This review may contain spoilers.

"Are people born wicked? Or do they have wickedness thrust upon them?"

I like to consider myself as having a wide range of film genres that I enjoy. Movie musicals and musical theatre are actually right up there with some of my favorites. I know that not everyone is into the singing and dancing, but when a musical gets it just right and hits you in the right spot, it's something special. That's what Wicked is here.

Jon Chu has created a dazzling spectacle and reimagines the world of Oz with a kind of grandeur that you don't really see much in film musicals. But, with Oz, you can't do anything but be grandiose. This film is a feast for the eyes from Munchkinland to the Emerald City to Shiz. I will also say that the CGI used here has some of the more solid applications than a lot of films recently. In many movies, I take note of the downgrade that CGI has seen over the past decade and it has a lot to do with the state of Hollywood and film right now. Anyway, that's a separate discussion.

Obviously, this film doesn't work without Cynthia Erivo and Ariana Grande. Now, I will it: When I first saw the casting for Glinda, I was extremely disappointed. For some reason, I've really never cared for Ariana or her voice. I stand absolutely corrected here. This woman is Glinda, or GA-linda as she prefers. The same rings true for Cynthia Erivo and I do take into that it has to be an extremely daunting task.

The Wizard of Oz is one of the biggest films and stories of all time. Even if you've never seen the film, you know what it's about. You know the magic of Judy Garland. You know the terrible conditions that went on during filming of the original. Having to tell a story based on that, which by the way has also been on Broadway for 20 years and has starred some of the biggest names in musical theatre (looking at you, Idina!)? I cannot begin to be in the same universe to understand that pressure.

This was fabulous (I'll let my inner queen come out)! Cynthia Erivo plays Elphaba with such vulnerability and her chemistry with Ariana is nothing short of miraculous. All throughout the film, you're like, "This is the Wicked Witch of the West? The most hated human being in all of Oz? HOW?!" Her rendition of "Defying Gravity" alone gave me goosebumps and I was applauding at the end when she did the new riff.

Stephen Schwartz's score was made for film and the choreography is immaculate. "Dancing Through Life" is gorgeous to watch (along with Jonathan Bailey, God DAMN *sweating*). Certain scenes do feel drawn out and after about the two-hour mark, you're about ready for things to dial down and wrap up. But, this happened maybe once for me.

This film really is the epitome of movie musicals and it rang true in every little musical-theatre-loving gay boy's heart including mine! Can't wait for Part 2!

This review may contain spoilers.

"I get to touch people's lives with what I do and I love it and I want to share this with you."

Chef is a very rare film that blends a ion and love for one's craft with a journey of personal growth that feels very authentic. It's incredibly difficult to give up a stable opportunity for something with risk, but that ultimately might pay off and give us that happiness and excitement that we all crave. It takes a bit to get there, but that is exactly what Carl Casper does, played by Jon Favreau.

It's very rare that I watch genuine feel-good cinema. Literally, throughout the last hour of Chef, I kept waiting for some conflict to occur or something bad to happen. Nope. It just kept getting more joyful and then ended. I really enjoyed that and I think more films should follow suit (not all films because conflict is compelling).

Favreau really shines here as the lead as well as the writer and director in a somewhat "Marvel-studded" cast with some fresh faces. I have to it though that throughout the whole movie, the man has balls. Having Sofia Vergara as an ex-wife and Scarlett Johannson as a potential interest? Okay..

The father/son dynamic is charming and the trip taken in the latter half of the film is just pure joy. It's a little too idealized in some aspects and again, there's literally zero conflict for the last hour of the movie. I also felt REALLY old by some of the references now rather outdated including Tosh.O, Twitter (not Elon's shitbox X), and Vine. Oh, how I miss Vine. But, if you want to feel good, it is a great watch.

Just be sure to have something to snack on while you're watching it.

It WILL make you hungry.

This review may contain spoilers.

"Now I am become Death, the destroyer of worlds."

I was very fortunate to experience this film a few days after it came out in IMAX at an 11:00 PM showing. My partner and I did the "Barbenheimer" thing and saw Barbie the day before.

Before I get into the meat of the film, I will say one thing: This was, by far, the loudest film that I have ever experienced.

Christopher Nolan is quite simply a cinematic savant. In my humble opinion, his films are what the theatrical experience is supposed to be. Oppenheimer is a masterpiece from beginning to end.

First, Cillian Murphy. My fucking God. I have adored this man since I first saw him as Scarecrow in Batman Begins. After that, I plunged into his work starting with 28 Days Later and Peaky Blinders. This man should have every award. He is hypnotic, portraying both the haunted genius and the reluctant prophet in subtle and bombastic ways (ha).

I really did enjoy the two storylines and how they eventually converged. We get to see this sweeping biopic of Oppenheimer's rise and journey to the atomic bomb and on the other side, a political inquisition in black and white. Speaking of the politics, Robert Downey Jr. came right out of Marvel and said, "Fuck you, I can do about anything." This is his finest non-Iron-Man performance and it is so refreshing to see him in a different light (or black-and-white, I guess).

There isn't a whole lot of exposition here which makes things feel much quicker paced, even for a three-hour film. The writing reminds me almost of the "walk and talks" in the West Wing era. It just keeps your attention continuously.

As a music person, I have to talk about the score because it's one that I still listen to on a regular basis. Ludwig Goransson majestically weaves this Olympian narrative into his music, building and building. Probably one of the most audacious achievements is how the film works with silence, amidst all of the noise. During the Trinity test sequence, the sound is completely stripped away. It's almost like you're floating. Then, BOOOOMMM!!!!

The pulsing, showing of light, atoms, quantum physics. Hoyte van Hoytema's cinematography literally makes you palpitate along with everything else. You never know when the actual explosion will happen and when it does, holy hell. Also, thank you Nolan for figuring out how to use IMAX cameras correctly and providing us with this epic.

At a little after 1:00 AM, I sat in the theatre for a few minutes both trying to see if I could hear anything and make peace with what was just burned into my retinas.

What happens when the brightest minds forge humanity's darkest tool?

The world is forever changed.

This review may contain spoilers.

“Killing is distasteful…to me.” 

Ah, Saw V. I watching this in theatres thinking, "Well, damn. This franchise is done." The convolutedness is just quite a lot this time around and it doesn't really work that well.

We open with the Pendulum Trap, which is a cool concept. But, does anyone else watching this get the feeling of just...low budget, B-rate? Billy the Puppet looks pretty worn down and the acting through this whole movie is one of the low points of the franchise.

When we last left the saga, it was revealed that Detective Mark Hoffman is now the "other" successor to John Kramer. If you want my thoughts on this, read my review of Saw IV. Costas Mandylor is...interesting, to say the least. He tries so damn hard to be this menacing guy. He mumbles a lot, he's brooding. The issue though? This man has no charisma whatsoever. Between him and Agent Strahm, who play a game of cat-and-mouse while Strahm talks to himself in random places, it just doesn't work.

This whole movie just feels like a filler. Saw V is an exposition dump and wow, do we get flashbacks! I have to it I am always a fan of the continuity within the Saw franchise, even though sometimes it can seem a little half-assed. Some connections are pretty shaky and it leaves one to think, "Is John Kramer just omnipotent?"

Anyway, the central plot follows these five victims going through a group game, much like the Nerve Gas House in Saw II. But again...none of these people are likable or really that watchable. We've lost the central hook that captivated audiences with the original Saw four movies ago.

That being said, there are some decent traps in this film. Here are my rankings:

1) 10 Pints of Sacrifice - This was a neat concept and I enjoyed the mini-twist of all of them having to work together so that one person wouldn't have to give up half of the blood in their body.

2) The Pendulum Trap - Mainly, I enjoy this one because of the Edgar Allen Poe tale.

3) The Water Cube - Not really a trap, more of an execution. But, this trap became what we think of usually when we think of Saw V.

4) The Glass Coffin - There aren't many movies where we actually get to see the walls closing in and someone ACTUALLY gets smashed. So, I will give Saw V props for that. Sorry Strahm...

5) The Electric Bathtub - I mean...cool?

6) The Ceiling Jars - It was pretty obvious that you can fit more than one person in those spaces. Like, come on.

7) The Neck Tie Trap - Decapitation is always a time.

8) The Shotgun Chair - So, this was Hoffman's test? He had to sit there and cry? Compared to Amanda who was wearing a fucking torture device on her head that could have ripped her mouth permanently open and had to kill a guy in the process, I feel like he got off pretty damn easy. There's quite an inequity in many of these traps.

Idk. Saw V was the point in the life of the franchise where people were basically over it. It is part of the saga and as an avid Saw fan, I will watch it. But, obviously, it is not one of my favorites. Again, Saw V was made so that Saw VI could live.

Also, can we just talk about the sexual tension between Hoffman and Strahm through this whole fucking film? Just kiss already!

Reviews

Saw
Saw II
Saw III
Saw IV
Saw VI
Saw 3D
Jigsaw
Spiral: From the Book of Saw
Saw X

Saw Ranked

This review may contain spoilers.

"Big things have small beginnings."

Happy Alien Day!

The Alien franchise has always held a special place in my heart. I really have to be in the mood for sci-fi usually, but an Alien movie - I can do anytime. So, I thought I'd watch an installment that doesn't get as much attention as the others, but in my opinion, is still a pretty good flick.

Prometheus is beautifully laid out. The cinematography of the sweeping alien landscapes to the interiors of the ship itself looks like it cost a million bucks because it probably did! The detail in all of the alien schematics, big heads, creepy vases, and even the humanoid people is pretty awesome.

Other thing: I am ALWAYS about Michael Fassbender. Compared to many of the ing cast , he gives the best performance in the film as David. The man is creepy, gorgeous, mesmerizing, and so much more. Noomi Rapace, our final girl, is also making strides, even if her dialogue is...umm.. different.

Speaking of dialogue, the script is smart. I'll give it that. But, to me it sort of gets bogged down in its "profoundness." It wants to ask all of the big questions, but it never really GETS there in its execution. Now, the Alien franchise shifts between sci-fi and horror. Therefore, characters are going to make fucking dumb decisions (like taking off your helmet). But, some of the best moments are when it leans into its horror tropes.

The surgery pod scene is probably my favorite in this whole film. Gotta love the body horror magic, giving birth to a GIANT fucking facehugger. But, on the other hand, all of those big questions and story sort of drop halfway through the film to give way to our Alien friends (and a big humanoid guy).

I'm not saying that's necessarily a bad thing. I just think Ridley Scott packed in a lot here and as an audience member, you're not totally sure what to think of everything. Maybe that's the point?

Anyway, a good entry in the franchise. The best? God no. But, it does manage to outshine a lot of dumber sci-fi films.

And again, there's Michael Fassbender!! Come on.

"When no one is to blame, everyone is to blame."

I am not a religious person in any sense. However, over the past few years, I have noticed the incredible strides that have been made by Pope Francis and I was very saddened to hear of his death. I felt that this was an appropriate film to view today.

The Two Popes is a surprisingly spry and humorous conversation not just between these two historical figures, but also between what we are always fighting.

The Past vs. The Future.
Tradition vs. Change.
Conservative vs. Liberal.

Call it whatever you want, but director Fernando Meirelles takes what could have been a very dry history lesson and elevates it into a poignant and intimate character study.

Jonathan Pryce (Bergoglio, the future Pope Francis) plays the figure with such warmth and humility. You feel for this sort of "outsider" cardinal grappling with faith and guilt. The flashbacks to Bergoglio's past in Argentina are beautifully placed, though they slow the momentum a tad, but I'm being nitpicky. Anthony Hopkins (Pope Benedict XVI) is always infallible in his performances. Benedict is shown as a man of conviction and quiet torment. It is a joy to see these two legends herald this conversation.

Even for those of us who may not have the greatest testaments of faith in the Church or humanity itself, this was a fine film.

On a different note, I'm so happy that Pope Francis waited to die just so he could tell JD Vance to fuck off one last time. My hero.

This review may contain spoilers.

"You think it's over just because I am dead? It's not over. The games have just begun."

When this came out in theaters back in 2007, I was very hesitant. For me, this is where the franchise goes into a bit of a rough patch simply because of one fatal flaw that haunts every film after Saw III: John Kramer is dead.

This isn't a case in most horror movies where there's a "GOTCHA!" moment and he comes back from the grave. The film literally opens with his autopsy (cock and balls a plenty!). And, inside his stomach? A wax-covered cassette because why not?!

What follows is a convoluted, time bending rollercoaster filled with traps and flashbacks. The plot centers around Officer Rigg (because I guess we have to go through EVERY police officer), a SWAT guy with a hero complex.

Quick side tangent: As I've done with the majority of the films so far, here is my ranking of Saw IV's traps:

1) The Knife Chair - I LOVED that there was no tape for this. This was just John being John and finding his groove getting into Jigsaw mode. It was also pretty awesome that it didn't fully work because let's be honest.. how does this man calculate everything perfectly?
2) The Mausoleum - You can't see. You're not going to win. Sorry.
3) The Spike Trap - Yay justice for the wife! Fuck that guy.
4) The Bedroom Trap - This one was just very satisfying because of the disgusting nature of Ivan. A double fuck that guy in particular!
5) The Scalping Seat - My head hurt watching this.
6) The Ice Block Trap - Eh.

Even from beyond the grave, Tobin Bell proves that he is the staple of this franchise. His calm and chilling demeanor could probably guilt a nun into confessing something.

Again, the biggest thing that knocks this and others onward down a few stars for me is the time-twistiness. I think that it's a cool plot point that Saw III and IV take place simultaneously, but between the new Jigsaw lore, the FBI interviewing Jigsaw's ex, Rigg's test, the Ice Block situation...there's just too many pieces and not many are executed very well.

Also, can I just say... WHY repeat a twist, especially with a guy that we saw for A SINGLE SCENE in the previous film who looks constipated half of the time? Don't get me wrong. Hoffman has most definitely grown on me over the years. But, I walking out of the theatre like, "Really? Didn't we just do this two movies ago?" Then, come to find out that the autopsy was the last scene meaning that we hadn't gone any further through the film. So, to a viewer like me, it seemed like a waste of time.

I don't know. It's been 18 years since this came out and I still go back and forth on this installment. For me, it's a fine watch (certainly not the worst in the franchise...*cough* Spiral *cough*). But, you can tell that things were starting to fray at the edges a bit.

Reviews

Saw
Saw II
Saw III
Saw V
Saw VI
Saw 3D
Jigsaw
Spiral: From the Book of Saw
Saw X

Saw Ranked

This review may contain spoilers.

"It's beautiful."
"What?"
"Life. So long."

A friend recommended this film to me because of my musical background. I'm not sure if I should be happy or extremely pissed at him for that. By the end of this, my heart was shattered into a million pieces.

Amour is not your typical romance film. This is love boiled down to its rawest, most unflinching truth. As you're watching, you feel as if you're being held hostage by a slow, agonizing heartbreak while at the same time loving every minute.

Jean-Louis Trintignant and Emmanuelle Riva deliver two of the most soul-shattering performances that I have ever seen. Riva, in particular, is transcendent. Her transformation, both physical and emotional, is so natural and searing that somewhere along the way, this stops being a performance. She just is. And Trintignant? He is the embodiment of love as duty, sacrifice, and endurance.

Haneke fucking breaks your heart in the tenderest way in his direction. The camera lingers. The shots are long. The silence stretches. This is what happens when "in sickness and in health" isn't just a line in a vow, but a slow, daily act of devotion that grinds your soul into dust.

For Anne and Georges, the apartment becomes a prison, a battleground, a shrine, a tomb. It's intimate in a way that almost feels invasive - like watching something sacred and private through a keyhole.

Being about musicians, I expected this deep, sweeping score in the background. No. Just the occasional soft classical piece that brings you to tears.

Please be aware: this is not a romantic comedy. This is about our future and for some of us, our present being. Having lost my grandmother to dementia, I cannot imagine a more horrific way to go.

Amour devastates, and you thank it for the privilege.

This review may contain spoilers.

"You see this knife? I'm gonna teach you to speak English with this fucking knife!"

Let me say that I really wanted to enjoy this film, but there was a lot that was lacking for me. It is ambitious, gritty, and there are some frames that look wonderful. But, story-wise? It just didn't do it for me.

There is good here and much of it comes from Daniel Day-Lewis (who I've been on a kick on for a little while now). This man can do no wrong. Every scene that he is in gets a jolt of electricity. He is terrifying and magnetic in so many ways. Unfortunately, he is one of the only good things that I enjoyed here along with the set and costume design, which is exquisite.

Normally, I really enjoy Leonardo DiCaprio. From the bottom of my heart, I do not believe he was meant for this role. It simply doesn't work with what he tries to do. I tried to get sucked into the revenge arc that is supposedly there, but half of the time, he really just looks confused. The accents throughout this whole film are...oof. Also, why is Cameron Diaz in this movie? There is no place for her here and her character is vastly one-dimensional.

Then, there's the runtime. Can Martin Scorsese EVER make a movie that is under two hours? There was no need for this to be as long as it was. At about the one-hour mark, I started to doze off. I was THAT bored. I can think of at least three times where this movie could have ended and honestly, by the time we finally get to the last fight, I really don't care.

Again, there are some neat scenes and I guess Scorsese tries to say something profound about America's violent origins. But, I just feel like nothing is fully fleshed out. We're sort of just meandering throughout this entire film that feels more like a fever dream.

If you like Scorsese, feel free to watch it, I guess. But, for me, this is probably his worst film.

This review may contain spoilers.

"Suffering? You haven't seen anything yet."

Imagine it's 2006. Saw is at the height of its popularity and the tagline, "If it's Halloween, it must be Saw" begins and will continue for another four years. Even with the incredible fan serviced franchise revival of Saw X, this installment remains my absolute favorite in the franchise.

In this third installment, we re John Kramer who is now bed-ridden and dying. Despite this, he still has possibly the most brutal game in the franchise. Like, the entire crew has turned the gore and torture up to 11. Amanda, who has basically taken the reins, is crafting traps for test subjects that are a lot less winnable. The latest victims are Dr. Lynn Denlon who is tasked with keeping John alive by any means necessary and Jeff, a grieving father who is put through an unimaginably brutal obstacle course.

What continues to amaze me about this franchise is the level of the actors involved. This could be just some torture fanfare (and in a lot of ways, it is), but how these actors portray these flawed characters is one of the highlights of this film in particular. Amanda is unravelling more and more emotionally, revealing the psychological toll of being the heir to a man. Tobin Bell is just, mwah! How much skill does it take to make a dying, cancer-ridden old man fucking terrifying? It's an incredible feat.

As always, the story is pretty neat, but the traps are what we're actually here for. Here's my ranking for Saw III:

1. The Rack - This is the most brutal trap in the franchise, bar none. It's hard for me to even watch and I've been pretty desensitized. What makes it so memorable is Timothy Young's screams, cries, and pleas. It's difficult to watch along with..you know.. twistiness.
2. The Classroom Trap - Wouldn't the ones in your feet cause you not to be able to stand if you ripped them out?
3. The Angel Trap - They killed off Kerry WAY too soon!
4. The Freezer Room - God, I hate being cold. Honestly, this might be a more painful way to die than the rack. It'd basically feel like being burnt alive.
5. The Pig Vat - Gross.
6. The Shotgun Collar - Very innovative, but I'm always upset when Lynn dies.

Some loose ends have been tied up, questions answered, and just enough to continue with more sequels.

Saw III is the brutal beating heart of the franchise right before we fell into a bit of a slump with Saw IV. There is a story underneath all of the carnage and for a horror film, it is surprisingly layered in its approach.

The reason it's not a 5/5 here is really two things:

1) Jeff is SOOO SLOW! I know that it's a lot, but please, can we have a little sense of urgency?!
2) The ending. If the franchise stopped here, this would've been one for the books. The culmination of a very unique horror trilogy. But, Hollywood loves money and now we have to deal with a plot point that will haunt us for the next twenty years: the death of John Kramer.

Overall, this third installment deepens the mythology, raises the stakes, and delivers what the Saw franchise has become known for, for better or worse: gore.

Reviews

Saw
Saw II
Saw IV
Saw V
Saw VI
Saw 3D
Jigsaw
Spiral: From the Book of Saw
Saw X

Saw Ranked

This review may contain spoilers.

"I drink your milkshake!"

This film is nearly two decades old. So, how come this is the first time I've seen this? I'm not quite sure, but I can tell you this: the film lived up to the hype.

Never in a million years did I ever think that a movie that has a line of "I drink your milkshake!" would fit into a 5-star masterpiece. Alas, it does. There Will Be Blood is a towering inferno of ambition, greed, and the madness of the American Dream. It is ignited by the very oil that blankets the film and set ablaze by one of the most mesmerizing performances I have seen.

First, Daniel Day-Lewis. I do not understand how this man has not become a God among men. He has built this reputation that if he does a film, it is going to be divine. The man has THREE Oscars and so many more of his few films have been Oscar-nominated. Please know that I have my own opinions on the Academy and I am not saying that winning an Oscar is the "epitome" of anything. But, you have to give credit where credit is due.

Has there ever been a character so damn compelling, charismatic and repulsive at the same time as Daniel Plainview? The silver-tongued oil prospector starts off as this hungry entrepreneur and ends as a hollowed-out husk of hatred in a bowling alley. He is the moving definition of what capitalism and greed can do (not that we need another example in our current day..). The voice, the swagger, the simmering fucking rage - it's all so real and at the same time, so terrifying.

Opposite him is Paul Dano as Eli Sunday, a fire-and-brimstone preacher who may or may not believe in his own gospel. I actually first discovered Dano in a later film, "Prisoners." This is an actor that plays vulnerable extremely well. The scenes between him and Plainview are high-octane, psychological chess matches. What's even more incredible is Dano being on the same level as Day-Lewis. Imagine coming into this film with a known method actor, possibly the greatest of his generation and some would say, of all time?!

The real genius here, though, is how Paul Thomas Anderson directs this beast. Every frame feels handcrafted. Every silence is deafening. This is a Greek tragedy in slow motion - inevitable, painful, and operatic. His setting is raw, brutal, and beautiful. This is in collaboration with Jonny Greenwood's score, pulsating and dissonant. It feels out of place and yet absolutely perfect.

This is a film about what America is and what it pretends to be. Power, obsession, and the rot that festers inside a man who wants everything and cannot love anyone.

This is a film that demands your respect.

Give it.

This review may contain spoilers.

"In the casino, the cardinal rule is to keep them playing and to keep them coming back. The longer they play, the more they lose, and in the end, we get it all."

This is actually one of my father's favorite movies, so I have seen it a number of times. Btw, I completely agree because it is a masterpiece and is classic Scorsese.

I always compare this movie to an opera. It feels like this huge, grandiose narrative and at times, maybe that is its one fault. It attempts to pack so much into its almost three-hour runtime that it can at times become a bit monotonous. But, the actors are so good that you don't really care.

Robert De Niro and Joe Pesci are otherworldly, especially in their almost polar opposite portrayals. On one hand, you have Sam Rothstein being this operator attempting to run a legitimate business (a lot of times in illegal ways) and then on the other hand is this volatile grenade in Nicky, ready to explode at any second. (I have always wondered though... Joe Pesci is like what, 5'4"? Somebody just drop kick him somewhere.) Then we have Sharon Stone who goes completely unhinged as a woman battling this tragic figure caught up in a deeply troubling life. I don't think any role before or any role since has been nearly as good in her career.

The story is magnetic because you as an audience member are conflicted. We all know that this empire is going to fall at some point. The film starts off with the lead guy in a car bombing, for Christs sake! But when you try to balance that with the complete unpredictability of what happens next, you have masterful storytelling which is made even better by Scorsese's trademark direction.

I know that this is often overlooked because of Goodfellas, but (possibly hot take) I'd argue that this is the better film.

This review may contain spoilers.

"Wow, that hurt! That one hurt the most!"

I gotta say... Jack Quaid is becoming my favorite Nepo-baby!

This film is so much fun and it's catapulted by Jack Quaid who is simply one of the most charming actors there is. If he wasn't in this role, I don't think this film would've worked as well as it does. Quaid plays Nathan Caine, a bank assistant manager with congenital insensitivity to pain. This rare condition allows Nathan to endure injuries without feeling them, setting the stage for a high-stakes rescue mission when his crush, Sherry, is taken hostage during a bank robbery.

Something that surprised me about this film is the detail that is used in Nathan's injuries. Scenes where he inadvertently harms himself— such as grabbing a hot skillet or firing a boiling gun— are executed extremely well. The detail in HIS HAND is fucking gnarly and I love it! Getting his fingernails taken out with pliers definitely made me cringe.

Here are my two critiques:

1) The romantic plotline is dumb. I realize that there needed to be something that happened in order to start all of this, but come on dude. You got fucked by this chick ONCE and that's enough to steal a cop car and go on a rampage quest? It's just absurd to me and I wasn't buying it.

2) The "feels no pain" thing gets old after a while. In the first half of the movie, it's kind of cool and I enjoyed seeing him keep going after all of the shit that happens to him. Towards the third act though, it starts to wear thin. Like, we get it! He can't feel pain! Also, he should've died at the end. He was a goddamn trainwreck.

While it may not be perfect, it provides an entertaining ride for those of us who like a little blend of humor and horror. Go ahead and give it a watch!

This review may contain spoilers.

"Those who do not appreciate life do not deserve life."

As I make my way through the Saw franchise, the nostalgia of these early films kicks in. I miss this almost grimy, industrial feel. We all know the original Saw in its twist ending and winding mystery (you can look at my review on that for my thoughts). With the sequel, we start to walk a new path into what these films are known for: brutality and gore.

In the sequel, we start to further explore this character known as the Jigsaw Killer that simply laid on a bathroom floor for an entire film and got up in the last few moments. We don't know a whole lot about him other than the fact that he seems to enjoy putting people in deadly situations.

The story picks up with a group of strangers trapped in a house that are forced to play Jigsaw's horrifying games while Detective Eric Matthews (played by the underappreciated Donnie Wahlberg) desperately tries to find his son, who is also in the house on camera.

Going forward, I'm probably going to split these films into two concepts: traps and story. Let's be real. The traps are what many horror fans come for when watching these films. Here is my ranking of traps in this film:

1. The Needle Pit - This trap is just pure cringe. Amanda is thrown into a pit (without shoes) of tens of thousands of used needles. I just...there's nothing more squirmy feeling.

2. The Death Mask - I'm not sure that I would have the balls to pluck out my own eye to get a key. Would you even survive that?

3. The Furnace - Getting burned alive is quite a way to go. But, I also didn't like Obi, so... eh.

4. The Magnum Eyehole - Let's just start off this whole house trap with a bang! Literally!

5. The Razor Box - Bleeding out sucks and Xavier is a dick, as we know. Addison deserved better.

Honorable Mention: The Nerve Gas House Trap - I always wonder where Jigsaw gets all of these different poisons. Does he just have a supplier somewhere?

Now, onto the story which is really a test in general. Eric's test. The Jigsaw Killer has been caught by the police, or so it seems. We realize quickly that he has the Detective's son, Daniel, and in order for Eric to see his son in a "safe" (hehe) and secure state, he simply has to listen and talk with John. I love this. I love the backstory that we get here about John Kramer. This continues over the next few films, but the growing complexity of John's philosophy is really what stands out here.

The twist is pretty great as well (not as great as the original, although nothing ever will be) and the editing.. OH MAN, the editing! It's just not a Saw film unless we get a head-spinning recap of everything we have just seen, connecting all of the dots together, or at least most of them.

Overall, this is what began to set Tobin Bell on the path to becoming a horror icon with his calm and extremely chilling demeanor. This film is a rarity in horror: a sequel that really builds on what the original provided. It set the tone for pretty much the rest of the franchise and took us in a whole new direction of horror.

Reviews

Saw
Saw III
Saw IV
Saw V
Saw VI
Saw 3D
Jigsaw
Spiral: From the Book of Saw
Saw X

Saw Ranked

This review may contain spoilers.

"Two little mice fell in a bucket of cream. The first mouse quickly gave up and drowned. The second mouse wouldn't quit. He struggled so hard that eventually he churned that cream into butter and crawled out."

I have seen this movie only a few times over the years and to me, it is one of the outliers in Spielberg's career. Out of everything that he has done, it's amazing to me that he made this film.

Each time I view this, I cannot help but be dumbfounded by how easy of a watch it is. This movie is over 2 hours long? Really? It honestly just flies by and it's in no small part due to DiCaprio's stellar performance as well as Spielberg's innovative direction.

The film tells the story of a kid named Frank Abengale Jr. who comes from a seemingly regular white-collar family only to become an expert in fraud. After his father is investigated by the IRS for tax fraud and his mother begins an affair that leads to divorce, Frank Jr.'s life goes off the rails. The quote that begins this review is revisited several times throughout the film and depicts the subconscious nature of our protagonist to be the mouse who never stops. "You can't stop." There always has to be someone chasing him.

What is always striking to me is the depiction of the many systems in general that we have in place and just how, with a little ingenuity, so many of them can be broken. Wasn't this also Jim Carrey in "I Love You, Philip Morris"? The kid masquerades as a Pan-Am co-pilot, a doctor, a lawyer. This had to be so much fun for DiCaprio to play and you can tell that he is relishing every minute of this role. He is one of those few actors who is just notably charming and genuine in anything that he does. We all know how much he was robbed of many awards, including an Oscar, before he finally received one. This performance is Oscar-worthy on all s.

After doing a bit of research, I found out that many of the claims that the real Frank Abengale Jr. made (yes, this is based on a seemingly true story) have been disputed. I can't tell if that is disappointing or if it makes the film that much better.

What Spielberg does in this film, even in just a game of cat-and-mouse, is find the humanity in everything. The agent chasing after him, Hanratty, has quite the switch when he finds that this elusive con man is just a kid. He's guilty, but innocent at the same time. By the way, Tom Hanks is fun. I never get tired of hearing Sherriff Woody say, "Go Fuck Yourselves." The accent, I'll it, has grown on me each time I've viewed this film.

Every frame is iconic and something that I've always noticed about his films: There's a gleam to them. Look at the scene where Frank Jr. is watching Brenda's parents sway to "My Embraceable You" in the kitchen. You see the same thing in "E.T." or "Jurassic Park." I can't really explain it, but it's there and it's wonderful.

There's so much to this movie and I know that I'm skipping over a lot, but as a music lover, I have to comment on John Williams' score. It's so jazzy, sly, and slippery. We all know that this man is a God of film music, but how the hell is he able to just find the exact music needed EVERY damn time? do do do do, snap, do do do....so good.

This review may contain spoilers.

"It's a reason to get up in the morning. It's a reason to lose weight, to fit in the red dress. It's a reason to smile. It makes tomorrow all right."

The amount of despair that I have after watching this film. I don't even want to take an Ibuprofen...

This should be required viewing for any high school student who does anything with drugs. Actually, make that ANYONE who does anything with drugs. Darren Aronofsky, even as a young director back in 2000, is such an evocative filmmaker and creates these beautiful, morose visual landscapes in nearly everything he does. Having lost a family member to a heroin overdose, this hits home in a way that not many other films do.

The film follows four stories: Harry, Sara, Marion, and Tyrone. (Warning: I might be a little scattered in my description.) Harry and Tyrone are addicts who get high together and eventually start distributing. Sara is Harry's mother who wishes to lose weight for a television show that she thinks she will be on. Marion is Harry's girlfriend who shares his predilection for drugs.

Over the past couple of decades, Requiem has become notable for how it shows the process of getting high. Fast camerawork and images show the buying, rolling, filing, snorting, inserting, and wide-eye viewpoints. This shows up in every instance of drug use.

As the film progresses, the thrill and comfort that these characters get from their vices gradually spins out of control. Sara is prescribed "uppers" to lose weight so that she can fit into her red dress. This works out for a bit until her son Harry (who is pretty well-versed in what drugs can do) points out the change in her behavior and warns her about the continued use of these. Not paying much mind, she continues and becomes addicted, slowly mixing pills and beginning to hallucinate. I know that it's not funny, but the refrigerator coming after her is kind of my favorite. It gets so bad that she winds up running out of her apartment and eventually finds herself in a hospital being restrained, force fed, and eventually succumbing to electro-shock therapy.

Just before Tyrone possibly moves up in the line of drug distribution succession, a gunfight breaks out and he is then arrested. For a while, everyone has to lay low which does nothing to help their addiction.

Sara finds that she can get what she needs, but it will come at a cost. She goes from making out with strangers or previous suitors to performing oral sex to being in a group sex ring (and I never want to hear "Ass to Ass" again).

Harry and Tyrone decide to try their luck by going to another source down in Florida. They get about 600 miles on their trip, but Harry has been having quite a few problems with his arm. Namely that it has become gangrenous. Having no choice but to go to a hospital, they get checked out and end up getting arrested. Tyrone deals with a racist system being forced to work in terrible conditions and goes through a horrible withdrawal. Harry is almost done for until the best course of action is to amputate his arm, the very arm that he shot up constantly serving as a constant reminder of his past self.

The intersection of stories, the themes of what is real and what is not, and the blatant fact that addiction really CAN happen to anyone is what makes this film so compelling to watch. It's not really just about drugs, but about all of the vices that we have in life and how strong something can be. Alcohol, caffeine, television, sex! Willpower isn't enough. You need help, we need help.

It is propped up even more by masterful performances from some actors who you wouldn't quite think could handle roles such as this. I do love Jennifer Connolly, but Jared Leto is usually hit or miss for me. I didn't mind him here, but the real star here is Ellen Burstyn who has you feeling so sorry for this poor woman who is just lonely and wanting to feel needed as so many of our elderly do. She plays Sara with a desperation and a longing that makes you want to check on your own mother.

Great film. Depressing as hell. Maybe don't watch more than once (I think this is my fourth time seeing this film).

This review may contain spoilers.

"You are, like, an awesome guy stuck inside the body of somebody who's always running late. And I gotta, like, fish that fuckin' guy outta ya every time I see ya."

Have you ever met someone who just radiated pure joy and happiness? Who made everyone around them feel good? I have and honestly, it can be a lot. You love that feeling of excitement that they bring, but it can also be...really annoying. Maybe because you yourself are unhappy or you know that this person isn't always like this. There's more underneath the surface.

We have these two cousins who get together to tour Poland where their grandmother grew up and survived the Holocaust. Right from the get-go, this dynamic is familiar, but different. Jesse Eisenberg (who also wrote and directed the film) plays a dorky guy, David, and Kieran Culkin is the guy that is the equivalent to a Golden Retriever - happy, ready to go, and explore! I mean, his name is Benji...

I am not Benji in this situation. I am David because it is annoying when you're around someone with those traits and you simply don't have it. It's not you or at least you don't want it to be you for fear of judgement. A good example of this is when Benji has all of the tour group pose around the Warsaw Uprising Monument. One by one, he coaxes them into these poses and continually asks David if he wants to to which David responds that he doesn't wish to participate. Eisenberg is really good at playing these types of awkward and ordinary characters and I very much felt his "pain" throughout this scene and the film.

But, that joy in Benji can only go so far. There HAS to be some moments of grief, of sadness, of mania and that is exactly what happens in little spurts. Suddenly, Benji isn't the popular one and the other tour quickly get annoyed by his very honest, but frenetic manner. There is a scene where they are all having dinner and David gives a speech about how he is tired of Benji's behavior. That scene alone should have won an Oscar. The pulling back-and-forth of emotions and which side to fall on is encapsulating.

Did I mention this is in Poland? The film eventually takes us to where it was bound to: a Nazi concentration camp. There isn't a whole lot said simply because there doesn't need to be. Everyone knows what happened and feels the weight of being there in that space. David handles it as best as you could, but Benji cannot hold it together. How Culkin goes between these episodes is masterful.

The film progresses with just the two of them, leading to asking each other why they don't see one another. The strains of modern life (work, kids, family, etc.) are what have mainly kept David away. Benji seems to be more of a free spirit with a previous suicide attempt which is what spurred the trip in the first place. He doesn't quite know where he fits into the world.

Ultimately, they come together, put a rock on their grandmother's childhood doorstep (really neat tradition), and go their separate ways at the airport. This is a really heartfelt film that explores the intricacies of family, belonging, and acceptance. I have a newfound appreciation for Jesse Eisenberg after this, having only known him from "The Social Network" and "Zombieland" where he honestly just played the same person. He does here a bit too, but it's much deeper.

"A Real Pain" shows us that the little things that we find annoying in others are what make them special. That the real pain is in keeping everything bottled up and not being able to talk to anyone else about what you're feeling or how you think the world should be. There is real pain everywhere, standing right in front of us. We just choose not to see it.

Sidenote: Why did there have to be a feet scene? Like, I get it kind of, but it was just weird.

This review may contain spoilers.

“The church is not the past. It is what we do next.” 

With a lesser cast, this would have been a rather bland film. Ralph Fiennes shines as he does in most everything in which he performs and, in my eyes, was ROBBED of his Oscar.

I've always found the Catholic Church fascinating both in their embracing of traditions as well as their hypocrisy. The Pope has died. Once the Pope dies, you have to take all of his Pope shit back for whoever the next Pope is going to be. Then, everything has to be set up to elect the next Pope in a secret electoral process known as Conclave.

BUT, these bitches are caddy. , the Pope is the ultimate head of the Catholic Church - literally God's right hand guy on Earth. He should be without sin! Well, that's a bit difficult for human beings. And, whether they want to it it or not, everybody wants to be Pope and starts talking shit and spilling the tea on everybody else.

We go through all of these different candidates. Stanley Tucci (who will one day be my husband) is a little too liberal for everybody. John Lithgow (Mr. Lord Farquaad himself) has gotten into some rather questionable shit. Another cardinal had a baby like 20 years beforehand and another wants to bring Latin back and treat the church like Trump's America *vomits.*

Throughout this whole ordeal, all of these questions start popping up about the place of the Church in the world. Should we keep the traditions that have survived over a millenia? How do we navigate our duties in today's crazy world (literally a fucking bomb goes off during the whole thing, so a fair question)? Speeches are given and feelings are hurt.

I do have to comment on the cinematography and the visuals because everything looks incredible. I am a sucker for the "Old World" visuals and it is really neat to see the architecture and "orderly-ness" that is brought to the election. Stephane Fontaine really has outdone herself here and brings you into this world seamlessly.

The ending, for me, is kind of... well, okay. I think it's clever, but I was a tad underwhelmed after all that we had gone through. That being said, I think they picked a great candidate for the job with a very unique perspective. However, in today's world, this is very unlikely to happen. But, it's nice to think about.

In the end, this is a phenomenal film and one that really deserves a watch and some thinking afterwards. I am by no means a religious person (every time I step into a church, I almost feel myself sizzling), but I can appreciate the questions, mystery, and thoughtfulness of a film such as this taking on such heavy material.

“My fucking vulva even hurts just thinking about you.” 

What...ummm...the fuck did I just watch?

I literally cannot even comprehend the last 2 hours and 10 minutes of my life. THIS was Oscar-nominated? FOR WHAT?! Alright, alright, it's fine, I'm good, I'm calm, I'm good.

Ahem. Let's look at this for a moment...

From the moments where I wasn't blacking out, I recall there being strings pulled together that introduced the viewer to a lawyer who is called to Mexico. Rita (the lawyer) meets a prominent drug kingpin who (get this) wants to do whatever possible to transition. There is quite the offensive song about basically "cutting off one's penis?" and after a bit, she is now Emilia Perez. Family is relocated and then after a few years brought back after Emilia encounters Rita.

Quick thing: NONE of these songs are good. Like, this music is bad. Please know if you enjoyed these songs or this film, good on you! No judgement or anything. Maybe I was not the target audience and I can acknowledge that. But, throughout this entire ordeal as a member of the LGBTQ+ community, I thought this was horrible in its "representation." Also, the display of Mexico was disgusting.

Moving on, Emilia decides to open a non-profit with Rita that helps find missing individuals who have (most likely) been killed by drug lords and other criminals. Meanwhile, Emilia is masquerading as a distant cousin and tries to get closer to her children and wife. There's just a lot happening and I'm sorry, but it's just not good.

Also, WHY MAKE THIS A MUSICAL?! What the hell was the point in doing this? What did it add? Nobody here can sing well. The story is ridiculous to begin with and now I have people singing and dancing about dicks being cut off? This is from someone who REALLY enjoys musical theatre!

If anyone wants to explain to me what I'm missing, please feel free. If I did, I genuinely want to know. But, I just could not gather any positivity here. It was just DUMB.

I'm gonna go drink now..

This review may contain spoilers.

“You want to dance the masque, you must service the composer. You gotta sublimate yourself, your ego, and, yes, your identity. You must, in fact, stand in front of the public and God and obliterate yourself.“ 

As someone who has two degrees in music and works as a professional musician for various groups, this was a lot. There has always been a class system in music, especially with regards to the classical world. Lydia Tar is the epitome of everything wrong with classical music and how those in positions of authority end up getting away with so much. This is basically the story of James Levine. 

The first ten or so minutes go through this exercise in intellectualism and ego, discussing the role of the conductor as well as time in music. Cate Blanchett is mesmerizing in her subtle hints of “playing the part.” By this, I don’t mean Cate Blanchett playing Lydia Tar. I mean Lydia Tar playing the role of a normal and well-versed human being when we find out that she is anything but. She is vicious, cold, calculating, and conniving. 

Sidebar: There are, unfortunately, way too many conductors that act like this. The way that she tore down this college student for not liking Bach was a preview into the cracks of her facade. But, there are MANY conductors who honestly would have done nearly the same thing instead of having a discussion with the student and truly listening to his concerns. His concerns are valid and as someone who was a music student, I also had those thoughts. 

Again, Blanchett plays this role to perfection as we see her relationships between herself and her guest conductors, assistants, orchestra , children, and more. EVERYONE is beneath her, and she simply steps on them to propel herself forward. 

As the cracks begin to show and the crimes/accusations flood in, she gets her claws out and goes in the corner. Her tackle of her assistant was obviously the breaking point and one could see this coming from a mile away. World crumbles around you, you fight trying to maintain it. 

This is one of my favorite films because 1) Cate Blanchett just kills it, 2) I love classical music, and 3) it’s real. This is a movie about awareness and understanding that these people are around us in every facet of our lives. They must be held able.

Personally, I think she got off WAY too easy. But, it is absolutely hysterical to me that her “lowest” point is conducting a video game orchestra. And that’s the class system coming in again. To think that appealing to the masses by playing music of popular video games is so beneath you as opposed to the classical music that puts people to sleep. I love classical music, but it is a reality that needs to be faced. We make these things way too hard for the general public to embrace by putting all of these gates up. 

This film sparks a lot of thoughts and discussion for me. See what you think.

This review may contain spoilers.

"They are rich, but still nice."
"They are nice because they are rich."

I've heard a lot about this film over the past few years, but never found much interest in it. Granted, I didn't know what it was about at all. But, I found some time and took it in. Let me tell you that this film was not what I was expecting at all.

To be honest, the first 30 minutes or so really dragged on for me and I was zoning out a bit. As I got further and started to see the pieces of the puzzle coming together, my interest peaked. First, the son got the job, then the daughter, then the father, and then the mother. Thought that's it? Okay.

Nope! Now we get a secret tunnel system and the old housekeeper's husband living down there? From there, everything turned up to 11 and stayed there pretty much until the final party. I can see now why this is such a popular film, but at first was very curious how THIS movie received so many accolades, especially from the Academy. A foreign language/almost bordering on horror film receiving Best Picture?

What I think clenched it was the slow build to absolute chaos and the storytelling involved. Every move that this director makes is because it feeds off of the previous event. There is such a deliberation and control in this film and one can tell that this director is no rookie. A masterclass in suspense and a brave commentary on class systems.

Along with my initial reaction of the first half hour being rather slow (which looking back now I understand why the director chose this), please stop using white-colored subtitles. I am perfectly fine with subtitles and reading them. But, whenever there are white-colored subtitles against a light scene, I can barely read it and I'd like to say that I have pretty good vision. Just pick a different color.

Anyway, not what I thought it'd be. Grateful that I hung in there because it is worth it.

This review may contain spoilers.

“Out of all the men to cheat, you picked John Kramer?” 

First of all, I want to recognize the fact that this is the TENTH installment in a horror franchise and it is THIS GOOD. This should not have happened, but holy shit, am I glad it did! 

Out of the entire franchise, this is probably my 2nd favorite film (behind 3 because let’s be real…it was fucking amazing). 

What separates Saw from other horror franchises is its continued dedication to continuity. At no point has anything been retconned or has Jigsaw come back to life. He’s fucking dead. Going back to between I and II was a stroke of genius. 

The story is brilliant. The first half doesn’t even feel like a Saw film. It’s an homage to Tobin, to John Kramer, to Jigsaw and I am HERE FOR IT. Going forward, it’s Jigsaw basically getting revenge on people who scammed him. Now, I know that there’s a lot about making John Kramer redeemable and the “good guy.” Let’s be clear: He’s a bad fucking person. He’s a MONSTER. This is a serial killer fucking with terrible people. Nobody is redeemable or is a vigilante here.

Okay? Cool. 

The traps are INCREDIBLE and probably some of the gnarliest in the series. Valentina’s entire sequence is fucking brutal and I love it. Mateo’s brain surgery is wonderful in all the wrong ways. The blood boarding trap? John Kramer in one of his own traps? *chef’s kiss* Because we know he survives here. We know both him and Amanda survive until III, but Kevin Greutert is a master and literally has me shaking. There is so much theatricality to these traps and to the franchise in general. I love that he went back to the greens and yellows and reds that the franchise is famous for. I felt like this was in the right spot in the timeline. 

Also, with Amanda, I can’t. I can’t with the hair, the bob, the rat on her head. It’s something. But, Shawnee Smith slays in every direction. This bitch can do no wrong. We get some much needed filler and exposition into her mental state going into II and III. You can tell that the treatment by John of Gabriella and her eventual death by Cecilia fuck with her in a lot of ways. 

Speaking of Cecilia, I fucking hate and love her. Calling John on his bullshit and her getting the upper hand (or so we think) and just serving cunt constantly is my kink. If she isn’t in Saw XI (WHENEVER that happens), I’ll die. 

I could go on and on about this film for days because it simply is an anomaly. Again, a 10th installment should not be this good, but it is. And, with all of the bullshit surrounding Saw XI…if this is the last film we get in the franchise, I’m okay with it. To be fair, we could’ve ended with Spiral 🤮). This was Tobin’s Swan Song and he FUCKING NAILED IT. God, I wish award shows would do more with horror because the depth and emotion that he gives in this film is Oscar worthy. 

I love this film. I’ve watched it so much. The post-credits scene gets me wet.

Thank you Kevin Greutert for this film.

Reviews

Saw
Saw II
Saw III
Saw IV
Saw V
Saw VI
Saw 3D
Jigsaw
Spiral: From the Book of Saw

Saw Ranked

This review may contain spoilers.

“Meow.”

Movies without dialogue, to me, are some of the most engaging. You as the viewer are forced to look at the details in the environment more and really take in all that is happening, all without words.

I watched this with my partner (who is VERY much a cat person) and we both really enjoyed it. I think my personal favorite animal was the capybara simply because he's just chilling in most of the film. The animation style is really quite unique here, all thanks to the Latvian crew who do an incredible job!

There were so many instances where we got sucked in (well, he did more so because the cat was in peril multiple times). But, I really enjoyed the story of having to keep climbing and climbing from this inescapable flooding happening all over the earth. It's a great film about friendship and working together to overcome obstacles.

Gotta say though...was not expecting such bird violence. The bird boss literally gestured to the other birds to hold the main bird's wings down and proceeds to FUCKING BREAK THE WING?! Like, damn!

Please watch this film. It is very much worth your time!

This review may contain spoilers.

“But now isn’t simply now. Now is also a cold reminder: one whole day later than yesterday, one year later than last year. Every now is labeled with its date, rendering all past now obsolete, until — later or sooner — perhaps — no, not perhaps — quite certainly: it will come.”

Time for me to be sad again...

I really do not understand how Colin Firth did not win an Oscar for this film. This man is the epitome of good-looking, intellectual, and sensuous. He is ecstasy incarnate and can do anything to me, especially wearing that suit and glasses. (melts..)

What really stands out about this film is the coloring and more importantly, the very slight changes in coloring. One can tell when he is depressed, thinking about ending it all, reminiscing about his late partner, feeling any sort of way all by the shading displayed.

What must it have been like to be a gay in 1960s America, to be gay now? Imagine having a life with your partner, albeit a mostly secret life. You get this random call in the night from his cousin and he tells you that your entire world is gone. On top of that, you realize that his family doesn't want you anywhere near the service and also you lost your fucking dogs. The melancholy, the somber atmosphere puts you in this place of longing, of wanting reassurance. Of telling George not to kill himself, but also not really blaming him for wanting to.

This was also the first movie that I was introduced to Nicholas Hoult and by God, he is a marvelous actor and is stunning in his own right.

I always equate this to being the definition of a good cry that actually feels good. It's not totally depressing by itself, but it just makes you feel sad and happy at the same time. Sad of all that George goes through and that he's gone in the end, but happy that in the end, he's now with Jim.

Few other things:

1) Julianne Moore is giving everything and I'll always be appreciative.
2) Carlos wants me.
3) There's a dog!
 
Pride Month 2025

Just a list of LGBTQ+ movies that I view during Pride Month. I’ll add them here as I view them. What are your recommendations?

• Firebird
• All of Us Strangers
• A Single Man
• Supernova

This is my ranking of the Saw franchise. Feel free to let me know yours!

Reviews

Saw
Saw II
Saw III
Saw IV
Saw V
Saw VI
Saw 3D
Jigsaw
Spiral: From the Book of Saw
Saw X

1. Saw III
2. Saw X
3. Saw VI
4. Saw
5. Saw II
6. Saw IV
7. Saw V
8. Jigsaw
9. Saw 3D
10. Spiral: From the Book of Saw

Here is my ranking of all of the Final Destination films. Let me know yours!

Reviews

Final Destination
Final Destination 2
Final Destination 3
The Final Destination
Final Destination 5
Final Destination: Bloodlines

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

Just some movies that make me feel a way and think about shit.

I may update as I come across or think of more films.

• All of Us Strangers
• The Fountain
• A Ghost Story
• Before Sunrise
• Before Sunset
• Before Midnight
• The Lost City of Z
• Eternal Sunshine of the Spotless Mind
• Her
• Rabbit Hole

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

Sometimes, I want something that feels or is weird, is visually pleasing, and that will sit with me for a bit after.

I may update as I come across or think of more films.

• Nosferatu
• The Lighthouse
• The Witch
• The Others
• Crimson Peak
• The Witch in the Window
• Let the Right One In
• Mandy
• The Pale Blue Eye
• The Man Who Fell to Earth

...plus 28 more. View the full list on Letterboxd.