Beautifully shot silent from the redoubtable Borzage. Always appreciate Gaynor’s expressive face. Farrell is such a hunk. Final scene where they make out in the snow was very sweet.

A deeply silly exercise. Boy, this film hates women.

The final act nearly gave me a grand mal seizure.

Happy for everyone who got something out of this! But…I’m not that girl. Aside from a scattering of thrilling numbers, the bulk of this feels bloated, childish & slickly corporate. It’s a Happy Meal toy of a film. And this is coming from someone who liked what Chu accomplished with In the Heights a few years back. The singing sure was beautiful, though- especially those ravishing harmonies in Defying Gravity.

“If you want to get on in this life, there are things you have to ignore.”

One of the most slept-on films of the year, this got under my skin. I’ve always loved Claire Keegan’s novels, and Mielants expertly captures the hermetic darkness she creates. Cillian Murphy continues to amaze.

Was rolling my eyes throughout most of the first half, but was quite moved by the film’s end. Would love if Kathy Burke scores some plaudits for her grotesque turn.

Wow.

Hits you with the force of an anvil. Rasoulof conjures unbearable tension in kitchens and bedrooms as the revolution rages outside. Cast is on fire.

Best film I’ve seen this year.

Ok, Pugh and Garfield are two of the best actors of their generation, so watching them in anything is easy, but this film gets bogged down by cancer movie cliches, and I wasn’t feeling the ill-fitting humour sprinkled throughout. The best moment is Pugh bellowing, “I don’t want to just be someone’s dead fucking mum!”.

Lynch’s sweetest, most spiritual film. Like a wiser, more careworn Trip to Bountiful. Richard Farnsworth! 🥺 Great work from Sissy too. Angelo Badalamenti’s lilting score is one for the books. I felt really bad for the lady who keeps hitting deer.

What an insightful yet lucid look into what it takes to be a great parent. Shies away from using easy or manipulative tactics. That doesn’t mean you won’t cry!

Exceptionally bland, though the CGI was impressive (and I usually never care/notice VFX) & Daisy Edgar-Jones is eminently watchable.

Yeah, this is a bonafide new horror classic. Took me a second viewing to truly appreciate its morbid brilliance. Grips you by the throat from the first frame.