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men will cry about the “male lonliness epidemic” and then this is literally them

This would most likely be bumped to a full five stars upon a rewatch but, quite frankly, I will never watch this movie again. My favorite release of 2025 thus far, Bring Her Back is an absolutely brutal, visceral film that sits like a heavy weight on your chest for 99 minutes. 

I truly can’t name anything more horrifying than the loss of a loved one—losing a parent, losing a child—having someone so enshrined in your life and your soul senselessly ripped away from you. And it’s obvious the Philippou brothers agree. Bring Her Back explores layers of grief that Talk to Me didn’t dare touch, forming a dark cloud that hangs over your head and doesn’t leave. I was a mess at the beginning, middle and end, and even when I got home hours later there was a deep pit in my stomach that sat with me all night. 

As far as the story itself, the Philippou bros make it very easy to piece what’s going on from the start and yet they still constantly keep you on your toes. And while I’ve grown a lot when it comes to horror, there is a sequence in the movie that had me feeling physically ill (probably in part due to my dinner of Cheez-itz and peanut M&Ms). A slightly younger version of me would’ve 100% left the theater and not returned. 

And despite me repeating multiple times throughout the film “I hate this, I hate this so much,” I couldn’t help but be so impressed by how well made it was. How its characters instantly draw you in (I formed such a deep parasocial relationship with a troubled 17-year old boy in less than 10 minutes), how I couldn’t look away even when I felt a physical aversion to what was on screen or the ever-present dread that formed a home inside me. I was so invested in the story, in seeing how the Philippous have elevated their craft in just two years. Plus there were unbelievably stellar performances all around. How rare to find such strong, young talent all in one project. 

Honestly, just writing out my thoughts on it, I may bump this film to 5 stars. Very impressed, but truly, I don’t think I could ever do it again.

I’m sorry, you guys are not Real Ones. Tom Cruise and McQ could serve me a steaming pile of shit as a Mission Impossible movie and I would eat it up like Rooney Mara and that pie in Ghost Story. Yeah… sorry this franchise makes me a bit of a freak. But you know what I’m saying, right?

To quote Tom Cruise’s ex (a literal Goddess among men, mind you) we go to the movies to experience magic, to “laugh, to cry, to care.” I really do not give a singular f*ck if the editing was wonky, if lines were corny or if sequences were unnecessary or drawn out. The Final Reckoning gave us the ultimate movie going experience.

This movie for all of its flaws spoke directly to the little girl who saw every Mission Impossible in theaters with her dad, as soon as she was old enough, and was absolutely mind blown every. single. time. A little girl who couldn’t tell what a good or bad script was, hadn’t ever heard of exposition, couldn’t pick out a split diopter shot and who quite frankly had no clue who Martin Scorsese was. (I’m sorry Marty, this is not a diss, I’m just trying to make a point!)

So, as someone who went from a very casual moviegoer ((that little girl was me, btw)) who simply liked seeing cool things on big screens to someone who wants to know everything about movies all the time this film fed the former part of my soul. It’s exciting, it’s enthralling. It wrapped up a franchise that rightfully held its own when so many others bombed revival after revival. And, I’m not saying you can’t have your own opinions about this movie, but it very much is not the flop so many people are trying to say it is. Also, there is no bad Mission Impossible movie. Even 2 has its moments. 

Anyway, I’m actually not convinced this is the last we’ll see of Mr. Hunt, but if it is I’m entirely happy with the way it all played out.

RIP Jane Austen, you would’ve loved this movie… I think. I actually don’t know much about you outside of your books (big fan, by the way!). But I do think movies would’ve blown your mind and you’d fuck with this one heavy. 

A perfectly sweet, perfectly cute, no-frills rom-com that follows the Jane Austen recipe to a T. I have few complaints about this movie. It hit me right in the “we are in dire need of more true rom-coms” spot. My theater was packed full at 5pm on a Saturday with old UWS ladies who, quite frankly, had a BLAST! And I think that’s the best review any movie could get. Highly recommend for those looking for anything highly french, highly charming and highly Jane Austen-y.

Brought my roommate who has never seen any Final Destination movie with me for this one. She kept hitting me with the classic “This could literally never happen in real life.” Like, brother. That’s not the point of these movies. Free your mind! 

(We both liked it!)

Was this movie in any way shape or form like the game? No. Was it a bad movie, though? No. But was it a great movie? Also, no. Do any of these questions actually help people understand what I actually thought of the movie? Probably not. Am I going to elaborate further? Hmmm… nah.

All of David Cronenberg’s works have reflections of himself and his life in them, but I would say The Shrouds is his most personal film yet. 

The girls who get it, get it. This film and the Q&A after has really endeared him to me. It’s the most dialogue heavy film of his vast repertoire, something I find myself drawn to while it’s stilted and choppy delivery may alienate others. And while the waterfall scene is Cronenberg’s personal rooftop scene from The Room, the rest felt almost Almodóvaran. I loved Diane Kruger’s (dual) performance and wish that Vincent Cassel had matched her. Also kind of obsessed with Guy Pearce’s almost uncanny Greg Kinnear. 

Also need to note that I gave up opening night 70MM IMAX tickets for Sinners at Lincoln Square, because I forgot I had already bought these. BUT it was totally worth it because Cronenberg is an incredibly chill guy who I could listen to talk for hours. Need to go to Times Square Margaritaville with him IMMEDIATELY. 

Q&A with David Cronenberg at Lincoln Center

What everyone has been saying is correct. This movie is a revelation. Seeing it in 70mm IMAX felt like a spiritual experience. Maybe because it was my first theater watch in over a month, or maybe it was the electric energy of the audience but whatever it was, one thing is for sure: it’s an experience. 

You can feel the ion, the craft, the painstaking details and love poured into this film from a filmmaker who has already proved himself to us multiple times over. While Ryan Coogler’s most prominent achievements have been franchise “fodder,” that in itself is a feat. He’s breathed new life into every franchise he’s been a part of while also making them box office hits. And I’m so happy he put in that work and was able to see his ion project realized. 

I was blown away by so much: Ludwig makes magic with all the music, Michael B. Jordan unearths a side I wasn’t quite familiar with, Hailee Steinfeld reminds us why she was nominated for an Academy Award at 14, and Delroy Lindo of his massive snub for literally anything he’s been in—but mainly Da Five Bloods. Miles Caton… wow. What a way to make a mark. And Autumn … there are not enough words. Every frame is etched into my memory and I’ve found myself replaying them in my head for weeks. 

These images, these performances, this collaboration on all levels from all departments all the way up to Coogler and beyond will be ed and reveled in for a very long time.

Making silly little movies with your friends has got to be top 10 greatest feelings. I did it growing up, I did it in college and I haven’t done it in a long time since, BUT I can only imagine how goddamn good it must feel to make a silly little movie with your friends for $3 million dollars and not just your parents camcorder and a dream.

I think Finn and Billy were very successful at making what they set out to. A comedy much more than a slasher, it’s a perfect vibe for the warmer weather we’re finally getting. You can definitely pick out some of the more experienced/trained actors from the rest but the characters are written well enough to shine through regardless. Also, let’s please get Fred Hechinger into a rom-com ASAP! 

Q&A with Finn Wolfhard, Billy Bryk and Fred Hechinger

Literally did not gaf about anyone in this movie except the unicorns and Noho Hank (who is DEEPLY underutilized). Sorry not sorry @ Jenna Ortega and Paul Rudd.

The entire plot is literally explained by Jenna Ortega’s character in the first 30 minutes, and yet every single character continues to be dumb as rocks. Also, what art major doesn’t know the Unicorn tapestries?! HELLO?? This was the first time in a long time I watched a movie and would have rather spent my time doing something else. 

Tea Leoni out acts, btw.

#couplegoals 

This movie is sleek and sexy like a sports car. 

^^ That is quite literally all I wrote in my notes app immediately after watching (literally where was I going with this??), and honestly I kind of just want to leave it at that. Absolute banger. Just a really solid film all around. We need more of those. Also a very difficult Savannah Try Not to Bark at the Screen Whenever Cate Blanchett is on it Challenge™️.

Guys, I’m so behind on lb reviews so this one is not going to get the attention it deserves. So sorry.

I had fun!! Was really pleasantly surprised by how much I enjoyed this. The trailer always had me rolling my eyes, but Im glad I gave it a chance. 

Also me and the six other girls in the theater absolutely losing our minds at the Chappell Roan needle drop, HELLO ?!!?

Dream Coachella headliners: Moretti, Skye Riley and Lady Raven

This movie had a lot of good ingredients but it unfortunately needed more time in the oven. I was frustrated by a lot of the choices the characters make, and the lack of depth. At the very least, I would’ve loved more show and less tell. But I still enjoyed myself, and think people are being a little harsh with this one. I was impressed with the cinematography and a lot of the directing choices.

Also love Young Manzino boyfriend, despite how small of a role it was, GIVE ME MORE!!

Memento if it was directed by Charlie Kaufman.

This film feels like both a fever dream and a distant memory. Or better yet, the distant memory of a fever dream. The kind you swear you’ll when you wake up, but no matter how hard you try to recall it the next morning all you can feel is the empty imprint of it in your brain. 

What the film lacks in character development it makes up for in ethereal lighting, bold transitions and a spellbinding score. The rest of it didn’t hit until the last act for me, so it almost felt like it was over before it ever truly began. But, as always Andre Holland gives a stellar performance, and it is very obvious that he was Duke’s muse, as he had been introduced before the film.

I needed this 🙏

A whip-smart and surprisingly romantic dark comedy that yes, is about capitalism, corruption and the exploitation of labor, in a sci-fi setting that mirrors our own reality, but more importantly is about how awesome it would be to have TWO Robert Pattinsons. Oh, and also how much Bong Joon-ho (like all of us) absolutely detests Trump. No, seriously. 

Loved the performances: Robert Pattinson was born to be a silly guy and Naomi Ackie was quite frankly born to be in anything and everything. God, I love her. My main criticism is I wish the film were a bit tighter. The script and story tackles a lot, and just a few times gets bogged down by the many moving pieces. But Bong Joon-ho, along with cast and crew, give us a very enjoyable film with highly quoteable and memorable moments. 

This one is truly for all the Okja fans (who I still think was ahead of her time), but will also serve as a pleasant surprise for those who are coming just from Parasite fame. And for the MAGA republicans who stumble upon this film, I can’t wait for how much you’re going to hate it. Definitely just a great time all around!

BORING! Even without the whole Israel thing, as a newsroom drama it feels more like an Aaron Sorkin wannabe than anything. 

It lacked any real heart or grit for me. And the moment that German translator woman spoke her first line I knew she was fictional. Like any fictional film based on a true story that is to be expected but I wouldn’t go around praising this film’s “authenticity” when its intent is very clear and they dramatized the narrative to fit that. 

Truly nothing special and was an obvious way to placate the Academy audience for No Other Land’s nomination. Challengers, Hard Truths or a Different Man also deserved that spot.

My “controversial opinion” is that this should’ve been nominated for Best Editing. 

A wonderful use of archival footage and montage, it’s an extremely meaty documentary whose biggest flaw is that a basic level of outside context is required to feel the full impact. I had a great time deep diving on the internet after to supplement my watch of this. Just wish I had known more of the pretext going in to compound my viewing experience.

An extremely frustrating and anger filled watched. “The law” which is supposed to protect people is constantly failing women, unilaterally, across the globe. Very proud of Shiori Ito for speaking out and continuing to fight. 

I will recommend this film to others the way I always recommend Know My Name by Chanel Miller. If they are brave enough to share their stories we must be brave enough to listen.

This is MY A Little Life.

I truly don’t think I was in the right headspace to receive any of this information. Truly one of the most depressing movies I’ve ever seen even if it has a happy ending. I don’t have anything critical to say other than I just don’t think this story was for me.

The best part of this movie is getting to say “this guy fucking sucks” out loud every other minute and the worst part is ing that he’s is our president (for the second time) regardless.

This movie is dare I say… underrated? Acting, cinematography, editing, soundtrack are all stellar. Ali Abbasi doesn’t need to make a grand political statement when this movie and Trump’s character truly writes one itself. I know no one wants to look at Trump’s face (or an imitation of one) for longer than necessary, but I think this is extremely entertaining character study on truly two of the worst scums of the earth.

I deeply love Elton John, and think he is such a sweet, sweet soul but this documentary is extremely flat for a man so full of life.

The story is undeniably amazing, and this film has so much potential but I fear it was simply in the wrong hands. And this is coming from someone who religiously watched The Family that Preys every weekend it played on Lifetime.

So much kudos to the women of the 6888. The epilogue of the film including archival footage, and the deservedly nominated original song was more compelling and impactful than the entire rest of the film. I hope to see this story on the big screen more than just this time, their contributions deserve to be seen and heard over and over.

MIS OSOS LATINOS ✊

Is this the weakest in the trilogy? Yes. Will you hear me criticize or slander my precious Paddington? Never. Had good fun with this one! Olivia Colman is utter perfection, but neither her or Antonio Banderas could distract me from the lack of Sally Hawkins. And yes, I still sobbed uncontrollably. #justimmigrantkidthings

A through line of many documentaries, especially those of war is the persistence of art. Of art as resistance. What a beautiful collaboration of friends. What a testament to them, to their commitment to their art, to their community, to their country. 

This is much more affecting and compelling than last year’s Navalny.

This documentary doesn’t need any frills, dramatization or exaggeration. The cold hard facts are sobering and horrifying enough. I cannot say much beyond commending the bravery, and the emotional and mental strength it must take for the victims of these Residential schools to share their experiences, especially decades later. It is so important that there are safe and understanding spaces for them, spaces that weren’t available to them when they were living through these horrors as children. 

I have an extra special place in my heart for Ricky Gilbert. May his memory and legacy live on not only in this film but through the impact he has had on his community. May there be real and tangible reparations for everyone ever enrolled in these schools. May there be real and tangible justice. And more than anything may there be a path forward for real and tangible healing.

No she’s so real. I pretend I’m giving TV interviews all the time and I’m fully unmedicated. 

Jesus, this film is gorgeous. Tattoo every shot on the back of my eyelids please and thank you. And give me her apartment. It is obvious that Pablo Larraín worships at the altar of women. He has such an eye for beauty, both physical and more internal. This is the first of his female biopics where I have not been familiar with the subject beforehand, and while I thought that would be a detractor from my enjoyment I think it actually compounded it. 

The Maria Callas that exists in this movie is the Maria Callas that exists in reality for me. It’s knowing Larraín and his work that I can understand that the two are most likely more different than I realize. Still, I think this is a beautiful and introspective exploration of her psyche, of celebrity, of aging and of losing: losing status, losing sanity, losing parts of yourself. I was very much into the whole thing.

This movie is for everyone who says “my mom” when talking to their siblings.

Full review TK.

I am putting this in the Girl Dad Cinematic Canon™️ right next to Interstellar. 

I’ve been sitting on this one for way too long and still don’t know how to feel. It had a lot of great ingredients, but I feel like it had a lot more potential than it unlocked. Nevertheless, I really appreciate Soderbergh continuing to explore new ways of filmmaking and narrative storytelling. 

I got used the first person ghost POV pretty quickly, although it did make me pretty dizzy at some points. Even though the ghost has no name, face, lines, etc I was endeared to it almost instantaneously. And I can only imagine the extremely detailed camera and actor blocking involved throughout this whole film. The biggest letdown, though, was the underutilization of Lucy Liu. There was a lot more meat to her character that we didn’t get to explore. But by god, did I love Chris Sullivan—both his character and his performance. Absolutely deserves to be seen.

So fun! I love this new wave of the horror, comedy, social commentary mix like Barbarian and Ready or Not. Keep em’ coming!! Biting, whip smart fun and funny. I do wish the marketing let the first act really shine like it was intended, but I enjoyed it all the same. 

Honestly, I wasn’t fully sold on Sophie Thatcher before this. I’ve enjoyed her performances enough but failed to feel like she had the range. This proves me wrong. Honestly I want to see her in a rom-com, now. 

Also, I act like Jaboukie is a dear friend I’ve known all my life when he shows up on screen, hooting and hollering like he can hear me. My roommate looks at me like I’m crazy. Like I’m sorry y’all just don’t understand the sacrifices he has made (getting banned from Twitter for impersonating the FBI) just to make us LAUGH.

Guys, this was fun!! I knew my girl Keke would not disappoint, but I had such a great time all around. And not to pit a bunch of comedy baddies against each other but this is what I wanted from Joy Ride and No Hard Feelings. It’s smart but is still filled with easily attainable laughs. Also the Nissan Altima needle drop? So good. 

I honestly really needed this after watching so many “serious” movies in theaters. Usually I hate a super packed theater, but this movie had everyone laughing together, god I love that.

Mission Impossible you have officially been challenged for most tense, life-or-death train action sequence.

Ok, I will it I used to be a certified Wallace & Gromit hater as a child. Wallace’s bald head and big ass mouth scared me so bad. But I enjoyed this! It kind of makes me want to revisit the previous movies now that Wallace no longer gives me nightmares.

Also is Wallace always such a dick Gromit? GROMIT DESERVES BETTER!! I love when Gromit walks on all fours like an actual dog. And Feathers McGraw is such an iconic villain. Also spot on anti-cop commentary. Love how self aware this is.

Put the pitchforks down y’all, 2.5 isn’t that bad!! I was not a fan of the first Inside Out at all, so this is actually a massive step up.

I think it’s a great tool for young kids navigating emotions, but something about these movies just don’t fully click for me. The entire sequence in the memory vault with Bloofy, Pouchy, and the iconic Lance Slashblade was immaculate, though. I still laugh just thinking about it. 

Also Riley is GAY!!! We can all it that, right??

What's a baby got pockets for? What's it gonna keep in its pocket? A knife?

Pansy is the certified Hater™️ final boss. 

How isolating it must be to think the entire world is out to get you. How exhausting it must be to constantly be at war with your own mind. But, oh, how wonderful it is for someone to love you—or at least try their hardest to—in spite of it all. This movie is hilarious and heartbreaking all at once. Some of the best lines, and line readings by Marianne Jean Baptiste all year. And some of the most impactful quiet moments. Each character is their own microcosm. I could’ve spent hours and hours with them. And even though, if I encountered Pansy in real life we would probably throw hands, I truly just wanted to scoop her up and keep her in my pocket. How magical it is to endear us to a character so messy, so hateful and at the end of the day, so human.

Levan Akin, you’ve done it again!! Minor flex: I saw his previous feature And Then We Danced during my three days in Cannes in 2019, and it truly changed my life. My favorite of the festival, I saw it twice one day after another. I wanted it ingrained into my mind, my heart. 

The way Crossing made me feel is not much different. This is a tender story of connection, family, both real and found, and acceptance. There is so much heart and humanity in it. It follows a journey that crosses borders both physical and emotional. Mzia Arabuli gives one of my favorite performances of the year, and her screenmates Lucas Kankava and Deniz Dumanli are both stellar, perfectly encapsulating their characters and endearing us to them the instant we meet them. Anything Levan Akin makes, I will watch. Love, love, love.

Feels unrateable. A collection from 22 Palestinian filmmakers in Gaza, this is what it means for art to be resistance. For art to be resilience. For art to be radical and revolutionary. That in the midst of experiencing the deepest pits of evil of mankind, to create is to say so very clearly: I am alive. Grateful to these filmmakers and every single contributor for giving us this in the midst of it all. Now, its up to us to watch it, to listen, to truly see them. 

New York friends, this is playing at Quad Cinema. Go, now!!

Guys, I genuinely don’t know what to say that hasn’t been said before a million times. First half is pure perfection, the second half not far behind. Also, was anyone going to tell me that it takes place in DOYLESTOWN?!!! HELLO?!?!!! It’s one thing for it to just be a Pennsy/Philly movie, but Doylestown?! Unreal. I will be listening to The Brutalist score and The Brutalist score only next time I go visit my cousins. 

I almost didn’t want to believe this movie was as good as everyone was saying. This film is just so grand. It set into my bones from the very first moment and settled there for the next 3+ hours. Beyond being a gorgeous, gorgeous film all around,I have lots of feelings about being the child of a Philly immigrant, the myth of the American dream, about power and who wields it etc, etc. But truly, the film speaks for itself in this aspect, or it speaks to a lot of what I would want to say about it if I could find the words. 

The AI thing, however small, does piss me off though. And I think the conversations and criticisms around Zionism and the film’s ambiguity or lack of confrontation are extremely valid. I saw this film a week ago and there’s still so much to ruminate on, so much that I am ruminating on still.

If you were not radicalized before this film, you surely will be after.

This film depicts the realities of life under Israeli occupation. It is not exaggerated or biased in its depictions. And now that we have a ceasefire (or the makings of one no matter how N*tanyahu tries to convolute it) this movie is actually, somehow, more important than ever. As the West Bank is often used as a scapegoat in discussions about Oct 7th, Hamas, Israel’s “retaliation” etc this film seems like a perfect response to a deeply flawed argument. 

Basel, his family and the people of Masafer Yatta are a testament to the indomitable human spirit. Palestine is not free until the occupation is over and their land is returned. Shame on major U.S. distributors for refusing to pick this up.

Zoo-wee mama I loved this!! Let the Right One In meets Submarine. This probably would’ve been my entire personality had I seen it in high school. 

Such charm, such human emotions (ironic, I know) that explores the idea of connection and understanding and belonging through the lens of a teenaged vampire. When people bemoan the coming-of-age genre, and that it just isn’t the same anymore, I will simply show them this. Big fan of Mubi and glad it’s streaming there, but I wish it had bigger and better distribution in the U.S. Hopefully young adults share it amongst themselves, I can already see the screenshots floating around Twitter and Tumblr.

Also special shoutout Katie for telling me to watch this 8 million years ago when it first released, because she knew I would love it. You were right!!

So far behind on reviews but I so, so, so enjoyed this. This documentary speaks loudest in its quietest moments. Watching these artifacts get repatriated, watching the preparations on both ends: getting ready to leave and getting ready to arrive. So many emotions.

I love that this documentary truly lets it subject speak for itself. Which seems impossible because it’s subject are inanimate objects, but with the combination of the beautiful narration (written by Makenzy Orcel) and the debates of the students you are truly able to gain a deeper understanding of these works and the significance of their return. 

Thinking a lot about Hoa Hakananai’a and Moai Hava whose friends, and the people of Rapa Nui, wait for their return.

Women often wear their hearts on their sleeves. Every micro and macro emotion on their face. Which is why mothers possess a unique, and innate superpower when it comes to protecting their kids. As I’ve grown older I’ve realized just how much my mother shielded me from, not just from the outside world, but from our own tight knit inner family circle where I thought I had perceived so much. And while my mother shouldered and grinned, and truly mothered, her way through so much of it on her own, processing it now in adulthood I fail to truly understand how she did it all so effortlessly—and so solitarily. 

I’m Still Here is a searing, vivid yet haunting family portrait of the Paivas. Father Rubens, mother Eunice and their five children whose backyard and playground is the Ipanema beach of Rio. The first half of Act I is some of the most alive cinema I’ve seen recently; a vibrant, constantly moving picture of this family. You feel like you are one of them by the time the real meat of the story hits. 

Led by Fernanda Torres as real-life superhero Eunice Paiva it chronicles the story of her husband’s disappearance under the Brazilian dictatorship. And while, I may have not seen this exact film before, it’s a story I’m all too familiar with. Across Latin America, blueprints to topple democracy and place fascists in the utmost position of power were freely shared it seemed. Dictatorships, forced disappearances, “closure” and reparations becoming a focus only 30+ years later a common occurrence across multiple countries in the 70s, and one I’ve studied extensively in my own Chile. 

But what makes this film so impactful—and set apart from the rest—is not just the truth it applies to a situation originally shrouded in such lies and propaganda, but the focus on Eunice who unknowingly and unwillingly becomes the matriarch of her family while navigating some of the harshest experiences and systemic weaponization of power. It is wholly human, wholly sobering, wholly horrifying. And yet, she shouldered, and grinned, and mothered her way through it all—for the sake of her children, and later on for the sake of democracy and human rights. 

I really hope everyone gets a chance and takes a moment to seek this film out if they can.

Pamela Anderson I am starting my personal, one-woman Best Actress FYC campaign for you IMMEDIATELY!!!

I don’t know if it’s because I graduated from Tumblr Film School but I really enjoyed this movie. A character study on aging, on misplaced ion, on deep, profound misunderstanding and failure to connect with anything outside of yourself. While the script had some issues, and fell into some familiar pitfalls, it provides a portrait of a woman many of us know or can find parts of in the women in our lives or ourselves.

The camerawork could have been more stabled and focused, but classic Gia Coppola the vibes were truly delivered on. Let us have empty, artsy montages of Shelly wandering Las Vegas as a treat!! Has the art of the aesthetic indie been lost on us?

This is a completely soulless film. I actually am having trouble understanding what is so lauded about it. Even while I enjoyed Zoe and especially Karla’s performance the script is pretty poorly written and actually takes away from their talent. The songs are just not my taste, they’re bad. And creating a redemption arc for a character that is so biased to their transformation (not transition) versus looking at them as a fully formed person does Emilia Perez a huge disservice. It seemed to me that the filmmaker had a concept of an idea with this one and mad-libbed everything else.

Also if Mexican and transgender people are telling you they don’t like this movie, or that it’s harmful: LISTEN TO THEM!! And don’t ask them to watch it so they “find out for themselves.” People should not have to be subjected to bad representation even if other aspects of the project may have some form of merit (which I failed to find here). Not only is this movie an insult to Mexico, it does not do for the trans community what it thinks it does.

Keith Kupferer it seems I’ve grown quite fond of you though there are no sexual urges or desires you come to me as a long lost friend whom I once picked apples with in papa’s orchard

This is a raw, beating heart of a film. Thank you to everyone who recommended this to me, it was everything I needed and more! The real-life Chicago acting family and their mismatched yet pitch perfect ensemble breathed life into this seemingly small and mundane script. Packed with real, big, messy emotions this movie was a study in grief as much as it was a character study. These are the kinds of stories that grip me from the inside out. Art truly has the power to transform and to heal. I’m a puddle of tears. 

I wish this wasn’t in AMC+ jail. Everyone should seek it out immediately.

Watched this with my grandmom and she was so stressed she got a high blood pressure warning. 

This was… something. This movie is not what I thought it was going to be, and I don’t think it even knows what it’s supposed to be itself. It felt marketed as a pure WWII drama focused on a mother trying to find her son but the son’s journey has much more time and energy put into it. 

I honestly think this film would have benefited from not trying to focus on the mom’s narrative at all, it made the film a bit messy and unfocused. It almost felt like 1917 Jr. with a cast of Dickensian characters. Definitely could have been stronger, but there were still some really great moments. Ugh, and Ife <3 <3

Charming, quirky, and led by two great performances (and ed by an equally talented ensemble), Between the Temples is the perfect break from high octane blockbusters and endless non-original stories told over and over again (truly no shade). 

Not everything landed for me, but there were still some pitch perfect beats that carried me through the rest. Felt almost like an extended side plot of Gilmore Girls. In the end it was maybe a little too quirky with the directing for me, but god, Carol Kane is a fucking gem!

Fun fact: Timothee didn’t even have to audition for this role. James Mangold saw the SNL skit Tiny Horse and said “That’s our Bob 🫵”

Honestly, this wasn’t a bad movie but Bob Dylan’s story or at least the parts they focus on here are so deeply uncompelling I’m not sure anything could have made it “great.” Bob’s characterization was so one dimensional, we never even remotely tap into his psyche. It seems that the people around him were often times more interesting than Bob himself, and even they were done a huge disservice. 

And yes, of course, Bob’s music is good. I had an entire college semester where I listened to his stuff exclusively, so much so he was my #2 artist that year even though I only listened to him for those 4 months. But, all I got from this movie was “I’m so good at songwriting because I simply am, and also I want to play electric guitar now.” Ok, cool.

She wants that cookie so effing bad 👀

This is a movie that looks great, has a talented + killer score/soundtrack and is directed really well, yet promised more than it gave. As an erotic thriller it didn’t really go anywhere new, and felt kind of tame. And what really got me was the lack of chemistry and tension between Nicole and Harris’ characters (whose names I genuinely did not know until 2/3 of the way through). 

It felt like there were no real stakes, regardless of them telling us what they were over and over again. Also, I was really distracted by this fictional company… what size was it, where did it sit on Fortune500 or Forbes (if at all), why was it framed almost Tesla/Amazon-esque yet the holiday party was held in office with 50 people and the CEO worked off her iPad and always had time to fuck in the bathroom?? I think if the relationship was more compelling it would have led me to suspend my belief on all these small things. Antonio Banderas slayed, though!

I am elated to announce that reports of Nosferatu’s excellence are NOT greatly exaggerated. Nosferatu really is That Bitch™️.

There is so much to appreciate about this film. It’s yet another adaptation of a story we’ve known for hundreds of years, and has been adapted quite well for the screen already. Yet this version somehow still feels new, while remaining loyal to the heart of the original and miraculously doesn’t feel overdone. Everything about this movie is superb, and while we (deservedly) laud Robert Egger’s for his direction and magical brain that continues to put out banger after banger, this movie for me is a stunning reminder that film is an art form that relies on collaboration. 

Robert Egger’s detailed and imioned vision could not and would not exist without the many, many talented folks who worked on this film—and it really shines through. From the obvious, actors and cinematography which people are often first to appreciate to the rest that make it all come to life. The imagery was stunning, you could pause at any moment and marvel at the make-up of a frame.

Lighting, locations, set, costume, hair and makeup. People often use atmospheric when describing Egger’s work, and there would not be an ounce of atmosphere if even just one of these weren’t wholly dedicated to their craft. Sound, post-production editing and coloring, animal wranglers. There are too many departments to list but it is clear from the beginning that every single one on them is on their A-game with just how instantaneous you are brought into this world and cemented there for 2 hours and 10 minutes.

At its best film should inspire. It should entertain. And Nosferatu gives in wholly to its world, into its genre, into the classics that came before it, it is sure to set itself into the Dracula/vampire canon very quickly. (And mind your business if I bump this up to a 5. I like to sit with things).

My mom took me to see Wicked when I was 8 years old and it was life changing. So, naturally I waited to watch the movie until I was with her. 

Before y’all come at me for the 3.5 (which means I liked it!!), it was a good movie and even a good adaptation! I just hold Wicked so close to my heart, and everyone involved is so talented that I felt like it could’ve been better. But, first, as we all agree, casting was perfection. I saw Cynthia in The Color Purple revival on Broadway and it was truly the closest I’ve ever felt to god. And I had an Ari stan on Twitter in middle school (I’m being so serious). So yeah, they casted this specifically for me. Cynthia’s vocals and emotion are unmatched and Ariana had impeccable comedic timing and acting choices. 

My issues with it fall under the general consensus, aka the lighting and coloring. SOMEONE TAKE AWAY BACKLIGHTING FROM JON CHU IMMEDIATELY! So many shots looked washed out and they didn’t bother to fix it in post with more contrast or saturation. And, while some of the sets were truly magical much of it left something to be desired. Also, we did not need to elongate a musical that is 2hr and 30min TOTAL into 2hr and 40min JUST FOR ACT 1!! I did not find much value in the script additions. And they kept edging us with the songs. We don’t need a 15 minute Defying Gravity. Stop interrupting Cynthia!!

Anyways, my mom loved it and the little girl next to me cried during every single song, overcome with emotion, so that’s all that really matters.

As someone who regularly rewatches Commuter and Non-Stop as a double feature wtf was this??

Sorry for being the fun police, but this was truly a drag of a film. I am so familiar with Jaume Collet-Serra’s schtick and set ups by now that this was such a huge disappointment. It felt like every choice was the literal wrong choice, and that it relied on its realism to the point where so much of it simply didn’t make sense? They over explained the stupidest things and under explained/under focused on everything else. Not even Taron Egerton, Danielle Deadwyler or evil Jason Bateman™️ could save this. I don’t even think Liam Neeson could have made it any better. (And tbat’s saying a lot. Liam Neeson 🫶)

• Marie Antoinette
• Big Fish
• My Fair Lady
• The Secret Garden
• Emma.
• Uptown Girls
• Showing Up
• Strawberry Mansion
• The Princess Bride
• Spring Breakers

...plus 7 more. View the full list on Letterboxd.

• Drive Me Crazy
• When in Rome
• What's Your Number?
• The Matchmaker
• Maid in Manhattan
• Return to Me
• Win a Date with Tad Hamilton!
• The First Time
• Down with Love
• Sleeping with Other People

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

movies that feel like we hug now by sydney rose

I have a feeling you got everything you wanted
And you're not wastin' time stuck here like me
You're just thinkin' it's a small thing that happened
The world ended when it happened to me

• Manchester by the Sea
• The Perks of Being a Wallflower
• Casablanca
• 20th Century Girl
• The Iron Claw
• Close
• (500) Days of Summer
• My Own Private Idaho
• One Day
• La La Land

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

• Into the Wild
• The Eight Mountains
• The Kings of Summer
• Hunt for the Wilderpeople
• The Secret Life of Walter Mitty
• Free Solo
• Captain Fantastic
• The Sound of Music
• Moonrise Kingdom
• We the Animals

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

updated weekly

• You Were Never Really Here
• Mikey and Nicky
• Saint Omer
• Rye Lane
• Tigers Are Not Afraid
• The Miseducation of Cameron Post

there is no method to my crying madness

• Monster
• Godzilla Minus One
• All of Us Strangers
• Barbie
• Spider-Man: Across the Spider-Verse
• The Iron Claw
• The Zone of Interest
• Killers of the Flower Moon
• Past Lives
• Bottoms

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

1. Babylon
2. The Banshees of Inisherin
3. Guillermo del Toro's Pinocchio
4. The Lost City
5. Fire of Love
6. Top Gun: Maverick
7. The Menu
8. Nanny
9. Argentina 1985
10. White Noise

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

• M3GAN
• The Pale Blue Eye
• Alcarràs
• Skinamarink
• Saint Omer
• Alice, Darling
• Women Talking
• When You Finish Saving the World
• Close
• Shotgun Wedding