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"You all accepted me way too fast, you can't do that! You made me feel too free."

The insanely rare film that features both some of the year's funniest scenes and some of the year's scariest scenes.

Kind of a litmus test for empathy. There is clearly so much wrong with Craig, but if you can watch this and still resent him because of his issues, then you aren't really interested in seeing him improve. I don't think it would be fair to call Craig a bad person; he's just so desperate to be liked, and so incognizant of social cues, that he genuinely doesn't realize the repulsiveness of his behavior. Ostracizing and demonizing him only further inhibits him. This is a devastatingly truthful film about how it feels to not understand something that everybody else seems to understand.

A24 ranked

I suppose this must be a really fascinating narrative experiment for those who are already highly invested in Jia Zhangke's filmography, but otherwise, it's too impersonal and arbitrary to leave any emotional impact.

Final Destination ranked

Disappointed to say that I didn't love this.

More than any of the other Final Destination films, this one really focuses on telling a comprehensive story, spanning generations and depicting both the origins and endings of certain characters. But this franchise was never successful because its stories were so compelling, it was so successful because it's just really fucking cathartic to watch disposable characters killed in inconceivably absurd ways. Compared to the other entries, the pacing here is much slower; too much of the runtime is dedicated to establishing context and developing story arcs, rather than just allowing the characters to navigate this labyrinth of carnage.

It feels like this was an earnest attempt to transcend the trashiness that this franchise is notorious for (as is the case with many franchise reboots as of late), but when it comes to Final Destination, that trashiness is a feature, not a flaw. You could, hypothetically, create a Final Destination sequel that is genuinely elevated. You could keep the gist of the formula but imbue it with a style of horror resembling that of Ari Aster or Lars von Trier (or whoever your ideal horror directors are). But until you do that, I think it's best to keep Final Destination trashy.

Final Destination ranked

Just my luck that earlier today while scrolling Twitter, I came across a viral tweet that spoils the big twist at the end of this film. Not that it's a problem that they're posting spoilers of a film from 2011, but what are the chances that I happen to see that on the same day that I planned on watching the film?

The kills here are some of the best, particularly because they pervert so many innocuous details of our modern world: acupuncture, acrobatics, loose screws, floating bridges, LASIK eye surgery. I seeing the trailer for this film as a kid and being haunted by that image of a gymnast flipping barefoot onto a screw.

The only reason that I didn't like this more is because it's missing that 2000s charm that I love so much about the earlier entries. This one feels distinctly like a product of the early 2010s—with its racial and sexual provocations, as well as its character archetypes—and it's since aged less fashionably than the first few films.

Sure, this movie is pretty awful. But also, it does give us some incredible lines of dialogue, such as, "We just lost a really hot MILF." And, "I've been trying to kill myself all day!" So it all kinda balances out.

I knew going in that this one was supposedly a massive downgrade from the others, but I was still surprised to witness just how unbelievably lazy it all is, from the kills to the script to the visuals. So many of the kills just make no sense whatsoever. Like, one guy dies just from falling backwards onto a broken wooden plank? I don't think that would even cause a serious injury, let alone death. It would just hurt pretty badly. But yet it impales him somehow??

This really does feel like an early 2010s YouTube parody of a Final Destination film. What happened?

Compared to the previous two: a tighter script, more inspired direction, more gruesome kills, an actually interesting antagonist, and finally utilizes the R rating for more than just violence. The musical cues are fun, and make me wish that the previous entries had better soundtracks. These films are so quintessentially products of the 2000s, it feels like a real missed opportunity for them to not take advantage of that era's musical zeitgeist.

Most of this is better than the original, especially when it comes to the kills, though the character work here is definitely inferior. Individually, each character is fine, but I think it was a mistake having the central cast all be strangers to one another. The interpersonal drama between the survivors is one of the best aspects of the first film, and that dynamic is sorely missed here.

Aside from that, I really appreciate the way this film extends upon the storyline of the first film.

I can never get enough of that late 90s/early 2000s charm. Maybe I'm just not looking in the right places, but it feels like none of the films made nowadays have that balance of earnestness and corniness that Final Destination and similar turn-of-the-century films do. (Was Twilight the last of a dying breed, in that regard?) You could just classify it as camp, but I do think this film in particular (maybe not so much the sequels) is too dramatic to truly be considered camp.

Instead, I'd say this film is more of an elegy taken to stupidly farcical heights in order to better appeal to angst-ridden teens. At its core, it actually sort of works as a case study on survivor's guilt after a mass casualty incident. But a film like this could only ever be taken seriously at a time when bands like Linkin Park, Evanescence, and Three Days Grace—in all their angsty sincerity—were at the forefront of pop culture. A culture in which the only thing considered pretentious was pretense itself.

If only more movies could be as unabashedly histrionic as this one.

An of one of this generation's most fervent sociopolitical moments, told with a proportionately fervent cinematic voice. Does an excellent job at counteracting the mainstream narratives regarding antisemitism on college campuses—which was always bullshit—as well as other apocryphal perceptions about the Palestinian youth movement.

It is worth mentioning that SFSU was the first ever university to successfully divest from Israeli weapons manufacturing. The first of many, god willing. Direct action works.

This review may contain spoilers.

Somehow, season two of The Last of Us isn't the only project released in April 2025 to feature Pedro Pascal playing a character whose past actions of killing somebody's father eventually catch up to him...

A wholehearted amalgamation of various film genres and subcultures—80s martial arts cinema, comic book cinema, Blaxploitation, antifascist punk rock, Bay Area hip-hop. Didn't love the first two chapters, which felt amateurish and inconsequential, but after that, each chapter is better than the last. I don't normally enjoy films as intentionally cartoonish and absurdist as this one, but seeing it surrounded by such a lively crowd really elevated the experience for me. The crowd turned this into a party.

It was also really special to see this in the actual theater that is so prominently featured throughout the film. I'd assume this film isn't as exciting for those who don't have a personal connection to the East Bay and its culture, but for those of us who do, it feels something like a small celebration. It's nice to see a new movie that lets itself have so much fun.

Couldn't stop noticing how the main skinhead looked like Evil Nikola Jokić.

"We got through the night. It was a tough night."

Although there is not really anything to say about Gena Rowlands' spellbinding performance that has not already been said before, it is still a feat worth talking about and celebrating. Among the multitudes of nuance within her performance, what I was most struck by this time around is her ability to communicate what it is to be uncommunicative. Throughout the film, you can see in Mabel's facial expressions the coexistence of both resistance and resignation. She so achingly wants to scream out against her authoritarian husband (and likewise, her mother-in-law and the psychiatric doctor too), but also knows that doing so would only further inflame her situation. This is, essentially, a film about the complete absence of self-control, illustrated particularly through Rowlands' masterful control over her craft.

Really could have used some more source footage—more showing, less telling. Aside from one significant narrative derailment that is never justified, this is a fun documentary about a story that would probably be impossible to believe if it weren't actually documented.

Feels to me like a long-winded expression of one Hollywood star's tragic downfall. A life of exploitation, only to be exploited in death too.

That aspect of Inland Empire is a great film. It's the excess of additives that obscure, not deepen, the nightmare at the heart of this story. Nonetheless, Lynch's eccentricities and creative ambitions are fascinatingly irable. Whether or not they are enjoyable is irrelevant.

Starts and ends strong, but weighed down by a lackluster middle hour. Bong Joon-ho consistently creates uniquely stunning action set pieces—no denying that. Where I find him lacking is in his humor and his narrative efficiency. He's a proficient enough writer-director that his films are never unfunny and never boring; but they are, however, never quite hilarious and too often bloated.

Still, this film is a great example of what tentpole sci-fi can be, when it's not being bogged down by the shackles of YA slop. I'd be happy with more blockbusters as good as this one.

2020 ranked

This deserves more viewers.

"I grew up knowing that any one of us—my mom, my dad, my sisters—could be basically kidnapped by the government."

A very smart, effective blend of documentary footage and dramatized reenactments to tell the story of a small group of amateur immigrants' rights activists working to prevent low priority deportations. Tragically more relevant now than ever; a follow-up is much needed.

"You'll never have me."

A firsthand exposé on absolute evil.

An air of despondency filled the theater as the credits rolled. After several minutes of collective speechlessness, applause finally broke out. I've seen a handful of heavy films in theaters over the years, both fiction and nonfiction, but I've never experienced a crowd reaction quite like the one I witnessed tonight.

As did Alain Resnais' Night and Fog, No Other Land will someday go down in film history as an essential documentation of a genocide. However, it is worth noting that by the time Resnais' film had premiered in 1956, the Holocaust was over, the Jewish people liberated. There is a unique anguish in watching this film and knowing that the horrors depicted have only continually—and exponentially—worsened since it was made.

Why did Alex Garland make this film? And why did A24 choose to distribute it?

I felt it was necessary for me to attend an advance screening of this film in order to get ahead of the discourse. I thought that Alex Garland's Civil War was actually an incredibly visceral portrayal of war that benefited—not suffered—from its ahistorical setting. But like everyone else, I was very apprehensive about this film when its trailer first dropped. Still, I gave Garland the benefit of the doubt, trusting that this would not be just another dead-end film about how brave the US military is. I hate to say it, but this film is exactly what it seems.

It functions solely as a recreation of a 2006 Navy SEALs operation in an Iraqi village. There are no characterizations, no narrative arcs, and (aside from the very first scene) no moments outside of the action. It is a 90 minute Call of Duty mission.

Its real offense, however, is its implication as a story about bravery and heroism. Let's be clear: the Iraq War produced no American heroes. America's invasion into Iraq is one of the most sinister blights in American history—a haunting exemplification of manufactured consent. The film asks us to sympathize with the brutality of warfare that these Navy SEALs endured. But none of the soldiers who partook in this war were forced to do so; there was no draft. They volunteered. Knowing this, my sympathies lie not with the American soldiers—they are victims of nothing but the consequences of their own actions. My sympathies lie with the Iraqi children who had their homes invaded, demolished, or bombed throughout those eight years. My sympathies lie with the mothers and fathers who have buried generations of children at the hands of American imperialism. My sympathies lie with the Arab-American community who have long endured demonization and violent xenophobia.

The film features an epilogue of behind-the-scenes footage on set, wherein the real people these characters are based on consult with the cast, helping them more accurately perform their role. There is also a photo montage of each character alongside their real life counterpart (some faces blurred, curiously), as if to honor the legacies of these soldiers. I wonder if the director(s) still would have presented such a montage had this been a film about the Abu Ghraib scandal.

There is an interesting film in here somewhere—it features the Iraqi civilians as the main characters, not the US soldiers. The film periodically reminds us that the war indeed impacted innocent civilians too: the Navy SEALs designate a civilian home, occupied by a mother and father with young daughters, to use as the base of their operation. The Iraqi family, whose house is left decimated and bloodstained by the end of these 90 minutes, are the most interesting aspect of this film. And yet, they are an afterthought.

A24 ranked

"Brother, we're here to become human again."

It's hard to come back down to earth after watching this; a film of such fervent empathy and hopefulness. It is staggeringly life-affirming. To live every day shackled at the feet, and to find a way to dance nonetheless. This film exists as a rebuttal to the cynical cruelty of our present society.

(Followed by a post-film discussion with two formerly incarcerated gentlemen who were participants in the Rehabilitation Through the Arts program.)

A24 ranked

I think what makes David Lynch's films uniquely scary is that the horror is grounded in humanity—be it the dark thoughts of a deeply jealous man, or the perversions of a rich, powerful boss; or the thought that someone could commit unspeakable evils one night but not it by the morning.

David Lynch understands well that the greatest horrors are those deep within, and all around us.

Cute! I liked that the big redhead guy had his little clay dick out in almost every scene. The part where they exit the hotel and everything in front of them is completely enshrouded in fog was unreasonably scary... the fog is coming!

Kind of like Toy Story for adults, I guess. There's definitely something here, but it's too unfocused and scatterbrained, and ultimately feels like a stop-motion animator's acid trip.

Didn't care for this one.

Eavesdropping on the audience after all the shorts finished screening, and two ladies behind me were discussing the Best Picture nominees. The first lady asked the other about Anora, who replied that it overindulged on nudity and sex scenes. The first lady then asked the second lady what her favorite of the nominees were. Emilia Perez, she said.

The general moviegoing population is so fucking cooked, man. I hate it here.

Maybe a beautiful film, but too much of it went over my head. It feels very steeped in Iranian culture and/or literature, and it all moves so fast that it's hard to grab onto everything that takes place.

This art style is weird because for some subjects it looks ugly and for others (the puppy!) it looks incredibly cute. I really liked the premise of this and would love to see somebody like Kogonada, Hirokazu Koreeda, or Wim Wenders make a feature film about it.

This takes a few minutes longer than it should to get going, but by the end, it really leaves an impact. Wisely integrates nonfiction elements to express the severity of its messaging.

The annual short film that tackles a timely sociopolitical topic but doesn't really add anything to the conversation. This won't change the minds of anyone who isn't already vehemently against America's fascist deportation modus operandi, but maybe it will enlighten those who don't realize just how senselessly cruel this system is.

Of all the Oscar nominated live action shorts, this was the only one that had some imagination to it. It starts off more interesting than it ends up, but overall, it works. A good companion piece to Companion.

Underwhelming; it builds up to not much at all. The writing was also a little too cutesy for me. It'll probably win the Oscar due to it being a Netflix product.

Feels more like a scene from a full-length film taken out of context, rather than a self-contained short film. But not bad as an exercise in tension.

Visibly shook my head when this was revealed to be based on real events. This is one of the last films you want to find out is even remotely a true story (though who would ever dare to come up with such a nightmare on their own?).

I have a lot of iration for any film that tries to capture the absolute depravity that humans are capable of, especially when they somehow manage to do so as elegantly as this film does. The Girl with the Needle is a beautifully rendered film of unspeakable horrors; it is a testament to director Magnus von Horn's filmmaking prowess that it never feels like punishment to sit through.

I feel like this would play much better to somebody who isn't exhaustively familiar with GTA Online, because maybe that way it would have been surprising or more amusing to see everything play out. But for me, and likely most of this film's target audience too, I actually found it frustrating to watch just how constraining the (then) nearly decade-old GTA Online environment presented itself to be. Though, for somebody from an older generation who hasn't played GTA Online (or similar video games), maybe it would be amazing to simply discover that something like a theater community can take shape inside a virtual world.

Felt a sudden urge to watch this while it's still in theaters because as of this month, I've developed a newfound obsession for Sophie Thatcher. Hello, new Female Fixation. Desperately need her to work with a serious director... and hopefully a more attractive scene partner, too (a woman, pretty please?).

A mostly fun movie that is held back from actual greatness by its grating writing. The dialogue and characters are uninspired and unconvincing; the plot details and themes are shaky at best. This wants to be a film about women's liberation, the commodification of women's bodies, the soullessness of pro-AI tech bro incels, and what it means to fall in love; but none of those themes hold any weight when the vehicle delivering them is a comedic action-thriller that feels just slightly too good to be a Netflix original. For a film to actually make a statement on such themes, it would probably need to be a much sadder picture—something like Spike Jonze's Her. But Sophie Thatcher's presence alone is enough to make this a fun watch.

One of my favorite movie posters in a very long time.

I wish I knew beforehand the historical context of this film because the audience is clearly expected to. But still, a story like this really should have hit harder. The emotional intensity is oddly mild for what is, in reality, a devastating story. Structurally sound and thoughtfully crafted, but lacking the artistic interiority needed for it to transcend typical nonfiction territory.

Despite Kristen Stewart genuinely being my absolute favorite person in this world, I had gone all this time never having seen her most popular movie. Almost would have preferred seeing it alone, but I could never say no to seeing any Kristen Stewart film in theaters. Not to get too sentimental, but it was kinda beautiful to watch this and reflect upon how far she's come, and how much she's evolved as an actress and artist.

It was hard for me not to smile often throughout. From the angst and moodiness, to the diegetic inclusion of Paramore's "I Caught Myself," to just being able to stare at Kristen Stewart sulking, there was no chance I wasn't going to love this. Comparisons to Bones and All—another film about forbidden love—ran through my head.

I have no idea what I would want from the sequels, but I'm interested in eventually finding out what else is to come.

Kinda business malpractice to market this as some super spooky haunted house horror, when in reality it's a pretty tame supernatural drama. Even the film itself doesn't quite know what it wants to be, but all of it is entertaining enough that it doesn't really matter.

This film features a major cinematic pet peeve of mine: the son and mother act way too friendly with one another. Why the hell is he telling her a story about how his friend at school manipulated and sexted with this girl, and then their friend group all ed in to embarrass the girl about it? And the mom is like, super engaged in the story?? Strange ass family dynamic... Genuinely the most off-putting moment in the film.

As is often the case, Todd Haynes did it better.

Like walking into a towering art museum only to find that it is surprisingly barren inside.

This film is as European in its formalism as it is in its subject matter. It shows a great sign of evolution from director Brady Corbet's nearly decade old debut film, The Childhood of a Leader, but also signifies a real leap in maturity from his previous film, Vox Lux, which is a work so creatively provocative that it would end the careers of most directors brave enough to make it.

However, I'd be lying if I said this, when taken as a whole, feels like a proportionately impressive step up from Corbet's previous work. Whereas Vox Lux feels like a film made by a manic, vain pop star—as if its protagonist was behind the camera all along—The Brutalist resembles something like the creation of a historiographer. Personally, I'd much rather attend the pop concert than the history museum.

Pretty much exactly what I expected. The film itself is fine, albeit typical, but I've just never been a Bob Dylan fan, so I was hardly interested.

Timothée Chalamet's performance felt a little awkward to me. I'm assuming that it's actually quite accurate to how Dylan really was, but that doesn't stop me from feeling that something's off about it. It seemed like Chalamet was straining himself throughout the entire film, trying to recreate Dylan's hoarse voice and tense facial expressions. It felt forced, like somebody doing an exaggerated imitation of Dylan, rather than how Dylan might actually present himself in the comfort of his own home.

I missed Elle Fanning, she looked so gorgeous with that strawberry blonde hair.

Elisabeth Sparkle's The Wrestler.

My favorite thing to do when in Vegas is to walk around alone late at night and observe the people around me. It's fascinating to consider how the entire purpose of the city—sex, booze, drugs, gambling, performances—is designed to deliver quick spurts of dopamine before its visitors return to the sobering real world. It's a theme park consisting of the most superficial, unfulfilling luxuries. Beneath all the glitz and glamour, there is an excess of loneliness imbued throughout the city.

This film does well to highlight that reality of Las Vegas.

"Even in my dream I become aware that I'm only dreaming it. And the overwhelming joy is clouded by anticipation of awakening."

Perhaps someday, the line between dream and reality becomes absolutely blurred.

"I hear your voice all the time. Every man has your voice."

You can try and outrun heartbreak, but you'll find that eventually it becomes you.

"What is this insufferable darkness?"

In my headcanon, this is actually a story about a woman's suicidality being so severe that it pushes away her lover and destroys the world around her. Lovely Christmas movie.

Rooney Mara is so ridiculously attractive in this that I feel like I'm sinning whenever I look at her. Like, seeing somebody or something that beautiful should only ever be done at a holy site, like the Sistine Chapel or the Mecca. 500 years ago, people would risk their lives voyaging across the globe just to get a glimpse of a woman as gorgeous as Therese Belivet. I feel guilty—gluttonous—just seeing her on screen. If there is a limit to how beautiful something can possibly be, Rooney Mara has defined it.

Favorite films

"If you men only knew."

In an oeuvre of work that transcends exhaustive analysis and comprehension, Eyes Wide Shut is without a doubt Kubrick's richest film. For whatever is said about this film, there is always more to say, more to consider—no interpretation is invalid and no detail is too slight. As for me, I prefer the film most of all as an introspection of one man forced to reckon with his most primal, carnal urges; to reconcile with the realization that he is so viscerally disgusted by the very same thing he craves the most. The definitive film about psychosexuality and masculine insecurity.

The greatest opening shot in film history; seeing it on the big screen awoke something in me.

Favorite films

I really respect what this is going for—in concept, it's the type of film that I desperately wish I could watch—but it's clear that this is a case of overambition. It encomes so much but grasps so very little.

Roger Ebert:

Either you make an experimental film that cuts loose from narrative, characters and comprehensible cinematography, or you do not. Iwai seems to want to tell the story of his characters, and it could be a compelling one (some of the scenes have are poignant or wounding), but he cannot allow himself to make the film in a way that can communicate. .... There is a movie here somewhere. Shunji Iwai has gone to a great deal of trouble to obscure it.

Luca Guadagnino ranked

Really wanted to love this. Call Me By Your Name was about as monumental as any film can be for me; and every film Guadagnino has made since then has been a masterpiece at best and really good at worst.

There are sparse moments and details I liked, but this felt far too novelistic for me, as if Guadagnino did not even intend for the film to stand on its own. It completely loses me in the third act with a tonal shift that I struggled to reconcile with the rest of the film.

Nonetheless, feeling extremely fortunate that Luca Guadagnino has given us three films within the past 2 years.

A24 ranked

There seems to be an ongoing shared quest among some of today's best working filmmakers to explore the layers of intergenerational trauma. RaMell Ross's Nickel Boys stands closely alongside Barry Jenkins' The Underground Railroad, and Jonathan Glazer's The Zone of Interest in pursuit of this quest. In their own way, each of these films tell us that time does not, in fact, heal all wounds. Nickel Boys specifically ruminates on how the institutional violence of yesterday becomes the psychological damage of today.

We do not simply forget our trauma over time; we bury it, we layer soil atop it. We plant flowers over the graves of our deceased pets, we build homes over the gravesites of our ancestors. The bright Black boys alive today are the descendants of Jim Crow era apartheid, are the descendants of enslaved, brutalized Africans. The unfathomable pain throughout their genealogy still influences their behavior today, whether that be consciously or subconsciously. Only once we excavate our surroundings do we begin to realize just how wide open our scars still are.

My first M. Night Shyamalan film. He seems like a cool director who happens to make films that just aren't for me.

Real video game cinema. There are so many illogicalities, but the result is often so fun that I wasn't too bothered. The third act in particular suffers because the illogicality factor starts to outweigh the fun factor (but also, because it leaves behind the concert setting, which was my favorite part of the film). Some more consideration for the script could have gone a long way.

The most illogical part is that an entire battalion of armed SWAT agents managed to preside over a large concert without killing at least a few innocent civilians, just for fun.

Also, tons of people are just walking around the stadium while the performer is on stage??? No concert is ever like that. Even the daughter does this, and she hardly seems to care that she's missing the show. What's the point of even going to the fucking concert at that point??

2023 ranked

This film hasn't left my mind since I first saw it.

Among many other things, it's a film about growing up and realizing how diverse our world is—throughout the globe, of course, but also just within our own neighborhoods. It's about meeting someone, hearing their story, and being amazed at how completely disparate their life is from yours. It's about discovering others in order to discover yourself. More importantly, it's also a film about how Talia Ryder is the prettiest girl to ever exist, and thus, everybody who comes into with her character falls in love with her. She's going to be a superstar someday, I can't wait. I'm investing in her like she's Apple in 1980.

Everybody in this film wants something they can't have. Lillian is a fascinating protagonist because she doesn't actually know what she wants, she only knows what she doesn't want. She steals other people's backstories just to seem more interesting. In her pursuit towards a less boring life, the people Lillian befriends includes (but is not limited to) a neo-Nazi, Antifa militants, and a movie star. There is no ideological coherency or consistency within her interpersonal networking, perhaps because she doesn't yet understand the world around her enough to be able to develop such a framework. Lillian is representative of the naivety of American youth, in that she cannot view the people around her as manifestations of a set of beliefs, values, and philosophies. Lillian only sees these people as checkpoints throughout her fun little adventure, completely oblivious to anything they stand for. She so desperately wants to be involved in something, to make things happen. Only in the film's final moments does she realize what that might actually look like.

A24 stan but not in the "annoying viral Twitter girl who just discovered what an auteur is" kinda way

1. A Ghost Story
2. Aftersun
3. 20th Century Women
4. Moonlight
5. The Florida Project
6. American Honey
7. Sing Sing
8. Good Time
9. The End of the Tour
10. Hereditary

...plus 73 more. View the full list on Letterboxd.

"I've been trying to kill myself all day!"

1. Final Destination 3
2. Final Destination 5
3. Final Destination 2
4. Final Destination
5. Final Destination Bloodlines
6. The Final Destination

• 2001: A Space Odyssey
• 20th Century Women
• After Hours

  Criterion

• Aftersun
• Almost Famous
• American Boy: A Profile of Steven Prince

  Criterion

• American Graffiti
• American Honey
• Annie Hall
• Annihilation

...plus 180 more. View the full list on Letterboxd.

1. Sound of Metal
2. The Father
3. I'm Thinking of Ending Things
4. Nomadland
5. The Prison Within
6. Time
7. Never Rarely Sometimes Always
8. Promising Young Woman
9. Minari
10. Driveways

...plus 19 more. View the full list on Letterboxd.

all of these are either sad or horny or somewhere in between

1. Dancer in the Dark
2. Taxi Driver
3. A Ghost Story
4. Manchester by the Sea
5. Call Me by Your Name
6. GoodFellas
7. Carol
8. Hoop Dreams
9. Aftersun
10. La La Land

...plus 13 more. View the full list on Letterboxd.

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

this was the best year for film.

1. Manchester by the Sea
2. 20th Century Women
3. La La Land
4. Moonlight
5. American Honey
6. Silence
7. Knight of Cups
8. Certain Women
9. Nick Cave & The Bad Seeds: One More Time with Feeling
10. Jackie

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

1. Killers of the Flower Moon
2. Beau Is Afraid
3. Past Lives
4. The Iron Claw
5. How to Blow Up a Pipeline
6. The Sweet East
7. Anatomy of a Fall
8. May December
9. Oppenheimer
10. Priscilla

...plus 22 more. View the full list on Letterboxd.

1. Aftersun
2. Babylon
3. Bones and All
4. Women Talking
5. TÁR
6. Glass Onion
7. This Much I Know to Be True
8. Triangle of Sadness
9. Close
10. Barbarian

...plus 43 more. View the full list on Letterboxd.

Top 5 are ranked, the rest is alphabetized

1. A Ghost Story
2. Manchester by the Sea
3. Call Me by Your Name
4. Carol
5. La La Land
6. 12 Years a Slave
7. 20th Century Women
8. American Honey
9. Beautiful Boy
10. Before Midnight

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

1. Spencer
2. Licorice Pizza
3. Mass
4. Red Rocket
5. Zola
6. The Worst Person in the World
7. Drive My Car
8. Billie Eilish: The World's a Little Blurry
9. The Souvenir: Part II
10. The Green Knight

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

1. Before Midnight
2. Boyhood
3. Before Sunset
4. Before Sunrise
5. Last Flag Flying
6. Dazed and Confused
7. Tape
8. Slacker
9. SubUrbia
10. Everybody Wants Some!!

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

1. The Irishman
2. Once Upon a Time... in Hollywood
3. Midsommar
4. El Camino: A Breaking Bad Movie
5. A Hidden Life
6. Uncut Gems
7. Portrait of a Lady on Fire
8. Marriage Story
9. Our Friend
10. Her Smell

...plus 54 more. View the full list on Letterboxd.

1. If Beale Street Could Talk
2. Hereditary
3. Suspiria
4. Blindspotting
5. Lean on Pete
6. Widows
7. Beautiful Boy
8. First Reformed
9. Minding the Gap
10. mid90s

...plus 69 more. View the full list on Letterboxd.

1. A Ghost Story
2. Call Me by Your Name
3. Star Wars: The Last Jedi
4. Good Time
5. The Florida Project
6. Song to Song
7. LA 92
8. Phantom Thread
9. The Shape of Water
10. In the Fade

...plus 68 more. View the full list on Letterboxd.

1. Dancer in the Dark
2. Melancholia
3. Antichrist
4. The House That Jack Built
5. The Idiots
6. Dogville
7. Manderlay
8. The Kingdom: Exodus
9. Breaking the Waves
10. Nymphomaniac: Vol. I

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

1. The Virgin Suicides
2. Lost in Translation
3. Priscilla
4. The Bling Ring
5. Marie Antoinette
6. The Beguiled

• Blow Out
• Sisters
• Hi, Mom!
• Scarface
• Carrie
• Obsession
• Carlito's Way
• Dressed to Kill
• Body Double
• Phantom of the Paradise

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

"Making a Scorsese ranking is like: 'Yeah, that's one of the best movies I've seen in my life, seventh place.'"

Many of these I've only seen once, years ago, so my opinion on them is most likely outdated.

*excludes documentaries

1. Taxi Driver
2. GoodFellas
3. Raging Bull
4. The Irishman
5. Killers of the Flower Moon
6. The Wolf of Wall Street
7. Silence
8. After Hours
9. The Departed
10. Alice Doesn't Live Here Anymore

...plus 16 more. View the full list on Letterboxd.

1. First Reformed
2. Hardcore
3. Master Gardener
4. Blue Collar
5. The Card Counter
6. American Gigolo
7. Dog Eat Dog
8. Mishima: A Life in Four Chapters
9. The Comfort of Strangers

1. Star Wars: The Last Jedi
2. Star Wars: Episode III – Revenge of the Sith
3. Star Wars: The Force Awakens
4. The Empire Strikes Back
5. Return of the Jedi
6. Star Wars: Episode II – Attack of the Clones
7. Solo: A Star Wars Story
8. Rogue One: A Star Wars Story
9. Star Wars: Episode I – The Phantom Menace
10. Star Wars

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