurd and ridiculous piece of corporate media that's SO ENTERTAINING because again the humor is so ABSURD and WEIRD and STRANGE on a mainstream comedy level. and this 1.8 / 5 rating is just.... guys.... c'mon

can we just have fun?

#RateJustGettingStarted5Stars

ITS REALLY UNDERRATED

I love how the opening credits literally last for a MAJORITY OF THE FILM. gives off the illusion that we're never done introducing these characters, this world or really this film. because everything about this movie feels as fresh as an introduction. we see characters are almost reborn throughout the maddening final 45 to 60 minutes or so. we're learning and observing everything as if it was just as fresh as the opening credits. like every single minute is a climax

also, its just boss to have your title sequence come after two 20 minute long takes of people dancing tf out of their bodies. so yea, its boss too.

I really loved how this demonstrates the primal urges of humans. not all the societal bs of UwU I love my boyfriend or UwU I love my son is real or true. I love how through seeing these individuals go through trips we see a manifestation of their true carnal and real individual needs, not the facade they have demonstrated to us at the start - through the television screen to the brief intimate moments we catch of them before the drug kicks in. I don't understand the argument that this movie is empty because fuck, I found it so relatable to just human shit. the way these characters, in this drug-inducing crisis, reacted - from attacking suspects to fucking to complete and utter panic - all felt so so real and moreso its a powerful reflection of our true human spirit

at its best, I believe a lot of what this movie demonstrates is a symbolic representation of adults living in society / the dance room. The crisply organized dance group is reflective of the rigid rules society puts on individuals. Specifically, how we live in a society where sex is normalized and almost encouraged - especially within youth culture - so much so that sexual talk and disparaging backtalk about others is a constant discussion. I mean there's this whole sequence where we go from two people talking to another and ALL OF THEM are either talking REALLLY DIRTY or TRASHING OTHER PEOPLE. and I mean, when people are in these environments, ofc you're gonna gossip, you're going to do dirty sex talk to seem provocative. but why do all that? its all an attempt to define oneself - if you talk shit about another person, it means YOU the shittalker are making a DISTINCTION from that horrible horrible guy and if you talk dirty and making other people laugh you're being a good friend, etc. All these young people are entranced by the thought of being accepted by their peers, yet the only way they can embrace others acceptance is by talking shit about other people and saying some wild shit. Irony is, 1, the acceptance they seek is from people THEY TRULY HATE and 2, the wild shit they spout is just far off from who they try to present themselves as. adulthood is fucking fake. the dance room is an illusion. AND that illusion so horrifyingly just goes away when the drugs hit, as people cut through their shit talk and their gossip, and just fucking lunge at each other. I mean that's what they wanted to do in the first place? fuck and kill everyone in their path to stake their identity and dominance... they're essentially doing the same thing they've done before except now they're more violent, more coked out, and just crazier. but really, they're the same empty youth searching for meaning and identity in a fuckstorm of a world trying to reclaim that blissful innocence of childhood. proof of my interpretation; the furnace room scene, her clawing at the door hearing his cries. that's why this movie is powerful; it taps into our general resentment of adulthood and fakeness and society in a way that is real, honest and beautiful and really REALLY sick.

ok this is a GREAT movie, but GASPAR, can you like chill with the blatant nihilism and just raw detached cold misanthropy??? you and Haneke need therapy holy.... buddy its ok she'll call you back..

its great

its TRASH!!!!

Inland Empire is just Lynch experimenting with digital technology for 3 hours. if you're one of those fools that thinks FILM MUST BE AN EXACT CONTINUOUS REALISTIC AND COHERENT PRODUCT, then you should just kill yourself right now because 1, you're wrong and 2, you'll be so confused as to why you enjoy this NON-CONTINUOUS, UNREALISTIC AND INCOHERENT PIECE OF SHIT and you'll think so much that, WHAT!!!! how... I love movies like THE GODFATHER, oh now, I like pieces of shit and then BOOM you'll kill yourself. so just get it over with now you coward.

people don't like to it this, but proposing that there is a set standard to film-making is utter bs. we all want to see GOOD MOVIES. but what is a good movie. is it emotionally stirring, makes you think a lot POST-watching, its more enjoyable to think than to watch, its more enjoyable to watch than to think about, etc. WHAT EVEN IS GOOD? all of those things, one of those things? we place these qualifiers like it has to be well-directed, it has to be well-written and we don't even know what this ABSTRACT concept of good. even your set standard of "good" directing, screen-writing, etc. are as flimsy and made to be defied like a religious code of ethics. Truth is, no-one knows what makes a good movie. historically, YES, those techniques have worked. one can say with confidence that being well-directed and well written will MOST LIKELY make a whatever-a-good-film-is. but sometimes no? you can have well-directed and well-written movie BUT FEELS LIKE ITS A WASTE OF TIME. so is emotional pathos more important? and how is that even measured?

and then we enter into this rabbit-hole. if so much of cinematic enjoyment is NOT DERIVED from a good director or a good writer a so called OBJECTIVELY GOOD PRODUCTION, so much of it is vested in emotional attachment. emotional attachment is an abstract concept; sure you can say good writing may create it for an audience, but its not surefire. there's no way you can guarantee emotional attachment emotional attachment to the characters, to the symbols in the movie is purely dependent on one's individual mental history and backstory. if someone is American. SAVING PRIVATE RYAN is going to tremendously hit them harder than let say some EUROPEAN WAR FILM. its a poor example, but my point is that one's identity is connected with their enjoyment of films, NOT ENTIRELY because of GOOD DIRECTING, OR GOOD ACTING

there's nothing objective about films when REVIEWING IT. so stop acting like, hmmmm this experimental film about LAMPS is so INVIGORATING because the DIRECTING IS SO GOOD!!!. NO! you like it because lamps connect to you on a personal level. now I'm not saying every compliment towards the technical sides of film-making is just a veiled and unaware compliment towards the movie's symbolism. no as I said, MOST LIKELY, if a movie is well-directed or well-written it'll be good for most people, INCLUDING ME. so when I'm and other people are saying something is directed good and thus it means its GOOD, they truly mean it. saying directing is good or writing is good in a movie to review it, to evaluate your experience are fine tools. my MAIN problem is that people don't want to acknowledge that there's a bias in subjective criticism and people only use the SET STANDARD OF is it directed good, is it written good. those tools shouldn't be the only one people are using. ITS FUCKING ROBOTIC! they don't want to acknowledge that certain symbols in a movie may stir you up more than lets say other people. that you know, EMOTIONS EXIST and BIAS EXISTS I think certain people are too objective with their criticism that they've lost the true subjective power that film wields. they've lost the point. why? because they don't want to it that their criticism can be an ounce of invalid. so they just mosey around talking about DIRECTING AND WRITING THIS, yapping about an objective standard to movies without talking about subjectivity or emotional attachment

I think people should talk about both, instead of just focusing on DIRECTING, WRITING, TECHNICAL ELEMENTS. they do this to mask THE FACT of how NONE OF OUR REVIEWS ARE THE FUCKING BIBLE. they want to think they're writing a math report or the definitive answers to life. truth is, film-reviewers like those have big egos because they have small dicks and pussies.

personally, this movie didn't do much for me because I'm not a fan of the symbolism here. since the narrative is non-continuous, most of my focus went to the symbols and icons shown. Like the pink house, the classic American setting, the stark dark corners. there's a clear contrast between the foreign dark imagery in this movie and the bright Hollywood-lavish FAMILIAR aesthetics. it also uses heavy American housewife iconography. the dresses Laura wears, the PINK HOUSE; it seems to gnaw at middle-class American housewives. and there are certain scenes, the way its filmed, that makes me think that Lynch is projecting these moments in order to express the oppressed females; oppression by men, their husbands. the way husbands are shot as looming and dark figures always watching, and women are in trouble, make me think that there are bits here and there where Lynch is trying to communicate the male oppression of marriage towards women. but about the CONTRAST BETWEEN REALITY AND FANTASY, its a contrast that I've seen Lynch do in ways that I like a LOT MORE (MULHOLLAND DRIVE), so the contrasts between the rich and poor, and the darkness and light, the familiar and the foreign, the oppressed middle-class female housewife to the rich-actress housewife, FANTASY AND REALITY, just seem second-rate to me. idk if that would be different if I saw INLAND EMPIRE first, then MULHOLLAND DRIVE. maybe Inland would be my favorite movie of all time in that case? point is, the symbolism here is just not as stirring as I prefer it to be. and as a result, no matter how every second this movie feels different and new and gets weirder and weirder, i'm not going to be AMAZED and STIRRED. I wasn't terrified by anything, only jumpscared, few moments I was terrified a little bit and actually really into it, like 5-star shit THE SHINING LEVEL shit, but most of the time claustrophobic and bad quality video just didn't do it for me. FUCK THOSE JUMPSCARES THOUGH. I understand how it did for other people though, but not me. maybe I'll appreciate the weird insanity of it all on a SECOND WATCH.

basically, this is just LYNCH frolicking around with a camera for 3 hours. there are some experimental moments I LOVE, and others that just exist. i love how there are period piece moments and its FILMED on a shitty camera. i like that. the ending is the happiest ending I've ever seen him do. its definitely an interesting movie, but like....

it makes me think, what makes this different from a hobo getting a camera and shooting random shots in a HOLLYWOOD set?? and editing while he's on crack to this movie directed, edited and wRiTtEn by DAVID LYNCH? are the differences the actors? the fact that it has HOLLYWOOD faces in it? if you think about it, this movie's just a bunch of elite Hollywood actors coming together to be in an art film that validates their experiences as white Hollywood mfers. and its only different from lets say a hobo on crack making a movie by its actors and Hollywood-association.

basically, David Lynch just invited all of his friends to film his incoherent ramblings and nightmares about Hollywood and male oppression. i think this is an interesting movie, but its still utter BS. this movie just reminds of BS. Not only is this movie BULLSHIT, but also the BS that these 12 y/o film-reviewers do, seeing if a movie is good based on unemotional objective qualities. why do I hate that so much, why does that really make my skin crawl. I have some bias towards ppl like them and that makes me realize,

oh shit, I have biases too

Inland Empire just reminds you that everyone is biased, everything is personal or real. objectivity, more like NONE. and we're all shitty people making shitty movies which lead to shitty reviews. this movie edges you out of reality, objectivity and really logic. nothing is real

so yeah, this movie just makes people want to kill themselves. this movie is the mental feeling of escaping reality and realizing its just a MATRIX.

its amazing

JAMES WHITE!!!

why did I watch this again?

Was watching Simon Killer. The end credits. And I see JOSH MOND's name pop up as executive producer. Instantly made me think of JAMES WHITE, his directorial debut. I look up JAMES WHITE on YouTube, its there. ITS ON YOUTUBE Watched again. And ofc

its great

Just pure and raw cinema... like a Cassavetes movie. Its hard for these type of movies, these revealingly realistic and raw movies, to be mediocre or even bad. Movies like KIDS, to A WOMAN UNDER THE INFLUENCE to CHRONIC, are on this spectrum of either INTERESTING or full on EMOTIONAL MASTERPIECES. Movies like this, something so far off on the REALISM side in the REALISM-FORMALISM spectrum, are nearly impossible not to appreciate to some level because it represents reality so fucking well that at least someone is going to have an emotional connection.

I mean isn't that the whole point of C I N E M A, whether you're insanely steeped in realism or deeply connected with fantastical elements, the main goal is to STIR the audience? I love character studies, I love stirring movies, I LOVE JAMES WHITE.

Only complaint I have is that there's no real point or strong resolution here. Take the great A WOMAN UNDER THE INFLUENCE as an example. There's a strong thematic resolution there. Here, there really isn't one. its just documenting the misery of one person. This would've been a masterpiece if the movie striven to tell us more or resolve it further.

Nonetheless, still an impressive and magnificent work of cinematic realism. This ALL-THE-WAY-REALISM shit looks easy, but it really isn't and I heavily respect this movie for that.

I was still tired at 10 o'clock in the morning. I woke up at like 4:30 in the morning. I was talking to someone while I was sleeping. Having a full-on argument in my sleep, and my Dad just woke me up. Couldn't go back to sleep.

So its 6:30. Just laid in bed for two hours TRYING TO GO BACK TO SLEEP. didn't work. so I do some workouts, little push ups here, some weight lifting. STILL TIRED. its 7. might as well write. write. STILL TIRED. 8 o'clock. I'm STILL tired af, i'm hungry, and I really wanted to watch SIMON KILLER, but because I know its directed by ANTONIO CAMPOS, the guy who made AFTERSCHOOL, so I knew I had to be WIDE AWAKE for this shit. so I watched some vaguely interesting movie that I knew would be light, SAFETY NOT GURANTEED ate breakfast and watched it. and after eating a whole ass meal and a whole ass movie, I WAS STILL TIRED AND MISERABLE. AND THEN, I saw Simon Killer.

and I was no longer tired

Simon Killer is this smartly directed, dirty and sexy and a foreboding character study about some guy living in Paris.

and its great. the vibe of this movie is UNIQUELY unsettling. the music choices really enhance this. music is interestingly used in this movie. the music used exactly mirrors the music the lead listens to in his headphones, in the club. and when he takes off his headphones or changes the song, the song abruptly changes. music isn't controlled by narrative, whether the scene is a sad and thus sad music must play, no. music is played and controlled by the main character, not by the mood of the scene. the music changes in this movie are jarring. it sets this unsettling vibe to the whole movie, that everything we're seeing is in his hands. that's ONE EXAMPLE of how SIMON KILLER gets you really unsettled when watching it. its suffocatingly personal, and Campos and crew use great film-making techniques to hammer this vibe into us.

so yeah I loved this movie. atmospheric and creepy af, and on a film-making level really makes you get inside the head of the lead (in a very deceptively SEXY and CREEPY way). on a contextual level, this makes a lot of allusions to sexuality in the internet age, oedipal desires, really the whole CONCEPT of desire and how its so fluid based on the way people treat us, etc. The movie touches on a lot of realistically human topics which makes this unsettling masterwork not only UNSETTLING, but also REALLY STIRRING.

its just a great movie. the film-making is creative and unique. and it evokes a beautiful array of emotions to panic to fear to empathy and to bitter sadness and sometimes it may make people laugh. yeah...

its great

DANCE YRSELF CLEAN BABBBBBYYYYYYYYYYYYYyyyy

its decent

as a Christian, the first hour made me want to throw up. I'm sorry, but when women have so much sexual liberty it makes my penis tingle with insecurity and I can't fucking handle that shit. so yeah, fuck this movie for making me insecure about my dick size.

but you know, it gets better. you know, I never knew strippers were people too! I though they were just a bunch of Scientologist aliens from the planet Mars, so I'm pleasantly surprised that they too have fears, insecurities and problems like us regular folk! definitely show this to your grandma, will open her horizons.

Lizzo is so bad in this movie. she bursts into the scene playing a flute. A FLUTE??? in a strip club. like she ain't getting any dick with that sorry LMFAOOOOOooo. I GET IT LIZZO, YOU KNOW HOW TO PLAY THE FLUTE LMFAOOOoooo. that part was quirky and i like it because it breaks the diegesis it was going for in a quirky and nice way. shakes things up in the right place. so yea, good job Lizzo

ok serious review

I loved the performances of Constance Wu and Jennifer Lopez. But THEIR CHEMISTRY isn't strong enough to carry this movie for me. In of evoking emotional pathos, the movie touches on a lot of interesting ideas about female sexuality and how the strip club business is synonymous and no different from the wall street business. when the movie makes those arguments, whether through these cool monologue bits from Constance or these Goodfellas-esque edited juxtaposition sequences and this one killer LONG TAKE of Constance Wu just walking her kid to kindergarten, its affecting. this movie is also pretty funny at times, the humor touching on some true things about femaleness as well. there are some nicely written moments here and there that work so well on an emotional level, and you also have shit that looks like its ripped straight from WAR DOGS, basically a Martin Scorsese clone.

I wanted to see more of Jennifer Lopez's character, as I find that the movie could've dug more into her character and thus really delve into more topics on consumerism and other capitalistic concepts that would've overall made the movie more impactful. her character change needed more focus, to make the chemistry between the two and her character change really the more impactful. she just turns into this stereotype by the end, and I'm like man, I wish the movie delved into to that more, expanded on that.

this is like the I,TONYA of 2019. a slickly edited FAST-PACED thriller that's slightly impactful for the ideas it touches upon, but is hardly memorable. its not a complete un-inspiring and unemotional and SHALLOW shitshow like War Dogs, but it ain't Goodfellas.

so yeah, 0/10, its not GOODFELLAS, so pack it up WOMEN, your time is up....

its decent

yea this movie aight...

but, there's this one amazing still of the male lead just driving out on a go-kart drinking alcohol and my god its CLASSSSIIICCCCCC

time travel is a metaphor for fantasy and cinema and just the concept of imagination itself. some instances the metaphor works, but other times its pretty eh. as much as I would like to interpret TIME TRAVEL in this movie, basically time travel is really a MACGUFFIN in this story, like the MURDER OF LAURA PALMER in Twin Peaks. its just a narrative device or more like EXCUSE around a simple and sweet romcom indie flick.

the first 10 minutes just... my god... the OPENING SCENE is really good, but the FOLLOWING 10 MINUTES are just.... omfg. basically, every other SUNDANCE MOVIE. but it gets better, a little bit.

people are either going to think the ending is straight trash or really cute. when I saw the ending, I didn't know if it was straight pretentious UwU indie bullshit or actually really touching. honestly I kinda felt both its trashiness and goodness at the same time. Its the SCHRODINGER'S CAT of romcom feelsy-goodsy endings, where I am simultaneously am aware that this sucks so much on a textual level yet I feel touched because I projected my own emotions to these characters. and well, that's cinema for you. the characters here are just well-defined enough for anyone to really relate to.

all I can say is,

its a movie that definitely exists. that I saw. cute little indie movie. if you don't like this type of cutesy indie bs, then yeah steer away. but if you do like touching, cute stories about well-off white people having intimacy issues and missing being young again, then this is for you. but it definitely, you know,

its a movie

its good

...

its a good movie

...

yeah its just good, I'm struggling coming up with positives to really say about it, its simply a good movie. there is TONS of BS in this movie tho.

1, there's no way that tons of these MFERS got into elite UNIVERSITIES. stfu....

2 (BIGGEST and probably only point), a lot of the revelations about characters are so annoying. everyone plays a stereotype, you know you got that cheer-leader archetype, the stoner looking kid, the buff athletic dude, the moody cowgirl looking chick???, the theatre kids. and since this movie is woah subversive it has to subvert every single stereotype. film-makers have this fetish in initially showing a character as A, but revealing that character to be B all along. you see the CHEER LEADER chick just wanted to BE FRIENDS this whole entire time... the stoner kid is actually SUPER SMART, EVERYONE YOU THINK ABOUT X IS WRONG!!!!??!??!!?!?

😐

ok hon, thanks for doing the same thing THAT EVERY OTHER ROM-COM HIGH SCHOOL MOVIE WHATEVER does. even the leads which I love, play these caricatures of white-girl-liberal-stereotypes. MALALA?????? LMFAOOOOOOOOOoooo.... WARREN 2020???? LMFAOOOOOOOOOooo. Everyone plays this caricature that does not feel REAL AT ALL, and its all just a fantasyland in subverting tired out archetypes to look cooooollllll

nonetheless, this is still a GOOD movie and that's because the chemistry between the two characters and the characteristics of the two characters are just so god-damn nicely told. its really the performances by the two leads that save this movie, how they deliver their lines, how they interact with each other, it works best as a character movie. it all feels real, and not obnoxiously movie-like. that's why its so hard to pin-point why this movie is GOOD because it catches on something, the chemistry, that's intangible to really discuss using objective .

I excused all the BS with this movie under the reason that in a weird way it kind of represents high school. its awkward, just at how AWKWARD the film's insistence that subverting archetypes is the only narrative device it knows how to work with. I say cut the CLASSICAL NARRATIVE BS, but in reality High School is a classical narrative, an awkward one. so its allowable.

this movie is good because the two leads are incredibly compelling to watch. bravo to both of them.

its good

and also 3,

not BS, but GOOD SHIT, which is the SOUNDTRACK. they really fucking put DEATH GRIPS. HAHHAHAHAHAHAHA death grips. and run the jewels. LMFAOOoooooo

ambitious

its an ambitious movie. I'm not too fond of the direction of the story, as it gets a bit too Haneke-esque / cold-arthouse-vibe-esque for my tastes. but there's A LOT OF things that I appreciate about this movie, its story-telling techniques, that make me respect it. for one, the opening scene is jarringly simple yet simultaneously powerful.

I definitely have a bias towards this movie. It takes place in a preparatory school with a bunch of horny high-schoolers in uniforms, and well that was my high school experience. from the girls with long legs and skirts to the boys with their shaggy pants. spot on. Everything from the way the counselors communicate with the kids to the fake-af principal perfectly played by Michael Stuhlbarg o the teenagers. However there are a few scenes that are NOT REALISTIC AT ALL. there's this one scene where a guy and a girl share notes in class, and the teacher asks "uuhh would you like to share that with the CLASS", and the GIRL says, "we're talking about directing a porno" and the teacher doesn't scold them, doesn't do ANYTHING, he just awkardly says "well, we don't **wink wink** want any bOdILiY fluids in OUR VIDEOS"

😐

like wtf? there are some rich world-building and fantastically realistic shit that I love, but also there's shit like the bOdIlIy FLLLUUIIIIDDDSSS scene.

I really love the cinematography and film editing behind this movie and there are many moments that are very powerful juxtapositions between reality and internet fantasy, which I like. But like the problem I have with the realism is this movie, I have some issues with the scene selection and film-editing. Less of a problem PROBLEM more of just a personal problem, I just can't wrap my head around some of the shots here.

There needs to be a remake for this movie. AFTERSCHOOL exists as this cautionary tale of how the internet desensitizes our youth from acts of real violence through an over-exposure of film-violence. and... sure back then in the late 2000s you had a plethora of sites to see those clips. but today, with the rise of over-protection in YOUTUBE and in general the common use of the internet has become neutered. thanks to the forced over-use of a few main sites and parents and corporations have adding over-protective features, children in the new internet age may not be like Ezra Miller in this movie. The ideas are still timeless, but it would be interesting for this movie to take place today, in today's media distribution landscape.

what I love about this movie is that there is still more to be gathered from this movie. whether from a re-watch or future discussions about it or future film re-interpretations of the same ideas, its a pretty evergreen work. this is an ambitious scattershot of ideas which are expressed through narrative, film-editing and acting. as I write this, I'm definitely itching to re-watch AFTERSCHOOL at some point.

I won't say this is a good movie YET, but it sure is,

ambitious

This review may contain spoilers.

ADDED TO FAVORITES LIST

Nightcrawler is the perfect allegory for capitalism; where an essential trick in coming at top is not simply being at the top or the best but by fucking your competition, monopolizing, and being as manipulative as you can get. In fact, Lou Bloom becomes the best not by virtue but by doing the three things. The whole familiar concept of being the best and climbing the social ladder is so hilariously proven in NIGHTCRAWLER such utter BS. That's the huge enjoyment and pleasure in Nightcrawler, seeing Lou Bloom slowly rise up to the top and defy the hierarchies around him not through slow arduous and slave-like work but through cheating, and lying and being unethical.

American cinema loves to take on this perspective. "you see there kids, CAPITALISM IS FUCKING GAME, you don't get it fuckers, YOU NEED TO GAME THE SYSTEM YOU IDIOTS" like take WOLF OF WALL STREET, WALL STREET and so many other financial dramas, oh yeah, THE BIG SHORT. Like American cinema has a fetish with this sort of shit. Why? Because 1, as over-repetitive this narrative is, its is true. But most importantly, 2, it appeals to an American cynicism of the capitalist hierarchies which are obtrusive to social mobility. Especially in the 2010s, Americans like to get cynical about the systems they, we, inhabit.

What NIGHTCRAWLER does so differently is that instead of feeding to our cynical tastes, it laughs at it. IN the same way that THE WOLF OF WALL STREET does. Instead of being this cold-hearted and TENSE thriller, its kind of like a comedy, a horror movie AND a thriller packed in one. You have these comedic moments with Riz Ahmed and Lou, us laughing at them foiling each other, and then subsequently we get these horrifying sequences where we see more and more of Lou's personality. this was supposed to be a thriller that makes us realize that the system, media is fucked, not make us laugh or hell make us scared by anything but the implications of the system but rather THIS CHARACTER By hopping from genre to genre, style to style, with so much ease and skill, the movie is not disorienting audiences but furthermore making us realize of the film's components, the film's overall message. Non-diegetic bursts of energy. Kicking us out of the diegesis, the flow of the movie, in order to really become more the genre itself. Inducing audiences to become more aware of the whole genre of EXPOSES on American exceptionalism. To really realize, how fucking ridiculous all that shit is.

All this bs about media ethics and commentary on capitalism, as if any of that shit is going to matter. Instead of trying to lecture you about the saddening reality of American systems, Nightcrawler just sits down and drinks a beer with you to laugh at the whole f-ed system we are currently living. The free-will taking media and American capitalism isn't horror anymore, its a fucking dark comedy.

And that's why I really love this movie. Its dark. It has comedic elements. It has horror sequences. It has some classic chase scenes that are just muah. It has some SUSPENSE, obviously. And its this character study of LOU BLOOM. And he sucks, but we really stick with him. Its because he's like a baby. As we learn the exposition and tools and tricks of night-crawling, so does he. As we process the same information alongside him, the more engaged to his narrative. But more importantly, its because of his archaic drive of BEING THE BEST and STANDING OUT FROM THE REST which is insanely relatable, especially in a media-infused world today where one's position in the hierarchy is instantly recognizable through the lens of media (i.e social media, etc).

So yes, this is now...

one of my favorite movies.

ADDED TO FAVORITES LIST

This review may contain spoilers.

semi-analysis of Unbreakable and why it could've been a masterpiece

Characters need to be identifiable. When we see characters in film, I need to understand their drive, their desire. Even if I don't relate to that drive or desire, still there needs to be a clear central desire motivating a character.

Bruce Willis and Mr. GLASS have clear central desires. They both also have superpowers. These characters are just fantastic I love how superpowers here are symbolic of repressed desires, not a source of braggadocio. Instead of holding strengths as a point of selfhood, these two characters are to different extents ashamed of themselves. Bruce Willis represses his super-powers in order to preserve his marriage. Changing his true nature, his super-powers, to meld with those around him. The act of Bruce Willis repressing and fearing part of his persona, a persona of literally being a super-hero, is very compelling because people fear themselves too and want to repress their own wants so overall they can be happy.

Ultimately, you can't escape yourself and Bruce Willis accepts that he's a super-hero. He makes his son happy because now his son can feel more confident. He can feel more accomplished because instead squeezing into other peoples' definition of a buff aloof man, he can be his own man. The very thing he escaped from and feared of realizing actually was the cure to his own internal struggles. on paper that sounds powerful. and it relates to the human condition. people have repressed desires. people erase parts of their identity in order to be accepted by others. whats even more human about Unbreakable is its villain MR. GLASS. my god. completely dis-empowered and disregarded by society. in being so horrifyingly rejected, he develops this specific desire to find the ideal. if MR. GLASS is what society disposes of, breakable trash, than MR.GLASS wants to know what is unbreakable or the ideal ego. he can never be the ideal, yet he searches for it nonetheless killing thousands of people in the process. society never have him a definition, a status yet people need self-esteem, and self-regard so the only way to attain signification is through finding his exact opposite, the unbreakable, the ideal. he killed all those thousands because he just wanted a sense of humanity that EVERYONE, even the ideal Bruce Willis, is given. truly powerful irony here when Mr. Glass' journey to selfhood is destructive towards society, while Bruce Willis' is savior-esque saving the persecuted upper-middle-class suburban family / the familiar nostalgic image of American society. I love how this movie posits both characters as the same, battling for selfhood, but ultimately both signified as different people in the eyes of society. UNBREAKABLE is psychologically astute in getting at humans' internal struggles and humanity's external judgement on people equally struggling towards the same goal of selfhood.

Unbreakable is an indictment on society. I mean what movie isn't. Every great movie talks about society, and humanity and psychology to some extent. Why? Because those topics are what defines emotional pathos, and well a great movie is a movie that offers emotional pathos. So you can't have a great movie without talking about the big 3 topics. yet, I'm starting to realize, you can't just touch on those 3 topics. you can't have super-powers just be a metaphor for repressed wants. you can't just show society's disregard for people like MR. GLASS in these sparse and non-affecting scenes that are more focused on being suspenseful than they are of being absorbing. you can't just allude to humanity's reverence of the ideal and disregard for the worthless. there has to be more. This movie should've added more scenes, more affecting scenes of Mr. GLASS being dis-empowered. More commentary heavy scenes on MR. GLASS' disregard of others, which we don't see.

What we do see when we enter MR. GLASS' exposition scenes, not anything that makes one horrified by the living hell he had to endure as a child or specific scenes of people treating MR. GLASS being treated like trash anything to further develop more emotional pathos no matter how generic or blunt it would've been, instead we get these self-indulgent scenes where the movie focuses on the reflection of a TV screen while MR. GLASS is bawling his eyes out. in Mr. Glass' most emotional scene, we don't even see it in an attempt to self-indulgently show, "see how distorted this scene of him being emotional, well you see ITS DISTORTED, thats how sOcIeTy treats people like him". and omg those rotating shots around the comic books. so annoying.

its not only that, its all of these weird-ass and jarring stylistic choices. sometimes its at least purposeful. sure it gets in the way of emotional pathos, but sometimes its at least puposeful. other times, these zoom-ins like the first scene, is just basically the cinematographer jacking off. thats not to say that they're aren't some both purposeful and beautiful and emotional shots that exist here. they exist. but the ones that are the direct opposite of those GREAT shots cloud up a lot of the emotional pathos at play here.

This movie feels so limited to me. Instead of doing these amazing-looking and ambitious cinematography, it could've added scenes that more strongly not only make me feel bad for MR. GLASS, make me feel as disturbed from society's and humanity's treatment of him and people like him. and I didn't really get that. we should've gotten more scenes with Mr. Glass so the anguish of the final scene could be powerful. this reminds me a lot of the upside lol, because that movie could've been so powerful yet it isn't due to the story-telling and narrative choices, the same thing as UNBREAKABLE

it isn't powerfully contextually, yet when writing about it, its absolutely is, but in film its not.

the two leads here are identifiable. I understand their drive and desire. and on paper, their arcs are powerful. yet on film, I just wasn't engaged with any of it at all. and its because this movie doesn't like to get really dirty with the subtext at hand here.

ALSO

Bruce Willis saving everyone is just not a good scene. the man in the orange suit is too much of an idiot for it to be believable. like FIRST he kicks him down. and leaves him there to drown. which isn't smart at all. and then he goes up and checks on the mother. he didn't even check if the other two were still tied up. i mean is this guy high or something. why I'm so annoyed by that is because when Bruce comes to BEAT HIM UP, i just don't care because the movie unintentionally already established that the man in the orange suit is an idiot. so ofc Bruce will destroy him. the movie plays this triumphant music, yet its not triumphant at all because the threat is so neutered of its menacing qualities.

also that ending I love is just completely made worse by the abrupt ending cards that come up.

mr. DUNN arrested MR. GLASS

like WTF.... ever heard of Blood Debts' ending holy.... I was laughing out loud when those title cards came up.

a great story just made worse by the movie's style and narrative choices. and whats funny is that the movie's style isn't even that you know, flashy, its just these unadulterated long shots and camera rotations and angles. its like an evolved version of Ron Howard... the style ain't a god damn Safdie Brothers movie or Godard type shit, its just basic ass Ron Howard shit.

I understand everything about this movie, I just hate how it was all presented.

its ok

This sure is A MOVIE that EXISTS...

...

I love how this movie is so goddamn Lynchian at times. and also this scene with a bunch of women yapping around and Luca is taking this long shot of all time the camera moving in and out of the large room from woman to woman while JAZZY music plays. I swear it looked like it was straight out of TWIN PEAKS. also like whats also incredibly LYNCHIAN is that mother of a FINAL SCENE. like I was just stunned. People clowned that scene but... I was oddly struck by it. Most of this movie generates that odd awe feeling. I don't know why I'm so entranced by what I'm seeing, its confusing why it feels so good to watch. and other times, you KNOW exactly WHY you love the disgusting body horror on screen or the meticulously dark and creepy costume and set design. so sometimes its an abundantly clear horror narrative and other times its not; constantly dipping in and out of diegesis. experimental and non-linear films are my shit IF AND ONLY IF there's a purposeful reason to that wavy structure. and there is for SUSPIRIA. its because its a story that tackles trauma, and trauma has so much to do with memory and well to portray the act of ing; the act of ing your past love, your dying mother, etc; is an act of non-diegesis, of not existing in the present. so yes, I fw the style. the editing in this movie is just, ily you so much.

what I don't like, is all this political shit in this movie. this movie references Baader / Meinhoff, and I don't know what Luca is trying to juxtapose here? Baader Meinhoff and the witches, which would be an overly simplistic and just straight up BAD comparison. so I don't know why Luca was so focused on bringing up that detail TIME AND TIME AGAIN. it does make the movie more realistic, grounding it more making the moments of fantastical horror and nightmarish sequences the more disruptive and unsettling. just jesus christ wtf is up with all that Baader Meinhoff shit...

this movie has a melodramatic edge to it which I DO NOT FW at all. the old man storyline. there some moments where I legit feel horrible for him, but other times when the narrative pushes for me to feel catharsis for him I'm just like, no. he had an interesting storyline, but I don't care for his character as much as Dakota Johnson's or the other girl's. and that's BECAUSE the old man is so SEPARATED from the plot, the main action. he's like this melodramatic subplot, in a movie where the main plot is straight up horror.

this movie does a lot of out-of-place and experimental shit with screenwriting, acting, and editing and i love it for that, that raw and unadulterated ambition. its invigorating, and not just shocking for the sake of being S H O C K I N G as there's at least a purposeful edge to the most of the out-of-place and strange film-making choices here. even if I don't 100% FW the paths this movie takes, I'm here for the ride

Tilda Swinton tho is amazing.... she deserves 5-stars holy shit.

its good

MASTERPIECE

I can confidently say this one of the best written movies I've ever seen

I hate to just dickride this movie, but my god. I loved everything about this movie. the performances, the story, the score, the story, the set, THE STORY!

I've been giving tons of 5-stars and I'm worried I'm being WAY TOO generous. But this is absolutely a perfect movie, either way I slice it.

The class-commentary isn't anything contextually ground-breaking but the way the narrative and cinematography cleverly expresses those ideas is amazing. The Smell, the rock, actors acting so completely belittled and dis-empowered, etc. The symbolism the movie plays with is both powerful, unnerving and can be absolutely hilarious.

So yeah, imo, this is a perfect movie. Class is such a repressed subject in societal discourse, yet the movie makes its allegory on class so fucking entertaining and accessible without downgrading its own clever commentary, its really a masterwork in that regard. Incredibly entertaining. Just...such a blast. But also deep af 😳😳😳😳😳😳😳😳😳😳😳😳😳😳

its good, but really its wonderful

this is one of those movies that just makes you question, why tf do you rate movies at all,

yea paddignton levels of simplistically wholesome and just SIMPLE and nice. the sets, the costumes, the whole FEEL of this movie is fantastic. Gerwig is ALMOST GOATED! Wasn't a fan of the non-linear storytelling at first, but there are some clever screenplay and directing moments utilized here. Those moments are some of the most emotional points in the movie. Ronan's character arc and Pugh's arc are very simple, yet they have satisfying ends to them. ESPECIALLY Pugh's arc.

me not enjoying this movie as much as others just boils down, i don't fucking care about 4 white-ass women having white-ass and middle-class problems, even though the plot insists they're POOR. they ain't POOR, gtfo... ok the plot is more thematically complex than that. there are these themes of love, marriage and ion. its ruminations on those topics and its following of the characters journey throughout this 7-year movie just are enough to cover a wide range of characters and ideas, yet idk I would've preferred if it was more focused than that. there are some character highlights in this EPIC movie. PUGH. Pugh's arc related to me the most. she makes this very compelling monologue, and her character is.. developed the strongest? we see her struggle, her desire; we get all of it. and man it hits for me. she's the most down to earth character here.

also what really annoys me about this movie is that there are two segments, the past and the future, pretty neatly interwoven. THE PAST is 7 YEARS earlier. these girls were 13 or 14 or something.... THEY LOOK THE EXACT SAME WTF. also, in THE PAST, Florence Pugh's character is just... so annoying. Pugh did a fantastic job, but... seeing a 24 year old woman acting like a 13 year old girl... its just, wtf Gerwig. you know, I would've loved if this was a miniseries segmented into different parts. that would be 🔥🔥🔥 also if it was a miniseries, there would be more time to flesh out each character so much more. still, this is a compact, and nicely written piece of work but still... I would've preferred we had MORE breathing time for each actress instead of this compact 2.25 hour runtime.

those were nitpicks, but overall, its just a sweet and nice little movie with its melancholic moments. show it to grandma and mom, and your dad and your stepdad and you're granddaddy, they'll love it

i mean I loved it. LADY BIRD still a better Gerwig-nostalgia movie though...

its good

hoo boy

The humor is based on picking on people based stereotypes and calling men fat or ugly. This movie is like a fantasy-land in stereotypes. What I don't like is how it HEAVILY re-enforces the idea that stereotypes exist for a reason. Asian stereotypes are justified because well, that's just how they act. its celebrating those stereotypes as a signification of cultural identity, when really no-one should be proud of racial stereotypes. yet this movie thinks that your gender's and race's stereotypes should be a source of pride which is really fucked up if you think about it.

like there's this fat girl, and the plot stereotypes her as eating all the fucking time. like cut to her she's eating a sandwich, next cut, oooo ICE CREAM. even though the narrative urges for hey stereotypes are bad, and we're beyond that and FRIENDSHIP WOOHOO, the film STILL shows a stereotyped version of the fat girl. its completely unaware that the image, the stereotype of that fat girl ALWAYS EATING 100% isn't a fact, isn't the TRUTH. its an image created by others to belittle her. it is not her identity, it is not a source of pride. it says its against lookist hierarchy, yet uses oppressive symbolism?

women are always gonna be chatty feminine little shits. asians are annoying. fat people are always going to eat. and gay men are perverts. but no stereotype bad

shows more stereotypes

😐

yet, YET, it is the most beautifully absurdist fantasy in schlocky 2000s comedy format I"VE EVER SEEN. and that's why this movie is so incredibly good.

The absurdist tone in this movie is infectiously glee-inducing. Mainly, the tone is derived from IRONICALLY the complete stereotyping this movie does. there's a charm in seeing a movie just depict these fantasy-land stereotypes. BECAUSE, in portraying these stereotypes it hits on something very human unintentionally. as problematic as it is, it does hit on a few interesting topics. it comedically exposes the anxiety heterosexual men get when being associated with homosexuality, the forced docility and repressed sex drive of oppressed house wives, and very broadly how the notion love really is contingent on mutual affection and shared love, NOT superficial shit like race, gender or make-up. when the movie starts hitting with those scenes, of camaraderie, of awkward anxiety, this is when the movie is amazing. so yeah, the stereotypical language of this whole movie does make for some very VERY iconic and INCREDIBLE scenes w/o being problematic.

its just a shame that the overall thesis is not as self-realized as it could be. as said before, the thesis here is stereotypical pride at the end of the day which DOESN'T MAKE ANY SENSE. YET they're are some MOMENTS where the movie argues for a transcendence of stereotypes and evolution of sexuality as more than just a game of looking at other people superficially, and INSTEAD looking at people for what's in the inside. and those MOMENTS, are just comedic genius

the ana farris x Rob x Rachel plot point fucking broke me. the pillow scene nearly made me burst in tears. Rob in the gas station scene, with Rachel McAdams acting like the PERFECT privileged teenager, the scene etc. THERE ARE SO MANY GREAT SCENES.

again, it really sucks that the movie as a whole isn't as self-realized as it SHOULD BE

no cap, this coulda been a 5-star movie. its still a movie I would recommend. HEAVILY RECOMMEND. its a mix of SO-BAD-ITS-GOOD, ABSURDIST humor, some really god-awful stereotypical nonsense, and some fantastically compelling comedic / schmaltzy romantic scenes

so yeah, this movie is still the SHIT. Ana Faris x Rachel McAdams 4ever.

charming.

HOLY SHIT

not holy shit at the movie, movie's a masterpiece known fact, don't need to say HOLY SHIT at the movie coz everyone knows its fine af

its about the day I chose to watch this on.

HOLY SHIT

August 10th 2020. That's today. Was planning on re-watching this movie a few days ago to inspire my writing a bit.

I chose today out of all days. Whats special about August 10th?

First time I watched Eternal Sunshine of the Spotless Mind was on August 10th 2018.

...

like yo, 2 years on the DOT, by ACCIDENT. isn't that really really really UNCANNY! didn't even PLAN THIS

yo. ngl am kinda creeped out.

yo 2018 summer was a fire ass time. astroworld was out. infinity war just released. and I saw this movie for the first time. AND many other masterpieces that summer. just got out of sophomore year before the stressful junior and sad senior year. I just want to forget about 2018 tbh. yo Lacuna hit me up, imma erase 2018. now you'll be forgotten forever!

2 years later

HOLY SHIT

not holy shit at the movie, movie's a masterpiece known fact, don't need to say HOLY SHIT at the movie coz everyone knows its fine af

its about the day I chose to watch this on.

HOLY SHIT

August 10th 2022. That's today. Was planning on re-watching this movie a few days ago to inspire my writing a bit.

I chose today out of all days. Whats special about August 10th?

First time I watched Eternal Sunshine of the Spotless Mind was on August 10th 2020.

like yo, 2 years on the DOT, by ACCIDENT. isn't that really really really UNCANNY! didn't even PLAN THIS

yo. ngl am kinda creeped out.

yo 2020 summer was a fire ass time. ok yeah sure coronavirus was happening, and society's main foundations were beginning to crumble and a working class revolution was almost happening and systemic injustices were becoming more and more mainstream aware but hey at least I was 18 and young and having fun. now i'm just a fucking miserable 20 y/o. I just get depressed thinking and ing about a great time I'll never get back. sure there were ups and downs but I wish I could revisit it, yet I can never do it 🥺🥺🥺🥺🥺. yo Lacuna hit me up, imma erase 2020. now you'll be forgotten forever!

...

this movie is unforgettable, you can never erase this gem. you'll just slowly crawl back to this beautiful little movie.

watched on phone

i think this would've been a lot more powerful if the characters were more developed. Perkins intended this story to be about "loss" and they're definitely a few moments that speak to that theme but when watching those moments unfold instead of feeling distraught or heartbroken, I just felt miffed. I think the characters are very subtly developed and it fits so well SO WELL with the brooding atmosphere, yet you can't have subtly and mysteriously developed characters garner a strong emotional response. because they're isn't enough development. like i don't understand why this one girl cares so much about this one specific thing so I can't relate. so the emotional aspect doesn't work and it gets a tad bit annoying when the movie tries to veer into pathos.

but enough of that. this movie still kicks ass. a subtly developing brooding and slow-burn horror movie, this is great. at first, Kiernan Shapika's or whatever the f- her name is, I THOUGHT gave a pretty weird performance, but NOPE, as the movie progresses I'm just like damn. she was fantastic. everyone else just fits the part in this uncomfortable movie.

this movie feels like they're is something lurking in the other corner of a scene or the whole narrative. there's a distinct uneasiness to this whole movie and a lot of it has to do with the character's bewildering performances, these patient long scenes (a staircase scene where its literally just a character following a noise), and the sets and color selection used.

sometimes its atmospheric artistic choices are a bit strange. like we literally see the same scene twice for I don't know what reason: the priest and cop scene. these weird ass title cards and some strange editing choices are very jarring. other people may like its quirks.

this is a very uncomfortable, uneasy and mysterious little horror movie. I really liked it.

its decent

This review may contain spoilers.

Me giving this 5 STARS is just further proof that I am a masochist.

analysis of Sara Goldfarb's character

Honestly, Ellen knocks it out of the park on this one. Crazy AS FUCK. I know lonely 60-something women like this and dayum she got it spot on.

I hate when people say this movie's about oo drugs bad. I think it also heavily discusses the given status of our own class and weight can be taken away from us so easily and without anyone standing up for us. The editing really hammers this point down of powerlessness by inducing the audience into this remarkable state of vulnerability, and lack of agency especially in the last 20 minutes. The fact that the last 20 minutes even shy away from classical narrative structure is further proof of the narrative's purpose of making audience's feel small and ineffectual at the hands of our own desires and the subsequent dehumanization by others onto our four leads. We won't observe a classical Hollywood romance with Harry, Harry won't ever attain his oedipal object of desire, THE RED DRESS.

Media is a large theme in Sara's story. In Sara Goldfarb's segments, TV is her sanctuary. Its the only medium where she can feel youthful. Her desire of youthfulness, and a return to normalcy can never be achieved. Especially when you're surrounded by old bats 24 / 7, and the cinematography and editing makes us really despise the clawing and obsessive YENTAS. The doctors that she has, even her own son: NOBODY CARES ABOUT HER. More specifically, not ONE of her human relationships coddle or aid her desire to youthfulness. Hell, the YENTAS gave her ORANGE hair and seem to misunderstand her need to be young again. So TV is her best friend because that's the only thing that speaks to her desire for youthfulness. Only friend really. So she follows the media's, the TV Man's rules meticulously layered throughout the movie. Life is slow. You can't drop pounds like quick There's no 1 2 3 BOOM, you're cured as media's immediacy likes to imply. So obviously Sara doesn't go 1 2 3 BOOM cured, it just doesn't happen. She's human. Yet, she hasn't surrounded herself with people; there's no-one to tell her yes this is normal. The only friend she has is the TV, and the TV keeps implying that there needs be an immediate change. Hence the whole condescending vision of Sara's TV state. They laugh at her because well, Sara hates herself because she can't live up to the TV's, her only friend's, standard of perfection. And the chants of FEED ME, FEED ME, like my god. Not only horrifying, but so powerfully purposeful.

Sure, the FEED ME lines are more self-shaming from Sara's subconscious on Sara's id to eat. Yet I think its more complex than that, and this line is almost uniquely feminine. Sara is a woman. And women are told to be obedient housewives, feed their children and fuck their husbands. There's no husband, no child and no house. There's no one to serve, and thus Sara cannot attain that signification of housewife or be defined as SOMETHING. if women cannot get signification, or really if anyone cannot gain a signification or an identity, they are looked at as bums, as losers, etc. for women, they get called a bitch or basically be seen as sub-human or not woman. Sara subconsciously is aware of this, her lack of definition, so obviously she thrusts herself into this desire to be desirable to men (i.e THE RED DRESS). A return back to when she was a woman. Her inability to be a housewife, a husband to her now dead man, and a mother (to be a woman) makes her feel purposeless in society, so she latches onto this fairytale idealization of THE RED DRESS and THE GOLDEN SHOES and BEING ON TELEVISION. But its really not about the red dress, the golden shoes or being on television: its about feeding Harry, pleasing her husband, and being a good housewife; being an object of desire because that's the only thing society has told her she was good at and the only thing she has to return to, being a woman. FEED ME, FEED ME; Harry, Sara's husband is not being fed, you're not being a good woman Sara, you're not being a good person. its not really about being on TV That's what FEED ME means, its Sara's subconscious guilt of not living up to society's standards of femininity. And the TELEVISION really tapped into Sara's desire and exploited her so badly. Television, or the over-consumption of it, taps into peoples' insecurities. It creates a standard of perfection for them. And as a result it forces those people to devolve for Television's imaginary standards. When people spew talking points from CNN or notably Fox News, they don't really care about immigration or whatever political issue they're told to care about. Media just tapped into their insecurity and now they're forced to be a fucking political expert. I know so many Sara Goldfarbs, I've seen a lot of people act like Sara Goldfarb muttering like a madperson at the end, I'm gonna be on television, complaining about the show or this and that but the sad thing is you just look at them, like how all the office-workers and receptionists at the end look at Sara's madperson look and realize, wow she's really let herself go.

Requiem for A Dream is the most harrowing and realistic portrayal of media influence on an individual I've ever seen and the movie's about FUCKING HEROIN.

so yeah, stop saying this movie's about drugs and how they bad. it has so much to say about the human condition, about femininity and masculinity, about media, about class, a little about race (not a lot, wish they delved into it more but still there), and about American impulses. I don't think these two writers really thought they were tackling all of these concepts. I think when you have an incredibly human story you just stumble upon all of these themes, etc.

There's so much to unpack with all 4 OF THESE characters. They're all so powerfully layered.

ON top of being so layered, the editing isn't just a bunch of oweeeiiiee is so cool. no. its very purposeful. Its not as disturbing as the first watch, but still... Editing, cinematography, or the whole vision of this movie is incredibly irable and not a single stylistic seemed out of place to me. I read a large part of the screenplay and although the quick-shot-montages and some other stylistic techniques were mentioned here and there, A LOT OF THE VARIED STYLISTIC techniques in Requiem aren't even mentioned in the screenplay. Like 90% of this movie's style is left out by the screenplay.

but yo, the screenplay is pretty racist towards Tyrone. every single time Tyrone says shit, both casually and under intense situations, tyrone as sheeeeit, while Jared Leto's character, whenever he saying shit he just says it normally, like shit. its not just yeah Tyrone has a different accent, it seems unconditionally deliberate. I feel like Marlon Wayans really brought his character to REALITY a lot more than the screenplay which just shows movie's are so much more than a singular auteur's vision, Darren's, or defined by one singular performance, Ellen's. if it wasn't for Marlon Wayans performance, idk man, I think we would've gotten a stereotypical performance that would be incredibly cringy.

You know, when people watch this movie people be like,

yo drugs bad
yeah this movie's just a drug PSA
yep, this movie a trip, that final sequence BROOOOO

and I mean I get it, the editing is really cool and yea it scares the shit out of people, its not just some auteur-istic and atmospheric vision or some anti-drug PSA, it isn't as singular or simple as that.

I'm gonna say it,

yo this movie really DEEP broooo, top 5 shit right here

Again, this movie is my masochist awakening.

This review may contain spoilers.

really loved this!

its great

the shit with Keener and Diaz, amazing. in normal classical narratives we typically root for the sorrowful and spited male character. the fact that this movie did a twist in our reverence for said archetypal character, and made us identify instead with a transexual romance, something that's historically been put off to the sidelines or been caricatured in film narratives, was fantastic writing.

i love how nothing this man does is deemed correct, by the voices of reason in this movie. its funny how this man's plight is kind of commonplace in classical narratives, the whole "unrequited" love and "bro he's just a man with eMoTiOnS", film-makers love that shit! so what if he gazes at other women while married or actively pursues them, its HETEROSEXUAL LOVE... in a typical narrative we would expect his actions to be romanticized and the movie lures us into thinking that, but then pulled rug it doesn't. instead at its core we get this beautiful romance between Keener and Diaz.

this movie is so impeccably paced. the screenplay not only ISnuts and narratively subversive on premise, but works really well as a tight nuts-and-bolts just story. man, the screenplay is awesome. yet, like, I feel like because its so tightly paced, focusing on narrative movements, I wished the movie did more world / lore-building and character development. although i like how this movie leaves a lot to the imagination, just... how did their business even work. and how did Keener instantly believe this creepy-looking dude when he talked about the portal? and again, HOW DID IT EVEN WORK. how was this operation run by two people? how did one person manage to drive within 15 minute intervals from NEW YORK CITY to the exit of Holland Tunnel? also, what was Keener's true desire? we got DIAZ'S transexual desire, and I got CUSACK heterosexual infatuation with control and reputation in a relationship, but what about Keener? her desire isn't as developed as the others and its left me scratching my heads at certain points thinking what, why she did this and that? also HOW THE FUCK DID CUSACK END UP IN THE DAUGHTER'S HEAD??? he left the portal at the end, but... what did he do.. went in again and got stuck in the daughter's head? but the movie said that if someone enters the mind of an infant, its practically death for them, no memory of past life... so how does he have commentary abilities at the end with the daughter? why isn't he controlling the daughter, or better yet why does he want to exist as a voyeur to both women's relationships? that's not consistent with his creepo-atitude, feel like he would be scheming a plot, not just being this lovesick infatuated voyeur in the MIND OF THEIR DAUGHTER!

this movie's great because the screenplay has fantastic pacing, a compelling story, two great female leads with palpable chemistry, lots of great comedic scenes (the first 25 minutes with Cusack and the 7 1/2 floor, my god, Kaufman just make a abstract and expressionistic film with that type of wry and satirical humor like that for 2 hours and we got a masterpiece), and JOHN MALKOVICH and its kind-of-there-but-not-really ruminations on the human psyche, free will and sexuality.

just the thought of an agent reading this screenplay, hell JOHN MALKOVICH"s agent reading THIS in the 90s HAHAHAHAHAH

its great

No words. Second watch. No words.

this isn't really a profound movie. its a collage of really BLUNT AND COLORFUL expressionistic symbolism - commenting on society's mark on individualism and peoples' free will. this movie hella buddhist oml.

so yeah. this is something I would urge ppl who fw movies to watch. its a must-see in that regard.

all i can really say is that i liked the part when it ended. because reality has waited a whole 2 hours for me.

This review may contain spoilers.

Isabelle just wanted a daddy dom to hogtie and slap her and this lover boy eboy looking prick NOT ONLY kinkshamed her, but left and treated her like a disposable woman-trash. ofc she stabbed herself, like I would do the same too. and those final minutes when she's looking and looking for him, to see if he'll return and truly recognize her as the one he loves but nah its just an obligatory hi, excited to see your show like what everybody else said. The one and ONLY person that professes love to you just seeing you as another person, but not only another person another woman... Heartbreaking

like ffs can someone just give her the love she not only DESERVES, but NEEDS 😫😫😫😫😫 yo E-RI-KA, hit me up....

This is Haneke at his best. A subject matter such as the inability to exist with society's framework of "sex" and the resulting bitter loneliness is PERFECT for Haneke's cold and visceral style of film-making. I feel like a lot of his movies can get overly preachy, although a lot more creative in being "preachy" like Funny Games. And sometimes his movies can just be infused with heavy commentary that is sure FANTASTIC to think about, but as a viewing experience its rigidness and coldness is offputting (Cache, White Ribbon)

This to me is his most classical narrative, and although I appreciate the works of Cache and White Ribbon and FUNNY GAMES, I love this more because classical narrative, romance stories essentially, whether people like it or not speak to the human condition almost unconditionally. Add romance stories' almost basic propensity to connect with human emotions with Haneke's cold and visceral yet focused storytelling (those BEAUTIFUL closeups of Isabelle Huppert) and Isabelle's layered performance and we have a movie that connects more powerfully to the human spirit in ways only the great classical narratives do.

Like, take the sex scenes. Clean one-shot takes. Wide shots here and there. The bathroom scene. So many film-makers like to of sex scenes as just sex scenes. But so much can be said, tastefully, but showing sex. It showcases pure carnal desire, which The Piano Teacher's sex scenes show so powerfully. Isabelle's sadomasochistic desire and eboy's heternormative-romantic-kiss-me type desire, you see their desire so clearly. One, because of the raw context at play here, two because of the performances, and three because of the Haneke's voyeuristic storytelling. Performance, directing and raw real emotions: bruh this is CINEMAAAaaaaaaa. THIS is why classical ROMANCE exists. to spectate awful and tragic unrequited love, to witness the anguish in not fulfilling your internal sexual desire, etc. Beautiful highs and lows, well mostly lows, of a lonely but romance-desiring life.

But its also really hilarious too. the cum napkin scene, the drive in theater scene. Its C-rate comedy at its core, but what makes it SO FUNNY, is that its such a tension reliever of the pure monotone realism we've seen.

yet I feel like this movie's really outdated and little bit too cruel. the movie tries to say that true individual desire poses the risk of rejection from societal thinking, and if it is to be rejected by "normal" people than there's truly no hope for you to ever FIND LOVE. like ok I get it, love hurts, but seriously. I don't think this takes place in 18th century England or some shit, so why doesn't The Piano teacher a sex dungeon? or why doesn't she at least watch BDSM porn? or hook up with another BDSM lover? it posits that you have no personhood if you're a woman and have a weirdly specific perverse desire, yet I mean ever heard of sublimation? yea, you may never fuck a hotdog, but I think the way desire works is that you can kind of compromise with it by instead lets say fucking a hamburger. I guess you could say the piano teacher sublimated her desire from masochism to ordered piano teaching. I really wish the film would delve into that aspect more. my point is that, there are ways to fulfill your sexual desire, there are venues that The Piano Teacher could've taken. but why didn't she take them? why didn't she sublimate, why didn't she a sex dungeon? I don't like the movie's implication that you can't be happy if you can't fulfill your very specific fetishistic desire. this is why I think the final shot was a bit too cruel for my tastes. and I've seen some fairly cruel movies (Requiem for a Dream) and so yeah this movie BITTER af.

its great

crazzzzzzyyyyyyyyyyyyy shitttttt

its amazing

I hate that everyone acts like this movie is ONLY a story about a man going to the past to fix the future. But really you can equally and about as accurately interpret as a story about a man going through his mental past in one insane bender.

This movie is purposefully ambiguous as to whether or not everything is in Bruce Willis' head or not. Bruce Willis, the lead in this mad mad movie, is an incredibly flawed character. Every single character here is a stupid ape. There's a huge theme of powerlessness and lack of free will in a HEAVY consumerist society. I love movies that explore the lack of free will people have in certain FUCKED up situations and my god Terry Gilliam and the screenplay know how to visualize the idea of powerlessness PERFECTLY. the bruce willis ass shots in particular the sets really help too; bringing out similarities between the dystopian society and the mental prisons Bruce Willis finds himself in.

This movie, due to the cinematography the direction etc. feels like a weird af but also a woke af hazy nightmare. I adore that. The visuals and the screenplay's direction really cultivate this fantastic tone of complete and utter powerlessness. no-one is in control in this fiendish nightmare, yet its so incredibly compelling to watch because the screenplay is witty af, there are some great real af dialogue scenes that you feel like is bound to happen around the corner, and the utter tragedy and comedy of it all it spellbinding. perversely f-ed up and absolutely beautiful. beautiful because seeing people so utterly powerless in the face of childhood trauma and authoritarian symbolism just so powerfully speaks to the human psyche. pervesely f-ed up coz well, the ass shots and that killer ending. from cinematography to direction, this movie makes its characters powerless and minute yet its STILL amazing to watch because 1 ass shots 2 the visuals and its artful allusions 3 seeing the two leads interact 4 Brad Pitt is a MAD MAN 5 and hell you're so invested into this atmosphere that might as well finish it.

its amazing

Motivated me to watch all of Haneke's other works.

The final two shots are absolutely bloody brilliant. Think I prefer The White Ribbon though.

Used to be my top 10 favorite movies back in 2017, its still a fantastic movie.

its great

its good

witty comedy. Kind of Lanthimos-esque ig but fr, comparing this to anything is kind of dumb. this movie feels unique.

Jesse Eisenberg is great in this. lots of great writing here. However, Jesse Eisenberg's character arc is pretty unbelievable, especially towards the end. some of his character choices at the end, although wrapping up the story very nicely, just didn't make much sense to his character.

regardless, this a smarter and FUNNIER allegory about dogma than Jojo Rabbit. its also commentary on sheep-headed masculinity, among other things.

its good

feeling in love is like flipping from song to song on soundcloud. people are superficial, simple-minded people - parroting patriarchal thinking and abusing people around them - until they become united with their soulmate, visualized in these epic and sweeping nature shots. finding your one true love isn't as fateful and singular as The Notebook implies, its instead this dizzying adventure into the realms of other peoples' spaces - from abusive and oppressive to liberating and free. Relationships are literally like songs and that idea being expressed into film is awesome in my opinion, because tbh that shit is true. There are many relationships we see in this movie between the 4 characters, and Song to Song emphasizing how relationships are like songs we flip to on our phone, and fetishize by replaying them over and over again: its real and powerful.

Michael F. plays the pragmatic music executive - every scene with him is framed within a box-like or caved-in setting. The film makes a very emphatic point of this, showing this scene where Michael F. cynically talks about the box-like environments he lives in - the offices, his house, etc. While the creative and ever-loving RYAN GOSLING exists in scenes with spacious scenery frolicking in love with Rooney Mara. Rooney Mara and Natalie Portman don't own or chew up their scenery - whether closed off, pragmatic and claustrophobic like in Michael F.'s sequences or spacious and freewheeling like in Gosling's - because they're women. The women in Song to Song define themselves in relation to men. Rooney Mara goes from wig to wig to gain recognition from men that either continue to degrade her in these powerfully uncomfortable scenes - Michael F. - or attract men like Gosling who treat her like an actual human being within these adorably cute scenes with the two. Still shown to not be entirely liberated but its visually showed that its more nostalgic and just nice to be with Ryan then Michael; at least they're happy. The liberating cinematography within Gosling x Mara's scene and the claustrophobic interior cinematography within Michael's exploits with Mara and Portman make a beautiful visual representation of abusive misogynistic relationships. Malick uses the same juxtaposition tools; the same brilliant visual storytelling techniques to string together other gorgeous ruminations on love and relationships. Heavy Freudian symbolism, heavy nature reverence, heavy dislike to mobs and the collective, etc. Simultaneously, there are some particularly exhausting scenes. Part of the fare for such an uncompromising self-indulgent poem. Like the Kanye West song 30 Hours, Kanye literally picks up a phone in the middle of the song and leaves the recording booth. That little quirk isn't annoying because it makes sense. The quirky leaving the booth move kinda fits the whole laidback tone of the song. Song to Song is the same; its self-indulgent quirks are excusable because they fit so well with the free-wheeling nature of the whole montage.

The only thing I didn't like was how it frames homosexuality and queerness NOT as an escape from a hetero-normative and patriarchal society, but just random fling. It isn't women's main goal, its just a RANDOM FLING. According to the movie, women's main goal is to get with a man which is kind of funny because SONG TO SONG is kind of an indictment of maleness, but simultaneously the movie denigrates homosexuality as just a thing that happens. Like ok Malick, we get it: lesbianism is cool. The homosexual scenes in this movie are just really annoying.

Some may argue that this movie's literally just some old guy filming white elite celebrities doing these non-diegetic snippets about love and relationships: what INTERESTING perspective can elite of society hold for such a universal concept, love and relationships? My answer is that white fuccbois and grills who are up-and-coming musicians HAVE FEELINGS TOO GODDAMMIT!!! 😤😤😤😤😤😤😤

This movie's basically just a music compilation of A-list elite actors doing some romantic or some random shit with some artsy fartsy fucking editing

this is not for everyone, but it did a number on me mostly because the cinematography is purposeful and amazing and Rooney Mara x Ryan Gosling is charming enough for me to get through these beautifully shot 2 hours. This isn't a Terrence Malick film; this is an Emmanuel Lubezki film. He MAKES this movie.

its great

B I R D S

this movie sucks for like the first hour. this movie slow af. the first hour gives way too much unnecessary development for characters that don't even serve that much emotional or thematic purpose to the story. like why is there this 5 minute dialogue long scene with the some rando. its not artful, or purposefully qUiRkY its just a waste of time. if in MARNIE, Sean Connery's character was a creep towards Tippi than Tippi is the creep in this one. Although DEFINITELY not as bad as Sean Connery in MARNIE, Tippi Hendren's character is such a creep and simp in this movie it creeps out. But again, not like in MARNIE where it literally ruins the whole movie. Really the first hour of this movie is a trainwreck in character development, pacing and acting. Even though there are some interesting dialogue scenes, like the scenes with the teacher and Tippi (reeking of BISEXUAL energy), the first hour oof THE FIRST HOUR is mega doo doo.

But then it gets better. We get this very horrifying sequence with a man's eyes and the birds. Great editing and music selection in that sequence; smartly terrifying. Then we get this amazing dialogue sequence in the the diner which is richly entertaining. The movie slowly gets more and more entertaining as time progresses and there are so great sequences to behold. Classic Hitchcock just pops out of nowhere. The characters get more fleshed out and interesting. I really like what they did with the male love interest's mother and Tippi Hendren's relationship and how it related to the whole bird infestation. Basically, the Bird infestation is an allegory for mistrust and the chaotic feelings of your dependency-relationship falling apart. I'm not that fond of the thematic connection, but it wraps up the film.

So it progressively gets more entertaining, better and more interesting on a thematic level. really smart and compelling shit going on and poof we got a maddeningly ridiculous action sequence with THE BIRDS and I'm just rolling on the floor laughing. They're literally terrorists and its the most amazing thing relating to "BIRDS" that I've seen. The PERFECT blend of terror and ludicrous-y. The ending sequence is surreal and uneasy, but goes on for too long in my opinion.

This movie has some entertaining sequences and some really cool thematic shit, but you have to sit through the first hour, some not-so-effectively communicated themes about mistrust and hysteria and some dumb shit Tippi Hendren's character does. Despite its flaws, the movie makes you intrigued enough into the setting and the main character and the ominous BIRDS situation that its compelling enough to watch and be amused and thrilled by it.

its not a great movie, but it sure is a special one

also realized Tippi's grand-daughter is Dakota Johnson HAHAHAHAHHAHA

B I R D S

its REALLY good

Robert Mitchum is FANTASTIC. There is not a single slow moment in this movie. The editing and the flow of each scene is not only seamless so really meaningful and poetic. For instance, there's this point where we see a VROOMING train go chu chuuuu ramming towards us, editing together with our MENACING villain arriving at the town. Something along those lines, but basically the editing and visual storytelling is really adept.

There are some moments that I see as kind of unfulfilling and antiquated, so not completely my cup of tea however I really LOVE the screenplay, the performances and the editing here.

Those final shots of the boy with Rev. Powell broke my heart and shook my to the core. Its an epic story for a lean 90 minute runtime with a fairly compelling villain.

I want to re-watch this.

its REALLY good

I really loved this movie back then. So I'm watching, really interesting stuff and then POP the blu ray player just stops.

50 minutes in, didn't finish. Oh well.

iG mY bLu rAy PlAyA didn't have a home for 99 HOMES 😤😤😤😤

JUSTICE FOR MY 99 HOMES' BLU RAY!

need to find a way to finish this movie!

its decent

Really liked the ominous scenes. Every scene in here is just ominous. Either Michael Myers is somewhere in the frame lurking or stalking. It's clever horror and really creepy. Not a fan of the ending, but it is growing on me. Hate this almost Catholic insistence for the main slasher to KILL ALL SINNERS and SPARE THE GOOD GIRL.

But still, its a chilling vibe. I like.

its decent

STOP THE SPOTLIGHT SLANDER

everyone BULLIES this movie because oWo its oscar bait. twas BORING! these ppl probably just saw it on a plane and went off that. this movie's engrossing af. you have this involving score that just glides you through here. you have the laidback set design of the Boston Globe offices. it feels real. the production design, the dull cinematography, the real workplace banter and the performances: its all an attempt at building this real atmosphere which I loved. there's no grand cinematic gestures. no opulent score here. no vast production design here. this is a measly fed movie. yet none of that matters. because the SCREENPLAY and the PERFORMANCES are the best utilization of this very dull-on-paper premise. I've seen many oscar bait garbage biopics. the academy loves biopics so hollywood funds these robotic and BORING movies. Chappaquddick, Pawn Sacrifice, etc BORING! why? answer: WHY do I need to watch Chappaquiddick, WHY do I need to watch Pawn Sacrifice. there's no urgency in the movie. there's no desire of the main characters thats instantly relatable, there's no strong moral conflict. its a bunch white men who have problems, its boring as shit. its mind-numbing and just a time waster. Spotlight takes this basic framework, this basic af biopic template, and uses it to make a self-aware reflection on the very thing these biopics tend of dramatize: privilege. Biopics take this almost privileged perspective on historical events, think Kill The Messenger, other moral issue BIOPICS: sure the moral conflict has something to do with systemic injustices and so on, but a lot of the movie isn't focusing on victims, its focusing on the one onlooker who observes the situation. we love seeing through the lens of an onlooker because well, we are onlookers. like the onlooker main characters in moral issue biopics, we observe and we watch. why these biopics suck so much is because they only ask audiences to observe and watch, without any sort of activism and as a result we care more about the onlooker main character, really a reflection of OURSELVES, instead of the actual victims in the story. thats why these movies are SO BORING. they teeter around actual confrontations and protrayals of legitimate systemic injustice and overfocus on the onlookers' side of the story instead well the MORE INTERESTING MEAT, the victims.

Spotlight, unlike any of these other dim-witted moral issue biopics, makes people want to scream. Spotlight does a brilliant thing with its biopic structure. yes, it takes perspective of the onlookers, IT MAKES IT INTERESTING. by the end of the movie, you're not interested in SPOTLIGHT, you're interested in all of these victims, all of these people. and HOW does Spotlight make you care so much? its because its such a nuts-and-bolts examination of the systemic injustice at play here. we see these great performances by Mark Ruffalo and Michael Keaton, we get their disgust. that they could've been victims, we could've been victims. what makes Spotlight so powerful is that it not only takes advantage the built in empathy we have towards these men and women in privilege, but forces that empathy into this incisive critique and guilt of ourselves. we could've been like THEM, our ignorance of the situation caused more pain to happen we see these guys trying to find a voice, trying to find truth to stand up for these victims and they SQUASHED AND SQUASHED AND SQUASHED. that utter and repetitive denial, with the fantastic performances, and the slowly revealing screenplay, makes audiences mad. this movie is like waiting in line at Walmart for 15 minutes without the line moving, and then you get frustrated and you just want to scream. you begin to despise the privilege of not being attacked by these priests, FOR ALLOWING THIS TO HAPPEN FOR SO LONG, thats what this movie does. we are so trapped in the journalistic hell the Spotlight team feels and fights in, that their privilege is suffocating; it makes us urge for a resolution ASAP. it forces us to onish the privilege we were given so that we can more strongly fight for justice for those without it. humanizing onlookers of the victims has never been this sickeningly good.

one of the greatest genre-biopics of the decade.

I've seen this movie 4 times, this was my fifth.

This review may contain spoilers.

third time, netflix

STILL A MASTERPIECE.

1st time: January in the cinema
2nd time: last month, in June
3rd time: this time

observations:

- this isn't just a character study, I think this whole comments on the systemic issues of capitalism. through analyzing greed in one character, I think it aptly discusses how capitalism and competition drove Howie, drives KG and drives the people around him to get that "higher score" greed isn't the only thing villainized in this movie, its more systemic than that

- Howie and Julia are such a dynamic couple. Their relationship is the only stable foundation within this chaotic movie, and thats messed up. Their relationship sucks! Julia likes Howie because of Howie's outright denial of her and stark confidence in his mission for money. And don't even get me started on Howie; he's as expected worse off as he only sees Julia as a pair of tits and ass. Superficial and misogynistic couple, the ONLY stable foundation within this movie

- the whole third act is FUNNY af the third time. its the stress. I've seen that scene so many times, play out: ik what happens. and its deliriously funny and ridiculous the situation Howie entrapped himself into. its wittily ironic and I like it a lot. laughed my ass off. Arno's look of just, c'mon Howie please

- Howie is an ab. He verbally calls Arno's Bodyguards fat, he constantly belittles them. He also keeps Demany intentionally on the sidelines so he can rip most of the profit. He purposefully exploits the labor around him, slinging them on with the false prospect of MONEY, the same money he's chasing. That scene where Demany looks in his locker and finds nothing is a stark point of realization for the audience and Demany. Howie can't be trusted. The pure embodiment of capitalistic fervor ofc can't be trusted, and yet Demany put so much trust in Howie, in the system, and yet the system and Howie failed him. You can see how Howie influenced Demany; grooming him to keep his eyes on the prize, make sure no-one looks down on him (he needs to act tough when people around him). Howie groomed Demany, and Demany hoping for something in return; his new knowledge of the GAME OF JEWEL TRADING is a false hope coz there's nothing meant for him. its just guys chasing after guys who chase after money. its drained him, it made Demany insecure about his looks in a group, is he looking tough or not. so I was happy to see Demany leave his abusive relationship with Howie, and HIS system. Howie is an ab

- this third watch was more kinda like looking at the smaller inconsequential details..

- this movie, without its style wouldn't be THIS GOOD. but it is THIS GOOD, because the Safdies know how to make some shit so INTENSE! Good Time better, but.... SAFDIE BROTHERS ARE GOATTEDDDDD

saw it on my phone in a car with headphones

its a movie

I can ire this movie. With that little budget, these guys make a really interesting premise. It is creepy. Seeing video of something unseen but completely heard of lurking around sleeping bodies is CREEEEPPPPYYYYY. So on a premise and nuts-and-bolts level, the whole found-footage aspect of it, kind of gives this movie a head-start in of knocking audiences into this creeped out state. I like a lot of the quiet and CREEPY moments this movie offers.

I don't like how this devolves into this sick contest of anticipating jumpscares. Ok, its not as bad as OTHER jumpscare filled messes, but that sadistic, imma boutta jumpscare you FOOL HAHAHAHAH mentality is still here and its annoying af. Like, audiences know that when a guy is leading his camera into a dark room, there's gonna be a jumpscare. So many scenes are just LIKE THAT. Just build-up towards one flimsy jumpscare. Stop cheaply playing me like that holy... ITS NOT SCARY, its just annoying...

Also, the male character is too much an idiot and his mentality of imma-do-this-by-myself-coz-im-a-man is so stupid that he becomes unbelievable. He's overwritten as an overconfident character. And he's an attractive man too, like the whole entire movie I was like just dump this woman like wtf...

I just love all those CREEPY moments: I think THATS whats awesome about this movie. The found-audio of satanic grumbling, the found-footage of things moving without meaning, the unexplained mysteries etc. CREEPY AND MYSTERIOUS SUBTLE DETAILS and SCENES is what makes this movie really engrossing. Sadly tho, this movie just comes up with these sick games of "anticipating the jumpscare" and force-feeding us scenes with this dumbass male character doing the most unbelievably ignorant shit ever: it majorly devolves this movie into cheapness, unlike its very minimalist and subtle moments of creepiness.

And then you got that dumbass ending. The other endings are SO MUCH better, but this one just made me laugh. I can ire this movie for the creepy stuff it does and for what it did its premise with such a low budget, even though this is totally not my cup of tea.

its a movie

This is a compact 90-minute quirky yet depressing feature about the oppressiveness and jackassery of fatherhood, and really just about divorce - Baumbach's parent's divorce. Every character is definitely flawed in their own special way. This being a Baumbach movie, ofc the characters are real af. And the performances really bring these characters to life. You got Jesse Eisenberg's nasal-y and eboy-before-eboys-were-a-thing-type performance. You got Laura Linney's mousy yet firm performance. And then you have this boy, who's just masturbates the whole movie. This is when the movie gets really great. In these masturbation scenes, which thank god doesn't show anything really, we have this weird wonky score playing. This whole movie has been universally silent. And then wOnKy mUsIc plays and then waka shaka you're watching this boy masturbate. Its shocking, its weird, its funny. there's so many implicit quirky moments that I love. AND THEN, you have JEFF DANIELS performance. This Dad is so stuck-up, self-absorbed and possessive yet he cloaks all of that under this guise of "intellectualism." Jeff Daniels and Baumbach creates a really compelling Dad to watch. Performances and great character writing just make this movie beyond watchable.

Its 90 minutes long, yet it feels so monumental and powerful in of being a reflection on fatherhood and divorce holstered by career-best performances and very layered character writing. Being that this was produced by big name people (WES FUCKING ANDERSON) and grossing a lot in the box office and it being an AMERICAN film and having a pretty notable cast: why tf didn't Jeff Daniels' agent push this role as "oscar-worthy" or get him that Best ing Actor nomination. Because god-dammit, his performance was phenomenal.

Here were the Best ing Actor nominees that year.

George Clooney – Syriana as Bob Barnesdouble-dagger - WINNER

Lol, that fact that George won for THAT is hilarious. For SYRIANA. I doubt the academy even understood wtf was happening in S Y R I A N A, they probably just saw George Clooney in a beard and thought holy shit, G Cloon seems sErIoUs OH MAH GAAAWWWDDD. he literally brought nothing to this movie except some serious moody looks and shit. and that one torture scene. is that where we really at Academy? it it: the academy are heavy torture porn fetishists. the oscar-bait film industry is a softcore torture porn ring.

Matt Dillon – Crash as Officer John Ryan

HAHHAHAHAHAHAHHAHAHAHAHAHAHAHAHAHAHAHAHHHAHAHAHAHAHAHAHHAAHHAAHAH

the Academy love portraits of TORTURED SOULS, like abusive white cops who harass minorities. wow so emotional 🥺😢 WHITE FASCISTS HAVE FEELINGS TOO GODDAMMIT 😤😤😤😤 GIVE THIS MAN AN OSCAR NOMINATION FFS. I won't ejaculate unless I see OFFICER JOHN RYAN RECOGNIZED FOR BEING A TORTURED WHITE MAN who lives in a society. I HEAVY RELATE!!!

tbf, Matt Dillon does give a good performance, but the fact they nominated THIS GUY over THE SUPERIOR JEFF DANIELS, says so much about what the Academy values in performances. not you know, the performance, but what it stands for in their agenda of looking woke without being woke. both Matt Dillon and Jeff Daniels gave honest portrayals of both of their archetypes - racist cop and jackass dad respectively - yet the Academy chose to favor the other because the other is slightly more politically relative. and by politically relative meaning NOT SAYING AND STANDING UP FOR ANYONE, but just to appear like they're on the right side of history and are woke. and ofc they're not LMFAO, because giving nods to apologetic roles of literal fascists isn't a sign of inherent progress, so stop being obsessed with being progressive, and nominate the actual FANTASTIC performances, like Jeff Daniels. I have a feeling Jeff Daniels' performance was TOO real for them as it made them feel like the shitty self-absorbed white upper-class divorced Dads they truly are, but a rAcIsT cOp, 10/10.

Paul Giamatti – Cinderella Man as Joe Gould, Jake Gyllenhaal – Brokeback Mountain as Jack Twist

Haven't seen, don't care.

William Hurt – A History of Violence as Richie Cusack

I don't even this man. so looked up on YouTube for what he was. hes literally in ONE SCENE. and I see a bunch of YouTube comments saying he deserved an oscar for this. but like, if i correctly, he had one scene in the movie. ok good for you, but Jeff Daniels had a whole 90 MINUTES. to all the William Hurt stans in then 3-comment-comment sections of these coconut-recorded YT videos, STAN JEFF DANIELS PERFORMANCE IN THE SQUID AND THE WHALE INSTEAD

my point is, The Squid and the Whale is a fantastic movie that deserved a lot more praise than it was given at the time.

its great

its decent

its not good because of the humor. or the "satire." or really what the movie sets out to do. The movie sets out to mock Nazis. Taika's performance as Hitler, casting some Nazis as homosexuals and just generally portraying Nazism as a pathetic and exhausting ideology. as a premise, thats great because it goes against fascists' whole approach of inducing fear and domination. how can you dominate; how can you argue with fear if your symbolism is associated with such mockery? they get a rise out of being literal sadists and to paint them as buffoons is a clever way to commenting on fascism. however, the mockery isn't that smart. the movie paints Nazism as just hahahahah Nazism goofy bad, full of dumb men is kind of trite and not too humorous. (although they're are some funny and REALLY clever bits). but, overall, its just really C-level humor. Like oooo Rebel Wilson carrying a BIG GUN, hahahaha FUNNY coz she WOMAN or ooooOOOOO NAZI Sam Rockwell likes to wear FUNNY CLOTHING HAHAHAHA funny coz he NAZI and Nazi wear FLAMBOYANT CLOTHING MEAN HE GAY HAHAHAHA :)

😐

like ok man alright. I was hoping they would do a Dr. Strangelove approach, you know smarter satire. but its just not-good-satire, and worse the satire is about a topic so important; the prime example of fascism in modern world history. However, I really liked how as the movie progresses, it uses less of that humor and bad satire and begins to paint the ideology and the practioners as subtly more and more menacing. the switch-up in approach is refreshing. all the performances were great. male lead is very compelling to watch. Scarlett Johansson exists in this movie. Thomasin McKenzie does a really great job. She doesn't play massive archetypes; she makes her character feel wholly unique. For a character like hers, the movie could have cheaply maximized her plight and make her seem way too vulnerable or in order to cheaply subvert expectations they could've made her very invulnerable. but the writing and the performance of her character makes her seem grounded and a perfect balance of the two. we definitely feel the pressure she feels, but she doesn't back down and appear way to vulnerable; she knows how to stand up for herself. she's a great character. there's a lot of great character writing in this movie.

so the performances are great, the character writing is often-times really great: as a narrative, not as a general commentary and satire, its good. but as a satire on Nazism and a general commentary on Dogma, its ok. so I felt pretty mixed on this movie. I really love how the narrative brought these characters forward AS CHARACTERS, but didn't like the "satire" and "commentary" as overall the "satire" makes it seem like Taika is tackling a topic way too complex over his league. and also the satire here is just really eh. good movie and narrative, bad satire and commentary.

its decent

This review may contain spoilers.

this is one of greatest movies i've ever seen

Imagine bro, IMAGINE thinking that this is mid-Nolan. HAHAHAHAHAHAHAHAHHAHAHAHAHHAHAHHAHAHAHHAHAHAH

Second time watching this. I watched it when I was 12 or something. Loved it then. Love it even more now.

Ofc the whole non-linear narrative, running backwards, really REALLY works. It was comprehensible to me when I was 12 and today when I was 18. Sure, sometimes you gotta backtrack a few times, but its not SYRIANNA where you literally have no clue wtf just happened and you have to rewind back to the start of the movie to catch that one scene where this little fcker literally explains everything but you didn't catch it because he speaks at -100 volume. its not like that. Memento's narrative really works.

The opening scene, the REAL ending scene, is this perverse inciting incident. Inciting incidents in narratives are a jumping point for characters to induce themselves in the plot. Rather in Memento, Leonard isn't starting a new adventure by killing that moustache twerp, he's ending it all. But for us as viewers its truly the start, the inciting incident. Because from that point on the movie challenges us to mentally re-arrange this backwards vision into a linear one. We actively analyze each scene. We think; ok how did this scene start, how does this lead up to the next scene, ok so if this happened here, THEN THATS HOW THAT HAPPENED. And then boom, we are not watching a movie like its Sunday night and we're watching Ghostbusters at 5 AM. no. We are thoroughly engaged with the media in front of us that we almost take this protagonist mindset. Protagonists in movies are logical and form solutions to their conflict. Guy finds out about X, and as a result does something to Y. Except Leonard isn't making those justifications in this narrative. WE ARE!!! And normally in movies, WE DON'T. We just let the protagonist and exposition to all the heavy-lifting. Here though, we do everything We are developing his time frame, we are developing and answering the question of, ok whats actually happening. We are in the mind of a protagonist, because Leonard as a character can't fill those shoes because of his over-repeated memory problem. We are re-arranging the plot in this scrambled time, something a protagonist is supposed to do. The opening literal shot of mustache-man getting killed is our inciting incident, its not Leonard's and its not Natalie's, its ours, our extraordinarily engaging invitation to MEMENTO.

By brilliantly activating the audience's minds, we are 110% to what happens in Memento. This much engagement into one mission and one character, as we are forced to slash through forest and forest of unraveling plot mysteries, we become invested into Leonard's plight in a way no other movie has done before. So when its brilliantly revealed that all of this is Leonard's doing, subverting our expectations of his disability and his confident assertion that I'M nOt SaMmY cOz mY wAy wOrKs cOz I uSe FAXXX, it hits like a dumpster truck.

Also, this twist doesn't just come out of no-where. It makes sense. Nolan added references to conditioning. He dedicated scenes to the fragility of memory. And he added scenes of Leonard adamantly defending his logic and putting down Sammy's to further show how repressed Leonard was of his true origin. Leonard's repression of him being Sammy is a powerful revelation because it rings so true for universally everyone. When Leonard writes on the photograph that the mustache-man shouldn't be trusted of his lies BECAUSE he doesn't want the truth, the reality that he killed his wife; I mean that's relatable to human instinct. People have repressed desires; its a part of human nature. We all have repressed thoughts we wished we never had, similar to how Leonard repressed the thought of killing his wife so much, he kills the wrong people around him. Isn't that how violence occurs in the first place? Violent acts don't just happen, they're a build-up of consistent repression of true desires and boom we have a shooting; we have an act of violence. That's exactly what Leonard does throughout this narrative! Repressed desires evolved into the ultimate false killing of John G.

Not only can it be relatable to human instinct, hence why its so DAMN GOOD, but also on a societal level too. A lot of what Leonard suffers from is an over-reliance on structure in fear of becoming a mess like Sammy. He writes all over his body, he makes post it notes, EVERYTHING. But even AFTER ALL THAT, he still kills his wife. He still kills John G. He's still duped into thinking he's still after John G. Leonard's structure can represent our the routines people put in themselves; from schooling to religion to hell even yoga practices; whatever it may be you can never escape your carnal repressed desires no matter how much structure you place yourself in.

Isn't that hauntingly powerful? Because its all true. We all tell ourselves lies to get through day by day. We all repress our own deep seated fears even if it may ultimately bubble up and hurt the people around us. Leonard's plight is powerfully human. In fact, his disorder tells people more about human nature, the repression, than the normal traits that Natalie or Mustache Man have. To have a mentally disabled person feel more HUMAN than the normally abled people in this movie is in of itself fantastic.

Incredibly powerful and incredibly engaging, this is one of the greatest movies I've ever seen. A story-telling marvel. You know when people gush over 2001's or Citizen Kane's revolutionary film-making? Memento is like Independent films' supernova. A fantastic revelation that after thousands of years of storytelling, there are still infinite ways to tell a story and infinite more revelations about the human condition.

Cinema peaked with Memento. One of the greatest screenplays ever written.

this is one of greatest movies i've ever seen

really makes me wanna watch the in-touchables or whatever its called

the movie opens on Kevin Hart driving Bryan Cranston in his lamb/fast car whatever the f- and the ensuing conflict they get from police. and then poop a feW mYoNtHs earlier title card pops. thats such a cheap way to introduce any story. this movie feels so cheap for a lot of it.

Kevin Hart's and Cranston's performances aren't carrying this movie, its the dynamic between the two. You have this constantly belittled ex-con who can never get a second chance meets a guy who literally cannot move his entire body except his neck. Its two completely disempowered characters bonding and connecting. With such an interesting dynamic, ofc its entertaining to watch regardless of if it was played by two carrots.

This movie could have made a lot more money than it did if it wasn't pushed to a general release in January. Not only that but the movie itself could have been a lot better

there's this one scene where Cranston is so mad that he tells Kevin to break and destroy his possessions. like, textually, that sounds really really heart aching and powerful to watch. but in film it isn't as powerful as it should be because it brings this annoying score, and the characters aren't as developed as they can be.

so it could have been a lot better but the dynamic between these two characters and the struggles that they feel are so tangible I mean, yea ok. I'm not going to say this is a GOOD movie, but its a nice once. its a nice little movie.

best FIRST EXPERIENCES of SUMMER 2020

other great movies that I loved / inspired me as well

Booksmart
The Art of Self Defense
Afterschool
Public Enemies
Suspiria (the old one, New One ROCKS tho)
The Night of The Hunter

the top 10

10. Columbus - really fit well with the quarantine vibes. I may not like every single artistic choice this movie does, but it grew on me MASSIVELY. I think the relationship between John Cho and Haley Lu is strong enough for me to just this movie for a LONG time.

9. The Beach Bum - THE BEACH BUM IS AN ICON PERIOD. defies language. this coulda been really shitty but nah its iconic and hilarious and insane and really sweet and beautiful. As a Buddhist (ok not really), this movie is fantastic.

8. Changeling - is a very nice drama with an absolutely amazing lead performance from Angelina Jolie. ok, I may have overrated this one when I first saw it, as it was the first GREAT movie I have seen in a while so I jumped the gun on calling it a masterpiece. I still think this is Clint Eastwood's best film and its majorly powerful ONLY BECAUSE Angelina Jolie KILLS IT.

7. Simon Killer - brooding, unsettling and really claustrophobic cinema. feels real. its great.

6. The Wicker Man - ok, its less HORRIFYING and more just DISTURBING. because when watching it I wasn't like, omg wtf, but just in awe. we automatically take the side of the lead because he's law and order, religious, he's something that is closest to our form of society. so when the villagers around him do some weird shit like singing and other stuff, one feels the unsettling vibes he gets. there are a few non-diegetic scenes that come OUT OF NO-WHERE that depict the villagers doing crazy shit; these scenes have no music and almost play as a hazy dream. and its SO EFFECTIVE because we are sympathizing with a strong society-based character and music was always a constant force in the movie, so to see scenes where the villagers are doing weird shit with no music breaks the rhythm the movie had going for. there are so many rule-breaking moments that induce one into this state of AWE. there's a lot of very smart film-making in this movie. also, the main man just KILLS IT. even on a textual level, this movie speaks volumes on the fluidity of ideas and how religion and society are definite concepts rather just loose constructs that anyone can break. awe-inducing horror.

5. SONG TO SONG - yes. YES YES YES YES YES. in my opinion, this movie understands what are relationships. people go through relationships like going from SONG TO SONG on an album. everyone's desire in SONG TO SONG evolves based on the songs they have, the relationships they take. people's journey through relationships is painted as likewise to a spiritual journey to find meaning. and I think textually that's true, that's real. in of ACTUALLY WATCHING the movie, the characters have desires, they evolve and we see them evolve and we see them go from SONG TO SONG, RELATIONSHIP TO RELATIONSHIP, and its compelling for me because characters changing is the essence of cinema. what can be frustrating is that MALICK is a quirky guy and it has these weird shot selections, BUT MOST OF THE TIME, the cinematography is absolutely genius. like GOAT shit. oppressive characters are framed in these box-like structures, romantic relationships are framed in these spacious areas. scenery is a huge theme in this movie and the CINEMATOGRAPHY just induces feelings and emotions into people simply by making visual relationships such as one between a character's personality and the space that he inhabits. yeah there's some CORNY shit, but you know i love it.

4. WE NEED TO TALK ABOUT KEVIN - yeah big sad. I've never seen a movie that CONCISELY, under two hours, just makes one 100% understand the desire of an individual. how?. the movie makes us see the development of KEVIN, from infancy to childhood to adolescence, that we begin to understand everything - the intent of his actions to his small little habits. we are inside and out of his brain, his consciousness, and shit, we get ALL THAT in under two hours. we get so much about this one character that we can clinically diagnose him. and one can LEGIT have an argument about it - whether he's a sociopath, a psychopath or maybe he's not touched at all - because there's so much PSYCHOLOGICAL EVIDENCE to unpack here. Tilda Swinton is wow. and I think her experience as a mother feels real because it touches on real aspects of the burden of parenthood. and it really makes think about whether are not parents have full control over their children, are parents RESPONSIBLE FOR THEIR children's actions. is Kevin an extension of Tilda Swinton's character, or is it not. its such an incredibly real and human story that one can just pick apart this movie so well, more so that reality itself. and that is the mark of a GREAT FILM imo. I just love this movie.

3. BEING JOHN MALKOVICH - obviously, a movie has to be GOOD when the characters feel real. if a character is REAL ENOUGH, then it doesn't if his desire is to EAT SHIT, its still going to be impactful. I think it goes without explanation that queer cinema isn't normal in Hollywood cinema. its one to just represent those voices, but its another to make people understand those voices. Being John Malkovich does the latter. but its not just an identity movie. its also so hilarious written and just a fun concept overall. Not only are all the characters SUPER UNIQUE and INTERESTING but couple that with the situations they get into, and it makes for an incredible adventure. and in the heat of all this creativity and adventure, the movie's character feel and are real. their desires again are real. so it doesn't matter if one's some loser puppeteer, or one is transgender, etc. at the end of the day, this story is just human. that's a theme in a lot of the great movies I've seen this year. because is true. We Need To Kevin and Song to Song may have nailed certain aspects of human condition, but Being John Malkovich does the SAME but in an iconically hillarious, funny and creative way. hence why I think its top 3 shit

2. THE PIANO TEACHER - kind of like Song to Song, this movie gets relationships. relationships and love aren't these fateful and sturdy concepts. they can break easily. The Piano Teacher just NAILS not only the weakness of relationships, but the fluidity of human attraction. how attraction isn't this FATEFUL and gaw you're so beautiful type destiny shit. you can love someone so so much, and that thing you love about them may not even be real. human attraction is just people chasing images and symbols and ideals, not the human. the movie recognizes this by doing glacial long takes and rigid cinematography that Haneke is known for. the movie's cold because the reality that's shown is cold, but true. it also recognizes this by pitting two FANTASTIC performances against each other, playing out drama, and making one feel so much EMOTIONAL ANGUISH and just GUT-WRENCHING EMOTIONS. the interplay and the scenes between the two leads are just sometimes awkwardly cute ad interesting to absolutely horrifying. all the great movies that I've seen, AGAIN, they take about the human condition, but what separates the others from THE PIANO TEACHER, in the same way that Being John Malkovich does, is that THE PIANO TEACHER is uniquely destructive to one's emotions. its been a long time since I've been nauseated, not from body horror or you know disgusting shit, but just seeing humans interact. you know you have an amazing film when just by seeing humans interact, you just want to die and not exist anymore lmao.

1. 12 MONKEYS - Gilliam does coke (1995, colorized). Now I get why people like Fear and Loathing in Las Vegas. MOVIE OF THE SUMMER. the first time experience was so good, ik this is is cliche, rEmInDeD mE why I LUV muvis. entertaining as hell, while also hammering at the point that none of us have free will in ways that are narratively fantastic and story-telling wise just GREAT. fucking YES. and i love how its ambiguous as to whether or not EVERYTHING was in his head or not. one can still come to the conclusion that it was all in his head or it was real. and I love how none of that matters because he's FUCKED either way. isn't that the perfect reflection of just existence??? visual story-telling is my type of claustrophobic and space tightening type shit. these are type of movies that make me go, oh yeah, this is my cinema is the best medium. that's the reaction I got from seeing 12 monkeys. so yeah

1. Twelve Monkeys
2. The Piano Teacher
3. Being John Malkovich
4. We Need to Talk About Kevin
5. Song to Song
6. The Wicker Man
7. Simon Killer
8. Changeling
9. The Beach Bum
10. Columbus

ONLY MOVIES THAT I HAVE LOGGED / WATCHED MORE THAN ONCE! OLD FAVORITES that I had before Letterboxd I won't rank here (i.e Spider-Man 2, Back to the Future, The Truman Show) because I haven't seen them in ages. However old favorites like RAGING BULL and MEMENTO I will because I saw them recently and I can confidently call them my favorites. Yet, movies I saw only once and LOVED (Mirror, YI YI, Call me By Your Name) I won't add here.

all roughly ranked, except for the top 5...

UPDATED: 8/16/20

I have realized that I'm a Scorsese shill 😳😳😳😳😳😳😳 5 scorsese movies lol...

sad I can't put YI YI because I haven't seen it in YEARS
I'm really fucking putting AVENGERS INFINITY WAR, even though I saw cinephile shit like Paris, Texas and Nights of Cabiria and LA DOLCE VITA and The Holy Mountain and OLDBOY and Rashomon and RAN and HIGH AND LOW 😳😳😳😳 I've really lost myself over the years oh no....

HAHAHAHAHA The Dark Knight over Cache, INFINITY WAR OVER A WOMAN UNDER THE INFLUENCE FML, I'll forever be clowned

my top 10 are all American, wtf have I become holy shit.... and have insanely male perspectives, I'm so sad at how much of a filmbro I've become wtf...

High Flying Bird and Videodrome are here because they're inspirational, symbolic placement. same reason for the conversation

Under the Silver Lake added because well.... its UNDER THE SILVER LAKE. I both hate and love this movie and I wrote a lot about it.

UPDATED: 8/20/20

ADDED The Master. Forgot about that ONE. Decided to take out high flying bird coz... like idk why I put that there. its a 6 for me, so like... no. also videodrome and the conversation. no more symbolic rankings...

but I'll keep Under The Silver Lake. with Spring breakers....

contemplated to add The Social Network.... I decided not too...engrossing AF, but nah I'm good

• Raging Bull
• Mulholland Drive
• Good Time
• Memento
• Requiem for a Dream
• Whiplash
• 12 Angry Men
• Eternal Sunshine of the Spotless Mind
• GoodFellas
• Citizen Kane

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

8/10/20
Need to see Reservoir Dogs, Death Proof and Jackie Brown

1. Kill Bill: Vol. 2
2. Kill Bill: Vol. 1
3. Pulp Fiction
4. Once Upon a Time... in Hollywood
5. The Hateful Eight
6. Django Unchained
7. Inglourious Basterds

favorite RE-WATCHES from when I came back to this to the end of July.

rewatches and first time watches ALL IN ONE

HONORABLE MENTIONS

Donnie Darko --> cool muvi
Drive --> rewatch experience was bad, distractions everywhere but still great ICONIC movie
Frost / Nixon --> powerfully great movie
E X M A C H I N A --> this shit bangs. Alicia Vikander and the visual effects; this is a classic thriller.

THE TOP 10

10. The Squid and The Whale --> Compact and quirky near-perfect family drama. Jeff Daniels MURDERS this role.

9. Spotlight --> Gripping drama. Loved the journalistic edge to it. I saw it 4 TIMES on repeat. 5th time watching it, and it still has this amazingly gripping quality to it. Incredible portrait of journalism thanks to minimalist direction, good performances and just an overall grippingly told story. Unpopular opinion but... Spotlight > All The Presidents' Men.

8. There Will Be Blood --> Essential PTA. Haunting and beautiful.

7. The Master --> PTA's most beautiful movie. Mystifying, more so than There Will Be Blood.

6. District 9 --> Probably the greatest use of mockumentary format I've seen. Brilliant usage of documentary and Hollywood style to underscore the peoples' perception of class in the digital age and new media age.

5. Her --> Old favorite of mine. Still holds up strongly. This was my third re-watch. Just a solidifying of HER as a favorite of mine. Got a bit worried that it wouldn't be as good as I ed, but as the movie progressed my god Her's such a powerfully realistic portrait of "what love is."

4. Taxi Driver --> Scorsese's 70s masterpiece. The editing, the score and the performance create this distinct aurora of loneliness only Paul Schrader can articulate so well.

3. Moonlight --> Moonlight is among the most human movies I've seen in a long time. this movie nails the what feelings are and how repressed desires functions. Not only an examination, but a rousing story on how self-love is the only way to dig ourselves out of our own self-dug holes of repressed desires, something I couldn't relate to when I saw this in 2016. In 2020, the film's message and story hits like very strongly.

2. Uncut Gems --> This re-watch solidified this movie as one of my favorites. Uncut Gems is a masterclass in film-making, editing, acting and score in how to make an audience member shiver with anxiety. Boldly perfect in maximizing the feeling of anxiety to an almost god-like degree.

1. Memento --> One of my favorites a few years back. Memento on this rewatch is solidified as among my TOP 4 favorite movies. I immsensely fell in love with this movie in 2020's rewatch.

1. Memento
2. Uncut Gems
3. Moonlight
4. Taxi Driver
5. Her
6. District 9
7. The Master
8. There Will Be Blood
9. Spotlight
10. The Squid and the Whale

**READ THE DESCRIPTION**

ADDED 7/20/20: WALKABOUT, THE IRISHMAN

ADDED 7/14/20: The Texas Chainsaw Massacre

ADDED 7/10/20: Spider Man: Into The Spider-Verse, Midsommar, Network, Under The Silver Lake, and The Wolf of Wall Street

alright

I haven't used this in 1 year and there were MANY great films that I watched.

1st one that comes to mind is UNCUT GEMS. OH MY GOD, saw it once with theaters and showed it once to one of my buddies. Each time, its like I got baptized, thats how lit that movie is.

Another sudden favorite of mine was DO THE RIGHT THING. I never really got the hype around Spike Lee, well turns out im a fucking DUMBASS, because Do The Right Thing was phenomenal. New favorite no cap.

I was also rewatching some old favorites too. I can't discover new shit like this every single day, nah, I reinvested into all favorites like A SERIOUS MAN which still bangs, ZODIAC which got even better the third watch. Zodiac feels like the perfect mystery movie to me. Its haunting, its constantly engaging and there's not a single drip of a minute that is wasted in this vast ocean of mystery. Speaking of VASTNESS, re-watched MOON for a second time and omg that shit STILL BANGS. Mysterious, disturbing and complex yet ultimately very powerful. You see, the power of movies is that they can get better despite existing the same way as before. Its magic.

That same magic can also happen to movies that grow on me. Like MARRIAGE STORY, which I didn't like at first, but later it grew on me as this real, and powerful portrait of not just DIVORCE, but the whole idea of relationships. how they're built, why they're built and how they fall. Idfk why ScarJo lost the oscar to Renee, but whatevs. and tbf, Adam Driver was better than Joker. Film magic does EXIST.

Yet when I watched 2001: A SPACE ODYSSEY for a second time, that magic went *POOF*. Its a great movie and all, but not the masterpiece that I loved back then. I really hope this is just a phase I'm going through because that first watch was MAGICAL, and I just can't get that magic back again.

You know what else is magical? huh GROUNDHOG DAY. Clever and funny movi, nut much to say. Same thing with BABEL, this movie I saw when i was on a trip. For a title that means the Tower of Language, I'm at a loss for words at the visual poetry of loneliness and despair this movie out. The thing is, that wasn't even the most depressing movie of the year. M is. M is great. What we feel and our desires are permanent. We can never change, no matter how much society tells us that we have full rein over our emotions. We don't.

You think that until you watch JOKER. Joker is going to be hailed as one of the greatest superhero movies ever made, mark my words. Idk wtf all these soyboy idiots talkin about when they say The Joker's story sucks? Like bro... what? WE LIVE IN A SOCIETY! idiot. Society is the problem.

But then you watch the movie PARASITE, and you realize, hey, its isn't individuals or society's fault its capitalism's fault for turning the higher classes complicit in the subjugation and enslavement of the lower classes. Parasite is a really fantastic movie. however, after u become steeped in marxist theory, you then become invested in the real ideology, the FLESH-SUPREMACY

thats when u realize that VIDEODROME is the greatest film ever made. it was at this point that I just got tired of seeing political films and then I decided, hey lemme watch BATMAN RETURNS

yea BATMAN RETURNS is overtly political wtf. feminist masterpiece over here ffs. Catwoman and really Michelle fifer (whatever tf her last name is) are INCREDIBLE.

so I then, try to escape further, lemme watch this brad pitt action movie ok ok ok KILLING THEM SOFTLY

first scene literally has OBAMA in it

and KILLING THEM SOFTLY is actually really good, aged extremely well, each character is unique and interesting and the story is fluid and compelling. just an all around really good movie. really good, but still political and shit, so I continue to escape and escape. the list goes on,

SHORT TERM 12, a touching and warm movie about trauma and depression. very nice and beautiful

NIGHTS IN CABIRIA, a somber tale about how a woman just can't find wholeness in the men and people around her; very compelling and the main actress is fantastic.

EVERYTHING IS STRESSFUL OR POLITICAL OR MEANINGFUL

except for SPRING BREAKERS

re-watching Spring Breakers was fun. its a really messy and weird movie. joyful meaninglessness in the materialism around us. I watched it on my phone. I saw a lot of movies on my phone,

like BRICK the Rian Johnson movie. its good and it stuck with me so well because of the atmosphere. its crisp, it takes place during high school and it feels like a parody and homage to noir movies in a high school setting. that re-contextualization is really cool and absorbing. makes me miss high school and my bois a bit.

I think what I learned out of all the great movies is that you can't escape trauma or politics or really thought when watching a movie. A good movie isn't supposed to make u escape your mind, but make u think and question urself, ur trauma and ur ideologies.

my first experience of a great movie was RAGING BULL. the way it made me question my religious beliefs, my beliefs about family and about individuality at a young age shook me for the first no movie ever had. I'm glad a re-watched it and I'm happy to report its still the same bloody masterpiece.

overall, this past year been pr chill.

• Uncut Gems
• Do the Right Thing
• A Serious Man
• Zodiac
• Moon
• Marriage Story
• 2001: A Space Odyssey
• Groundhog Day
• Babel
• M

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

well I am still here in 2019 ...

I wonder how long will it be till I finish using this site ...

re-watches + first-time watches

1. A Serious Man
2. The Dark Knight
3. Se7en
4. Black Mirror: Fifteen Million Merits
5. If Beale Street Could Talk
6. Senna
7. DodgeBall: A True Underdog Story
8. Get Me Roger Stone
9. Black Mirror: White Christmas
10. Black Mirror: Hang the DJ

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

Fifteen Million Merits will forever be the best Black Mirror episode.

1. Black Mirror: Fifteen Million Merits
2. Black Mirror: Shut Up and Dance
3. Black Mirror: Hang the DJ
4. Black Mirror: White Bear
5. Black Mirror: White Christmas
6. Black Mirror: Bandersnatch
7. Black Mirror: The Waldo Moment
8. Black Mirror: USS Callister
9. Black Mirror: Be Right Back
10. Black Mirror: Nosedive

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

I am getting depressed that it's 2018 already...
I still when I was a little thicc and nerdy boi looking at rotten tomatoes scores, being a sheep to those scores, and being really sensitive.
I have evolved.

1. First Reformed
2. Hereditary
3. Roma
4. Paddington 2
5. Avengers: Infinity War
6. Blindspotting

   4 STARS

7. Shoplifters
8. Searching
9. Happy as Lazzaro
10. If Beale Street Could Talk

...plus 25 more. View the full list on Letterboxd.

these are the best movies I have seen in 2018, alphabetically ranked! ones that I am going to for a long time. this list is what I think as of feb. 5th 2019. I mean, what I think about any of these movies can change, but relatively, I think these were the BIG highlights of 2018. for me. just for Bobby.

12 Angry Men --> one of the most captivating movies I have ever seen. The tight setting and ABSOLUTELY compatible and combustible characters creates this satisfying explosion of conflicts.

Apocalypse Now --> a mesmerizing, haunting, and epic war movie. Coppola knocks it out of the park, the cast is perfect, and the journey is constantly compelling.

Avengers: Infinity War --> pretty much the greatest climax every created. Seeing all these heroes on the same screen is just euphoric, idgaf if it doesn't make any sense.

Blade Runner --> excellent atmosphere defines this movie. This is an atmosphere movie.

Blindspotting --> humanistic and interpersonal touch to broad sociological themes

Collateral --> tense, involving, and cool action movie mixing coolness and intensity to be a perfect Mann movie. 2018 was the year I struggled with Mann. Miami Vice was too self-indulgent with that wavy blueish whatever coolnes (idfk), and Manhunter and Thief WERE WAY TOO LONG, WAY TOO BORING all at the expense of Mann's wavy cool factor he must implement in EVERY MOVIE. Definitely not a fan. I feel like Collateral blended the necessity which I want from every movie I watch, with some stylish coolness that I love. Producing ENTHRALLING results from a perfect mix

Dog Day Afternoon --> a compelling character, a distinctive setting, and intense stakes creates a not only compelling movie, but a powerful one. Character, setting, and narrative itself blend into this powerful conglomerate piece of captivation that I just adore to death.

Double Indemnity --> clever dialogue defines this film. Clever Dialogue is this movie.

Enter The Void --> artistically overwhelming

Eternal Sunshine of the Spotless Mind --> sad, melancholy, wise, bittersweet, cute, insanely creative: a quintessential Kaufman.

Eyes Wide Shut --> Kubrick goes into surrealistic absurd reality that's both panicky and discomforting

Fallen Angels --> being pretty much a B-side to Chungking Express, it's powerfully romantic and very much like his other work, sticks really well

First Reformed --> probably the most depressing movie I have watched in 2018. got a headache after the second watch.

s Ha --> it's a story about maturity and learning how to live. that is just casually poignant.

Happiness --> that ending scene was YUCK. the whole movie just makes me want to free my fingers and let them run amok. I want to scratch my palms so badly whenever IJ think about the ribald-ness of that whole entire experience. really, really, really discomforting. eyes wide shut made me feel uncomfortable, Happiness made me feel like a piece of shit. two very different things.

Hereditary --> INSANE horror movie.

I, Daniel Blake --> second most depressing movie I have seen in 2018. Daniel Blake was a hero, and the strength in which he is portrayed is resoundingly moving.

James White --> really, it's about responsibility. And that, especially for my age, rings hard personally. As someone who's going to have to care for themselves, watching James White struggle to take initiative or responsibility is unnerving, and just scary. This could happen to me, to anyone. Again, the central performance is a core reason why this is a huge highlight of 2018.

Mississippi Grind --> great drama. took me by a huge surprise. dramedy with ryan reynolds and some other randie about gambling? ok... the chemistry between the two and their strong conviction in their roles is compelling. Again, strongly compelling central characters are something I love in movies.

Once Upon A Time in America --> THE SCORE. THE PERFORMANCES. THE PURPOSEFUL DIRECTION. THE SCALE OF THE STORY. woosh. huge stuff here, and bold strokes as a story. it has a few scenes that I just find weird and awkward. but at least it keeps a consistency of remaining faithful as a film seeking to portray the contrast of times and friendships, not seeking to be mainly character focused. Leone is big and bold in what he's trying focus on as a story-teller, and that's massively appreciative.

Paddington 2 --> As of today, I feel like many are confused at why the hype for Paddington 2 is so so so so so HIGH. I feel as if the dramatically striking is more tangible than the euphoric joyous. It's easier to classify what is "good" dramatic and what is melodramatic, than what is good cheesiness and comedy, and what is bad cheesiness and comedy. Why is there so much difference in what constitutes as a good comedy or bad comedy, and not what constitutes as a bad drama or good drama? I feel like that's why it's hard to criticize happy, joyous, comedic WHATEVER movies, because what and how we feel happy is so relative and more subjective. It's difficult to rationalize what makes one feel happy from something.

And, if I had to say something, maybe it's because Paddington has his pitfalls, maybe it's the colorful and warm setting, maybe it's the wonderful cast of characters, maybe it's the overarching theme of acceptance. Or maybe it's something superfluous, like how adorable Paddington is when he speaks in that British accent. Idfk, but I know that Paddington 2 is a perfect example of a wholesome movie, that's acceptable for the whole family.

Persona --> yea this movie sucks, like big time. only putting this here to appease to the cinephiles. I really never watched this lol, hence why I wrote such a short review? logic 101 ppl.

Phantom Thread --> UNLIKE PERSONA, I saw Phantom Thread. At the start of 2018. Great start. It kind of seemed uh STAID, as a movie? Like, it's basically just a movie showing a relationship. A very toxic one. But the little things really hit you after it sits with you for, in this occasion, year. The perfect cinematography. The excellent performance from the actors and actresses. The soothing and intricate score. The elusiveness of the whole story. The weirdness of the whole story. AND THEN BAM. WE HAVE a great movie in our hands. In reflection of all the movie's core components, one can really appreciate and adore what this movie stands for as a whole. This holistic understanding of Phantom Thread is helped by reading reviews, namely SIMON LANGE'S REVIEW.

The Place Beyond the Pines --> Broad story-telling like Once Upon A Time in America.

Rear Window --> You got great stakes curated by strong central performances with heart and ethos, you got a menacing unknown antagonist, and you got a pretty neat premise. As a result, an incredibly captivating Hitchcock flick.

Roma --> Just a perfectly directed movie.

Twin Peaks: Fire Walk with Me --> Weirder, stranger and otherworldly; and more melancholy dosage than a typical Twin Peaks episode creates an unforgettable experience. Laura Palmer kills it.

Twin Peaks: The Return --> What year is it? Everything has this sense of decay and powerlessness in this newest post-modern rendition of the cutesy, but creepy Twin Peaks. I loved it.

The White Ribbon --> A story about a town. And DAMN it's ... DAMNING. Glacial pacing, typical Haneke-myseriousness, and black and white format are all purposeful. If you don't vibe with what Haneke is trying to say with this movie, themes that are pessimistic and harrowing, then I would say that this is not worth it. But for me, one who loves to see ideas explored through purposeful narratives, adored this.

A Woman Under The Influence --> I hated this initially. Thought it was weird af. Weird scenes. WTF IS HAPPENING. But that ending, just kept hitting me. It was ... bittersweet. The whole movie, starting and ending and all. And that is just real. I slowly began to love it more and more. Until it finally became one of the movies that defined 2018 for me.

• 12 Angry Men
• Apocalypse Now
• Avengers: Infinity War
• Blade Runner
• Blindspotting
• Collateral
• Dog Day Afternoon
• Double Indemnity
• Enter the Void
• Eternal Sunshine of the Spotless Mind

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

I don't know if I'll be on this site till 2019 (scary), but I'll just make this list. Any movie that I watched for the first time in 2018, is on this list. hooray!

1. Apocalypse Now
2. 12 Angry Men
3. Eternal Sunshine of the Spotless Mind
4. Dog Day Afternoon
5. The White Ribbon
6. I, Daniel Blake
7. Rear Window
8. Enter the Void
9. Double Indemnity
10. Blade Runner

...plus 105 more. View the full list on Letterboxd.

bobby's fav re-watches of last year

ranked from most rewarding to least, LET'S GOOOOOOOOOOOOOOO!!!!

(if this was an ACTUAL fight, Ctizen Kane would be #1 re-watch of the year, but it ain't it's Midnight in Paris)

((random order of explanations because don't have time to edit, I am Junior, it's current year stfu Seth, u sophomore bland ass bitch))

REWATCHES IN ORDER TO U N D E R S T A N D BETTER

Hail Caesar! from the versatile Coen bros. Great stuff here, comparing this between Ballad of Buster Scruggs, helps me better understand why I didn't like Ballad. Overall, it really gives me a better contemporary perspective of how I best react to their comedy.

in preparation of FALLOUT, i kinda just re-watched all the films (except for 2), and MISSION IMPOSSIBLE 3 struck me as the most rewarding of the re-watches. it's suspenseful as hell, has the most compelling narrative out of the whole series, and is the one I found the most engaging.

three billboards --> I didn't really learn much with this re-watch. I re-watched it b/c I wanted to understand the movie more, get a stronger opinion, and challenge whatever controversy this movie had. it just certified my opinion on it and I believe I understand it completely, whereas before I was 90%. 100% now. great movie, flawed but great. very very very down-to-earth, but at IRONICALLY weirdly not. a lot of weird and inexplicable and awkward moments here, straight-up mistakes, but heeeeeeeeyyyyyyyy, it's all good. very memorable. enjoyable re-watch.

REFORMING MY OPINION

127 Hours --> the truth: i never really "re-watched 127 hours". I mean, my first watch was kind of shit. basically the equivalent of watching 5 minute clips, but watching them in different order. really weird first watch, so I never really EXPERIENCED, how illuminatingly profound and batshit creative the editing and all that is. amazing stuff here, loved the editing, performance is incredible. extremely rewarding re-watch, as it gave me a more solid opinion on the movie and made me experience something GREAT

logan --> this is the re-watch that made me go, "huh, so it's not bad". I feel like I had a MAJOR renaissance this year in movie caring? My thoughts of movies are different now, like, REALLY different than what I thought in 2017, and this third or second watch of Logan, made me really vibe with the emotional stuff this has to offer. and it's STRONGLY presented, as much as I hate all that stupid CGI-blood. truth is, when I first saw it, I was deeply moved by it, yet conflicted because structurally it's not really compelling. but that logic makes no sense, AND I AM FCKING IDIOT. am glad I threw that out the window and I am glad I love this now.

THE REFRESHING RE-WATCHES

midnight in paris --> this re-watch reminded me of it's amazing message. such a foward-thinking and philosophically aware movie. very thoughtful, and everything it's trying to say about age and the purity of the past or whatever struck a chord with me. wonderful re-watch, great movie. RE-WATCH OF THE YEAR

napoleon dynamite --> fun re-watch. probably millionth time watching?? first LB viewing, so um, VERY MONUMENTAL. I grew up with this movie.

Burn After Reading --> this movie kind of seemed very cold and cynical at first, but I kind of warmed up to it's whole tone and all. really loved, um, EVERYTHING here on a second watch. very rewarding, as it improved what I uh thought of it

sideways --> piercingly funny and really heartfelt, this reminder of Sideways struck a strong personal chord with me.

FAVORITES THAT I RE-WATCHED

citizen kane --> my favorites of all time, and looking back at a favorite is A GREAT re-watch

good time --> what I said for citizen kane

whiplash --> what I said for good time

THE OUTLIER

no country for old men --> yea, um, it's a good movie. nice reminder, ig? I love it. not as rewarding and PERSONALLY Meaning as the others, but ayyyyye, I love the movie and it was a pretty great re-watch and re-visit.

1. Midnight in Paris
2. Napoleon Dynamite
3. Hail, Caesar!
4. Citizen Kane
5. Mission: Impossible III
6. Sideways
7. 127 Hours
8. Burn After Reading
9. Logan
10. Three Billboards Outside Ebbing, Missouri

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

• The Ballad of Buster Scruggs
• The Favourite
• The Game
• The Godfather Part III
• It Follows
• Mission: Impossible – Rogue Nation
• The Other Side of the Wind
• Widows

it's time for the WORST OF LIST (first watches, lmfao me re-watching a bad movies) OF @)!*

let's go (nut ranked, coz that's a waste)

boy erased --> this is one of the worse offerings of the whole sub-genre of "oscar-bait-agenda-muvi". score, editing, and how the movie is made is mostly amateur, and Lucas Hedges gives a GOD-AWFUL performance. in the end, it's just something I have no emotion for. this is a bad thing b/c the whole reason for movies' like this is to strike a viewer with a strong emotional argument. i mean, it's especially necessary here, but it applies to all movies.

cannibal holocaust --> this is just dumb. it's argument is weak. it tries to string together this deconstruction of a very complex issue, but in the end it just ends up being contrived. it tries to carry this huge message, but it feels completely uncessary. as a result, you have this sluggish and largely ineffective horror film that looks more like a home movie, than a, well, horror movie.

CHRISTOPHER ROBIN --> Winnie The Pooh is butchered as a character, and that is an unforgivable sin. Overall, I am just not particularly interested in this new rendition of the idea of aging, and youthfulness and NOSTALGIA, especially considering when we have better bear movies like Paddington 2. FACE IT, PADDINGTON IS A :pepe: and WINNIE THE POO IS A 🐸.

Collateral Beauty --> it's so awkward. it miraculously reaches this zen state of not being so-bad-so-good, but so-bad-so-un-comforting. THE TITLE DOESN'T MAKE ANY SENSE.

The Commuter --> it's just everything i don't want in an action movie. it has a template of something awesome, but in the end it's just rly lax and un-engaging.

The Emoji Movie --> it's collateral beauty, but the title makes sense, and everyone is an emoji, and it's even more awkward and robotic. this would have been a 0/10, if it didn't have horrible animation

Made in America --> OJ: MADE IN AMERICA is a 7 hour documentary and not a single moment of this grand epic of reality is wasted. The doc touches on many, MANY themes and carries god-like level of wisdom on the issue. It's one of the most comprehensive documentaries I have ever seen. THIS IS AMERICA is one of my favorite singles of 2018. THE BEAT IS INSANE, and the message works on so many levels. The viewer is the audience. Never before have I see a song brought to such meta-musical heights. CHILDISH GAMBINO DESERVES 20 GRAMMIES (at the start of the year, THIS IS AMERICA music video was my movie of the year). MADE IN AMERICA has this adorable scene between WHITE ted danson and BLACK whoopi goldberg (HHAHAHAHAHAHHAHAHAHAHA) where WHITE TED (HAHHAHAHHAHAHA U KILLIN ME HERE AYYYYYEEEE) likes the scent of BLACK WHOOPI G. (HAHAHHAHAHAHAHAHHAHAHA)

this is peak comedy, ngl

The Other Guys --> it's just a forgettable comedy. Will Ferrel and WHOOPI GOL- i mean, MARK WAHLBERG play some of the most remarkably uncomedic and uninteresting characters of probably this decade. As a result, the movie just flops like a uuuhhh, fish on land.

Roman J Israel Esq. --> Denzel WASHINGTON gives a great performance, but the rest of the movie, especially the plot and conflict, is just so mediocre. It's sparse comedy isn't great and it's dramatic conflict is just boring. Also, ROMAN J ISRAEL ESQ., THE MAN HE IS, apparently finds the cure to democracy. and how the movie plays along with Roman's savantness as being a good thing, HEROIC thing, leads to very unrealistic and unengaging results.

Thor: RAGNOROCK --> thor 3 seems like such an unfinished shell of the movie, and it hardly feels as lively and animated as it's quick and snappy humor tries to emulate. the characters aren't very comedic or interesting. they attempt at doing a character arc, but it just comes as off as hastily developed.

Venom --> VENOM by Eminem is a guilty pleasure of mine. I'll bumping to it throughout 2019.

The Week Of --> I have seen a good amount of Sandler movies. Was a huge stan a few years ago, and although not the BIGGEST FAN today, nonetheless, this is the worst Sandler film I have ever seen.

EDIT --> TUSK --> this is the quintessential example of a bad horror comedy.

• Boy Erased
• Cannibal Holocaust
• Christopher Robin
• Collateral Beauty
• The Commuter
• The Emoji Movie
• Made in America
• The Other Guys
• Roman J. Israel, Esq.
• Thor: Ragnarok

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

I will chart all my 2018 watches: rewatches, first time watches:
E V E R Y T H I N G. I'll have another list for first time watches.
I'll try and avoid watching 2001 this year, because that will always top this list. Anyway, stats below.
Films on My Favorites List: Apocalypse Now, Whiplash, Good Time, Eyes Wide Shut, Sideways, and Once Upon A Time America, Dog Day Afternoon, Fargo, The Departed, Double Indemnity
Perfect "100" Ratings : Fargo, Apocalypse Now
10s: 1
9s: 5
8s: 9
7s: 6
6s: 7
5s: 3
4s: 2
3s: 0
2s: 1
1s: 0
0s: 0
N/A: 0
JANUARY STATS
January # Films: 13
January: First Time Watches: 9
Average Score of First Time Watches: 7.1
January: Re-Watches: 4
Average Score of Re-Watches: 8.25
*NOTES FROM JANUARY*
Re-Watched Good Time in January, Months later, I gave it a ten. Good Time is counted as a ten in the averages
The following films had their scores dropped after retrospection during the month of January or after. The new scores counted in the averages of January.
The Post: 7 --> 6
Molly's Game: 7 --> 6
The Stanford Prison Experiment: 6 --> 5
Watched Apocalypse Now twice in January. The re-watch of Apocalypse Now will not be counted, but it's score of a ten will be considered in the averages.
All films re-watched and watched in the month of January will remain in their designated scores.
FEBRUARY STATS
February # Films: 13
February: First Time Watches: 10
Average Score of First Time Watches:5.9
February: Re-watches: 3
Average Score of Re-Watches: 8.6
Notes for February
After the month of Feb. my perception or score of the films have not changed since the month ended.
The Best Film I Watched in Feb was Ironically A Re-Watch of Fargo, A Favorite of Mine
Best First Watch is Once Upon a Time in America
James White is the only score change, which is happened during Feb.
James White 7 --> 8
Notes on March

1. Citizen Kane
2. Fargo

   PERFECT

3. Apocalypse Now

   PERFECT

4. Good Time

   SPRITE/100

5. Whiplash

   5 STARS

6. 12 Angry Men

   5 STARS

7. Eternal Sunshine of the Spotless Mind
8. Eyes Wide Shut

   5 STARS

9. Dog Day Afternoon

   SWEATY 5 STARS

10. Sideways

    5 STARS

...plus 127 more. View the full list on Letterboxd.

bobby here, and it's time for me to look back at 2018 trash. 2018 movies, i'll make a spanking list for all those other naughty films that I watched in 2018. this is exclusively 2018 movies.

5. Venom --> Venom is one of the most baffling so-bad-it's-good movies out there, in probably this decade. Just thinking abt the story of the Venom, the same title of Eminem's closer track on the GREAT the AMAZING and the FIRE Kamikaze album, really makes me question how this got allowed. It's basically a buddy-cop movie, but a lot more toxic and BDSM-like. Venom is pr much a dominant and Tom Hardy / Eddie Brock is a submissive. I feel rly bad for Eddie, and I feel weird thinking abt Venom and Eddie's power relationship. There is no character which drives the movie, the whole movie functions based on this power dynamic between both Tom Hardy and Venom. The power dynamic is compelling for the wrong reasons. Instead of the power dynamic being compelling on merit, it's compelling b/c it's absolutely ridiculous, underdeveloped, and hilarious to watch. Likewise for the whole entire movie. Everything about this movie works b/c it's flaws are so hilarious to watch. The dialogue and the acting is like F-rate, and out-of-place and RIDICULOUS, the VFX makes Venom look so un-menacing and when Venom tries to act menacing it's HILARIOUS, the characters are UNDERDEVELOPED. An engaging clusterfck. And to top of all off, DADDY EMINEM, closes the film with the song, VENOM, VEN VEN VEN VENOM AND YOU KNOW WHEN TO HIT EM. VENOM. This + Hereditary are the most wild things I have seen this year. Venom should be ed as an example of how studio film-making like this can lead to jumbled messes unlike INFINITY WAR. Like, Infinity War is also INSANE AND CRAZY, so why is Venom at the bottom 5? Because Infinity War presented it's CRAZY SET OF EVENTS in the most orchestral and epic fashion, not in a fallacious fashion. A stupid-af fashion which will make us laugh 20 years and onward from now.

4. Christopher Robin --> Venom is memorable b/c it's batshit insane and crazy. This cannot be said about Christopher Robin. It's not trying to be insane. I tries to be sweet and memorable. It shows WINNIE THE FCKING Pooh, THE EPITOME OF ALL GOODNESS IN THE WORLD!, a nostalgic and buttery premise, and a tale saying how we all don't necessarily have to grow up. It's sweet. The movie's cliched and whatever, and it's cute. Not a huge issue ye. The BIG ISSUE is that Pooh characters are BUTCHERED. Lemme compare Christopher Robin to PADDINGTON 2. Padington isn't just a visual effect staple: he has a character. Yea, he's infallible goodness, but his whole journey throughout Paddington 2 is captivating b/c the whole conflict is Paddington trying to preserve his goodness. that is so compelling to watch. Pooh doesn't have that arc, instead he's just the same ol' Pooh we all know and love. That's just boring. Plus, Pooh's "character" is more stitched by catchphrases and whatnot, rather than any full formed depth. The only in-depth component of the movie is Ewan McGregor's character arc, which isn't a monumental character progression as it's mostly riddled with cliches and predictability. This is where cliches and predictability really make the film a lot more boring, as it impedes into the only relevant part of the film, THE CHARACTER ARCS. The duration of this movie is gooey, sugary floss and the lack of depth becomes more appalling. It's just the basic and bare essentials of a disney-remake which will probably float out of the public consciousness after 5 years. I think if it tried to do something a little bit outside the box, or brought a lot more of an interesting conflict, it's sweetness would be a lot more pronounced and it's cliches wouldn't be as apparent as they are. It has all good intentions of being GOODY and SWEET, yet it overshoots.

3. Boy Erased --> OOF. Boy Erased attempts to say something abt this stupid af practice in U.S.A. Yet, it's presentation is god-awful. Joel is a pr nice actor ngl. The Gift (2014) isn't great, but Joel really adds some depth to the movie. I think he needs some improvement in directing. The flash-back structure is just a poor attempt to immerse an audience, the the central performance is absolute shit, and it doesn't show the complete HORRDINESS of the conversion therapy scenes and substitutes it with basic af oscar-baity editing. Fox News can rip your film to shreds. I can already see Laura Ingraham with her cocky smile saying, "well ya see, I got 3 conversion therapists here, and they say this NEW HOLLYWOOD film is inaccurate, tell me one bald guy and two guys on 5-hour-NRG, why is this movie wRonG". That is a big failure Joel, you should be ashamed of yourself. Roma on the other hand, is just so perfectly edited, has FANTASTIC performances seeping with so much emotion and sensuality, and everything is viscerally presented. It has NO CHILL with every single aspect of film-making. Laura wouldn't even lay a finger on it (Laura's awesome btw). Relaying a set of cliches and being uncommitted to the film-making process hoping that the content itself will sell, is not a good mind-set if you want to say something with your film. Now, I am not saying someone needs to be a film-making auteur like Cuaron to emulate a relevant message. Another example, Blackkklansmen, which isn't like Roma, but it's at least competent film-making and one can clearly see Spike Lee's, the actors' ion towards the project. You don't need to be a film-making genius or something like that to emulate a message, but for a guy who's at such a high level in Hollywood, there should be at least more effort put into Boy Erased. You have all the capabilities to deliver a competently made movie. This looks like a student-film project and Laura will poke holes all day. Joel shouldn't be at a film-school levels of directing; he wasn't committed, and as a result the film is uninspired and dull as an overused .3 mm lead pencil, creating muddled messaging. Roma shook Laura Ingraham, Boy Erased will be Laura's highest talking points on a lousy Thursday night. Up-and-coming film-makers should learn from Boy Erased b/c if they want to make a politically relevant message, they should be anything but lax. Roma, although not inherently political, is an example of FIERCELY PERFECT FILM-MAKING, Blackkklansmen and Blindspotting are fantastic examples on how to present a political argument with presentational strategies other than LAX.

2. The Commuter --> Let me start off by talking about Hereditary. The movie's batshit insane (said by Lucan Reynolds) and hella crazy. Although The Commuter and Hereditary are two completely different genres, both try to tap into a types of craziness. Hereditary creates horrifying and freakish imagery in order to become insane, and The Commuter does a few scraped together fight scenes to achieve this ACTION-PACKED INSANITY. Noting how "ugh" the action sequences are, the action-scenes lack this sense of tension. There is no tension because no stakes are set-up in the movie. Take Hereditary. Hereditary doesn't just show it's scenes, and wham bam done, WE GOT A 5-STAR MOVIE. There is so much build-up. The Commuter has build-up, but's it's so weak and unconvincing, resulting in an uninspired pay-off. The set-up is weak and the pay-offs are pathetic. For movies like Hereditary and The Commuter that rely heavily on the strength of their set-ups and payoffs to create a desired level of insanity, they can either make or break. Hereditary made it, and it's my second favorite film of the year. The Commuter broke into a boring thriller. Why is this the second worst film of the year? It's just everything a thriller/action-piece should not be, and I feel like in a decade where we have some of the most craziest action-set-pieces out there, this is the epitome of devolution of the medium.

1. The Week Of --> Adam Sandler should stop making movies. The Meyerowitz Stories shows that Sandler can act as depressing and in-depth characters. Memorable characters with serious depth. This movie is a YouTube video, a deflated CollegeHumor skit that runs along like a movie, with the most uninspired narrative. The conflict, HAHAHAHAHAH, a conflict is not even apparent. It's more like borrowed from every single movie ever. Yet it's weaker, and boringly presented. Why is this the worst film of 2018? It's the most miserable experience I have had next to my desire to kill myself.

a huge clusterfck, an overly saccharine deflated balloon, poorly politically messaged oscar-bait, the devolution of action movies, and just pathetic insufficiency. A common trend among these movies? They all boringly present their stories. Whatever may be in the motive: laziness, incapability, or whatever. Movies have been forward-thinking and crazy lately. Boring and un-engaging movies like these, whether they be fun to gawk at or review, is a regression of what these stories can offer.

Imagine how much MORE fun it would be, if the power dynamic between Eddie and Venom was further explored and was added with some smart and cool levity and emotional strength.

Imagine how stronger the emotional argument in CHRISTOPHER ROBIN would be if Pooh and the gang was more of a character than a caricature and expanded on the very rudimentary and cliched narrative.

Imagine how much stronger Boy Erased's emotional argument. would be if the performances were stronger, the overall-film-making was competent.

Imagine how MUCH COOLER, The Commuter's action scenes has stronger set-ups, and if the action scenes were idk, WELL SHOT AND NICELY DONE.

Imagine how funnier The Week Of would be if the comedy had set-ups and payoffs, and if EVERYTHING was developed better and IF THERE WAS AN UPGRADE in overall quality.

The results would generally be more interesting, and immersive movies. At the end of the day, i didn't like these 5 MOVIES b/c they didn't interest me or gripped me in a competent fashion. They are the complete opposite of competency in my opinion.

Venom, Christopher Robin, Boy Erased, The Commuter, The Week Of OWNED by FACTS and LOGIC DIR. Bobby Target; 2018

1. The Week Of
2. The Commuter
3. Boy Erased
4. Christopher Robin
5. Venom

i don't fck with horror movies b/c they scary

but tday is halloween so I submit

scary movies 12+ allowed

(netflix US only thank u)

• Creep 2

movies I would give a classic rating

NORMS NORMS 💪💪💪 UNITE 😤😤😤😤

criteria:

1. referential
2. representative of it's time through political commentary or style of editing-or-some-shit-like-that and,
3. can understandably appeal to a ton of people
a. THEREFORE, classic films can be films I think are bad
4. after a few months/year after first watch/rewatch
a. THEREFORE, THINGS I CONSIDER CLASSICS NEED TO BE WATCHED TWICE OR MORE

I consider how it represented the time and year, I need to re-watch it, I need to recognize it's cultural significance, and has this quality to it that is inherently appealing. don't need too love it.

a film will lose a Bobby Classic Certification or will become un-fresh after the year it was re-watched has elapsed. so after 2018, I wouldn't be calling these films classics. HOWEVER, if a film wants to become an eternal classic or the HIGHEST HONOR OF BOBBY TARGET, the upper echleon of positions, PersonalFavorite, I must watch it at least 5 times, each watching period being spaced out periodically. basically, if I watched a film 5 times, and es all the criteria above, it reaches Personal Fav status

PERSONAL FAVORITES (at top of my head) INCLUDE:

Whiplash
(Spider-Man 2 , Home Alone, and Elf would be an ultra-classic if I WATCHED IT RECENTLY, watched it over 500 times as a kid, but if it wants to be an ultra-classic, contemp. Bobby needs to peep)
(other stuff)

(midnight in paris is really close to becoming an ultra-classic)

ONLY BASED ON MY 2018 LIST AND CLASSICS I FOUND THAT YEAR

you all know this is my opinion right?

• Three Billboards Outside Ebbing, Missouri
• Dunkirk
• Get Out
• Logan
• Midnight in Paris
• The Departed
• Apocalypse Now
• 12 Angry Men

guess. who. is. going. to. NYFF. 2018.

Bobby Target

5 films

5 reviews

1 intellectual

0 % accuracy

I feel like I wasted A LOT of money on this. I'll learn better next year I guess. anywho, very excited for all films, especially The Favourite and Roma. Happy as Lazzaro might be a waste of $25, I dunno. Shoplifters will be dope. Cold War is on standby so I dunno. I'm gonna see all of these in a 1,000 + theater, so there must be something interesting visually on the screen or else I just wasted so much money.

my whole point of doing this is because Seth, an idiot, has watched more films than me during 2018 and for such a pseudo-intellectual like him, I am completely awe-struck. I don't care if a spend $500 or $501 dollars: I NEED TO BEAT HIM. I don't care if I have to drive all the way from Connecticut (hint hint) to New York, take a train, and stand in line for 1 hour.

SETH WON'T BEAT ME. will Seth watch The Favourite in September, nah. I am beating yall in of strength.

Anyway, yeah, gonna have lots of fun WITHOUT SETH

• The Favourite

  September 28th

• Roma
• Happy as Lazzaro
• Shoplifters
• Cold War

  STANDBY

• mid90s
• The Ballad of Buster Scruggs
• If Beale Street Could Talk

for Orfeas, only tbf

1. Shrek
2. Shrek 2
3. Shrek the Third
4. Shrek Forever After
5. Shrek 5
6. Far Far Away Idol
7. Shrek the Halls
8. Shrek the Musical
9. The Ghost of Lord Farquaad
10. Donkey's Christmas Shrektacular

I have another 2017 ranked list, which is private, so this one is for everybody else, if anybody is interested in my constant changing of certain films' positions. Since I am now focusing on watching 2017 movies to fill up my top ten lists, and make some SAUCY recommendations to my idiot friends (irl, not in Letterboxd world), I need to keep track of ALL the movies from 2017. So here it is. Everything I have seen, from 2017, ranked.

1. Good Time

   10

2. Call Me by Your Name

   9 (My heart says a 10, but there are a few things that annoy me, or irk me. It's still phenomenal)

3. Phantom Thread

   8

4. Logan

   7

5. The Florida Project

   8

6. The Meyerowitz Stories (New and Selected)

   7

7. Lady Bird

   7

8. Three Billboards Outside Ebbing, Missouri

   8

9. Baby Driver

   8

10. Blade Runner 2049

    8

...plus 47 more. View the full list on Letterboxd.

I Love Movies So Much
This Is Officially, My Top 100.

1. Raging Bull
2. Mulholland Drive
3. Citizen Kane
4. The Godfather
5. Vertigo
6. Caché
7. A Clockwork Orange
8. Fargo
9. The Master
10. Singin' in the Rain

...plus 90 more. View the full list on Letterboxd.

hi guys

I have been quite in-active lately

Whatever

It's been about 1 year since I ed LB

so many lists, so much stuff

RECOMMEND FILMS to watch. also, ask me questions if you like

• Blade Runner

  WATCHED

• The Wailing

  WATCHED

• Oslo, August 31st
• Mystery Train
• Bullet Ballet
• A Brighter Summer Day
• Possession
• Andrei Rublev
• Seven Samurai
• The ion of Joan of Arc

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

I made a list similar to this millions of times. This is here to stay!

1. I, Daniel Blake
2. The Handmaiden
3. O.J.: Made in America
4. Manchester by the Sea
5. Hell or High Water
6. Paterson
7. The Salesman
8. Silence
9. Nocturnal Animals
10. Moonlight

...plus 56 more. View the full list on Letterboxd.

• The Social Network
• Drive
• Shame
• It's Such a Beautiful Day
• Moonrise Kingdom
• Amour
• The Master
• Prisoners
• Her
• Gone Girl

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

• First Reformed
• Hot Summer Nights

**RANKED IN ORDER OF PREFERENCE**

Christopher Robin is my most anticipated movie of all time.

1. Christopher Robin
2. Under the Silver Lake
3. Widows
4. The House That Jack Built
5. First Reformed
6. Climax
7. First Man
8. Lean on Pete
9. Thoroughbreds
10. Hereditary

...plus 27 more. View the full list on Letterboxd.

1. Caché
2. Amour
3. The White Ribbon
4. Funny Games

It's going to get removed, but I just want to write something...

you know?

• Beforel Orel: Trust
• Adult
• Swim

This is a club where all are devoted and require a TOP 100 list from heathen-like LB : Orfeas.

He has not been following his duties as creating it. So, as a group of people, we must apply force!

Definitions:

Daily Prayer- when one habitually each day posts 1 comment on orfeas' page saying one of these mantra- #Pray4TheTop100 #Where'sTheTop100 #OrfeasIsABadLischter #Death

Here are the positions: I am the pope.

Wanna be a priest? You must...

1. Have participated in daily prayer for five days.

Wanna be a bishop? You must...

1. Have participated in daily prayer for ten days
2. Have written a 300-word essay about how Orfeas will never submit his list
3. Like all of the Pope's reviews and all of the priests reviews

Wanna be archbishop? You must...

1. Do the 3 things a bishop must do (refer to Bishop Laws)
2. Be the best of the bishops! Once three bishops have been established, archbishop will be chosen!

• Raging Bull

  Bobby Target

M R A Z I Z W I L L F L I P O U T

(infinity war review coming soon)

1. Synecdoche, New York
2. Doubt
3. Burn After Reading
4. WALL·E
5. Frost/Nixon
6. The Dark Knight
7. Iron Man
8. Ghost Town
9. Ponyo
10. Slumdog Millionaire

This is merely an announcement that Bobby Target will release a new list consisting of his deep intricate history on the LB site in accordance to his anniversary coming up.

Coming soon.

• Raging Bull

Yeah, yeah.
the final fight scene in Incredible Hulk is cinnnnnnnnnnneeeeeeema

1. The Avengers
2. Avengers: Infinity War
3. Iron Man
4. Guardians of the Galaxy Vol. 2
5. Guardians of the Galaxy
6. Spider-Man: Homecoming
7. Captain America: Civil War
8. Captain America: The Winter Soldier
9. Avengers: Age of Ultron
10. Iron Man 3

...plus 8 more. View the full list on Letterboxd.

2014: Ranked

If you can, please tell me some suggestions

1. Birdman or (The Unexpected Virtue of Ignorance)
2. Whiplash
3. The Grand Budapest Hotel
4. Gone Girl
5. The Lego Movie
6. Boyhood
7. Nightcrawler
8. Love & Mercy
9. Interstellar
10. Inherent Vice

...plus 30 more. View the full list on Letterboxd.

ADAM.

God created man in His own image, in the image of God He created him. The first man Adam became a living being. The last Adam became a life-giving spirit.

EVE.

Cinema, because it was taken out of Man. God saw that although Adam was in a state of perfect innocence, it was not good for him to be alone. It would be good for him, spiritually, intellectually and socially to be with cinema. He needed someone to love and bear his crude and lifeless expression since the command had gone forth “to multiply and replenish" the earth.

THE FRUIT.

They will eat forever, and will tempt us all forever. God can't touch Adam, coz Adam is our new immortal. ADAM KILLED GOD

GOOD STUFF: PUNCH-DRUNK LOVE; THE MEYEROWITZE STORES (NEW AND SELECTED)

GUILTY PLEASURES: PAUL BLART: MALL COP; THE HOT CHICK; REIGN OVER ME; CLICK; HERE COMES THE BOOM; GROWN UPS

I know Adam when u f cinema: u really like that. But bih, it's time to stop.

1. Punch-Drunk Love
2. The Meyerowitz Stories (New and Selected)
3. Paul Blart: Mall Cop
4. The Hot Chick
5. Reign Over Me
6. Click
7. Here Comes the Boom
8. Grown Ups
9. Airheads
10. Billy Madison

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

Rare LB item: Let's catch them all!

• Blue Velvet

**THREAD TO EXPLAIN THE IMPORTANCE OF GEORGE AND HIS BODACIOUS BEAUTY AND HIS IMPORTANCE TO HUMANITY**

George is god. We will talk about how good George is!

You can:

1. Contribute statues, paintings, and artistic expression of George
2. Praise George through the comments
3. Sign here (https://bit.ly/2Kv1SNL) to give us money to the movement
4. Post reviews which reference George
5. Sign up to be a bishop, archbishop, saint, or priest. Bobby Target is the pop

• Love, Simon
• Singin' in the Rain
• Millennium Actress
• The Life Aquatic with Steve Zissou
• Isle of Dogs

HEY IDIOT, LOOK AT THE DESCRIPTION

Hey guys, it's Mr. List, returning for another WHICH ONE IS THE BEST

Choose your top three picks out of these 20 films. #1 choice gets 3 votes, #2 gets 2 votes, #3 gets 1 vote. duh

It is NOT a requirement to have seen all the films in this list in order to vote.

I am the Da Vincent of the list-making biz

*ALSO, NO-ONE CAN CHANGE THEIR VOTES ONCE CASTED*

1. There Will Be Blood

   20

2. La La Land

   19

3. Whiplash

   15

4. Magnolia

   12

5. The Master

   11

6. Inception

   9

7. Memento

   8

8. Inherent Vice

   8

9. The Dark Knight

   6

10. Phantom Thread

    6

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

uhhhhhhhhhhhhhhhhh

I am such a pleb

1. Good Time
2. The Meyerowitz Stories (New and Selected)
3. The Square
4. The Killing of a Sacred Deer
5. You Were Never Really Here
6. Okja
7. The Beguiled

I made a discussion a month ago about if Infinity War could be the most profitable movie of all time: lot's of no-s. And I am just curious: Infinity War has the highest opening weekend gross of all time. OF ALL TIME. Does this change anyone's predictions or nay, still not going to be the highest grossing film of all time...

VOTE IN THE COMMENTS BEACHES

• Avengers: Infinity War
• Yes
• No

I'M BACK

1. Spider-Man 2
2. Spider-Man: Homecoming
3. The Amazing Spider-Man
4. Spider-Man 3
5. Spider-Man
6. The Amazing Spider-Man 2

Films that will qualify:

1. have a dreamy allure
2. outwardly express itself as an illusion, or can interpreted as an illusion
3. the film is a dream
4. EXTREMELY abstract events happen which are metaphors and are used for symbolism
5. Basically: unsure if the atmosphere and the world is reality or a dream

NO FANTASY FILMS

Name me some films...

• Mulholland Drive
• Eyes Wide Shut
• Sucker Punch
• The Holy Mountain
• Persona
• Eraserhead

  Cineseth

• The Seventh Seal

  Victor Cannel

• The Master

  Victor Cannel

• Enter the Void

  Victor Cannel

• Wild Strawberries

  Victor Cannel

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

Ever had someone on this site who never follows your recommendations? These people are NOT ALWAYS IN FAULT, but you know: it's sad. I asked ML to watch Spring Breakers, and Orfeas to watch Mulholland Drive.

SO here's what we shall do: this is the campaign HQ for asking other LB s to watch and review certain films.

We must probe, we must ask, we must remind: this is the purpose of the HQ.

CURRENT MISSIONS

Orfeas- Mulholland Drive
MasterLundegaard- Spring Breakers
Bobby Target- Possession, A Brighter Summer Day
Like, Basically Everyone- Millennium Actress

Have others who have done similar activity? Comment below, and you will be acknowledged.

of The Movement

1. Bobby Target
2. Owen The Owl

• Mulholland Drive
• Spring Breakers

My birthday was April 15th. Alex Kar knew about it, but I did not publicly announce it and show off to others because I was not in the mood. I am in the mood now.

Also, I hit 300 followers

Questions?
Concerns?

Babes: I love yall.

• Raging Bull
• Bowfinger
• Good Time
• Mulholland Drive
• Ghost World
• Sixteen
• Birthday
• 300

DEBATE, DEBATE, DEBATE!!!

Vote yes or no in the comments, and plz explain why.

• Avengers: Infinity War
• No

  5

• Yes

  2

My problem: Quiet Place has been chosen by my pals on this site as the film I will watch for my B-Day. But...I personally want to see YWNRH. SO HERE IT IS: ONE POLL TO DETERMINE THE FILM...

• You Were Never Really Here
• A Quiet Place

yeah

1. The Incredibles
2. WALL·E
3. Finding Nemo
4. Ratatouille
5. Up
6. Monsters, Inc.
7. Toy Story
8. Toy Story 3
9. Inside Out
10. Toy Story 2

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

ClimaxDome seems to have left us 4ever

• Climax
• Mad Max Beyond Thunderdome
• I
• Captain America: Civil War
• Sorry

Call Me By Your Name and Hot Summer Nights

Hot Summer Nights and Inherent Vice

• Call Me by Your Name
• Hot Summer Nights
• Inherent Vice

yessssssssssssssssssss

MISSING: Leto, dir: Kirill Serebrennikov; Capernaum, dir: Nadine Labaki; Asako I&II, dir: Ryusuke Hamaguchi; Ash Is Purest White, dir: Jia Zhang-Ke

Give me some likes for this...

Any predictions???

• Everybody Knows
• The Image Book
• BlacKkKlansman
• 3 Faces
• Cold War
• Happy as Lazzaro
• Under the Silver Lake
• At War
• Sorry Angel
• Dogman

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

Yeah, I am not longer a Piglet. And now I will never be a piglet. I was burned by the sun: that's what happens when you stay outside! *sigh*

name some films with bacon in them, since that is what I will be forever now...

😢

• Canadian Bacon
• Bacon and eggs