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Even though there are aspects of this film that I much prefer compared to Wes Anderson’s other movies—like The French Dispatch and Asteroid City—those films go so overboard with the style that it feels like the sets are just dollhouses for Wes Anderson to play with, instead of feeling like real locations where the characters actually live. Combine that with the deadpan, straight-faced dialogue and acting, and the whole thing starts to feel really artificial. This film doesn’t quite have that problem for me, and it was actually pretty funny in certain moments.

That said, the overall feeling I’m getting from most of his movies, especially this one, is that they go so hard with the style that it’s like listening to someone read an essay out loud without any pauses—just a constant, breathless flow of information. This movie gives me that exact same feeling, if that makes sense.

The colors are much more muted compared to his other films, which are often more visually stunning.

Still, there were some sequences in this that I absolutely loved. But I really think it needed a simpler, more focused through-line—the story felt like it was missing that badly.

This is obviously going to sound pretentious, but watching this film at a retro arthouse cinema after eating at a vintage boutique restaurant just hit differently. It was the perfect pairing and had great synergy.

I jokingly and accidentally called it the movie Barbarella, so I’m just gonna stick with that.

When the movie first started, it was probably one of the most generic character backstories I’ve ever seen. I’ve seen this backstory like a hundred times, dude. Some of the lines from that side character lady during Barbarella’s training montage were extra edgy and in-your-face. I get it—it’s by design. You start off with smaller stuff and build up to more complex, bigger elements in the later half of the movie.

But my complaints are with the first club mission she gets. The sets feel like sets—very closed off, not like open spaces. And while I get that the intention was to use the club setting intentionally, it just feels a little too choreographed. And let me just say—my god, the CG cars in this movie. Holy shit. I don’t know if it’s noticeable for other people, but my god, it was noticeable for me. That one wide shot in the first act, when we get the first time jump, felt super fake—like it was stitched together. And yeah, I get it—it’s much more cost-effective and safer to do. I don’t even mind that they used CG. I just think that when I’m watching it, I shouldn’t be able to notice it—but my brain picked it up right away.

But this is one of those movies that just gets better and better as it goes on. The action is literally like if you took the John Wick movies and mixed them with Looney Tunes’ Wile E. Coyote—it’s so funny, but fun at the same time.

Is it the best in the John Wick saga? No.
Does it have to be? No.
It’s doing its own thing while paying homage to what came before.

Second rewatch—still really enjoyed the movie. Could’ve done without those insert flashbacks. I also didn’t think the intro was necessary. Even though it gives the movie a folktale vibe, the whole church scene at the very beginning didn’t feel needed. I would’ve preferred if the audience went in completely blind, which is why I love that first teaser trailer—it barely gives you anything about what the movie’s about. That’s how I think a person should go into it  

The second rewatch kind of told me—though I’m stating the obvious—that accepting death, even in the face of immortality, is actually a form of freedom. Some people might see cheating death or being immortal as the ultimate freedom, but thinking about it now, there’s something liberating in accepting death itself. It’s its own kind of freedom. Even though one of the main characters doesn’t get to live on, his music and art will be immortal and live on through the ages.

Compared to their first movie Talk to Me, this one feels slower and more melancholy. The cast gives great performances and there’s definitely strong chemistry between them. All the characters are dealing with grief or loss in their lives. Even though they’re doing bad things, it is for a greater purpose.

The shock value in this movie is definitely there, and that’s what most people are talking about. It’s the kind of film that creates conversation—people saying, “Did you see how messed up that movie is?” It sticks with you in that way, even if it didn’t hit me as hard emotionally as Talk to Me did.

The cinematography is a step in the right direction and has a lot of layers in the imagery. Some shots in the foreground and background tell their own stories, and the way certain scenes are blurred or obscured really puts us in the perspective of the character with a disability. The shot under the bed, and the one where the character emerges from the water and transitions into the next scene—those were beautiful. But overall, the digital image feels like it lacks texture. There’s something missing in how it looks. When it rains, though, the image gains more texture and depth, and that’s the feeling I wish the rest of the film had visually.

For a comic book movie, it really embraces the over the top silliness which makes sense looking at this list of characters 

And has this b movie-quality vibe to it which I really loved wish it had gone further

Essentially, if Adult Swim had the rights to the list of DC characters this is what I think you’re pretty much get with a high-budget

All the things that I’ve seen i’ve never seen no Demons no ghost no magic

I will say this the music to me is incredible and the less you know about it the better it is for first time watcher try to go to this movie blind

Need to watch this one more time to make up my mind

You’re fat, you’re bald, you’re ugly, your teeth is yellow, you wear glasses.

In all seriousness, the writing for this movie was kind of on the wall. It’s a shame, though, because the talent Jonathan Majors has would be a real loss for the industry—not having him, regardless of what people say. My god, he does a really good job here, and at times I was cringing for him. He carries this movie on his shoulders. Without him, I don’t think the film would have any teeth or guts to stand on.

The movie is a journey of self-destruction. Honestly, the guy needs to go sit in a sauna, detox, and meditate—because my god, bro needs to chill and turn it down a few notches. That diner scene… damn, dude.

One of my main issues with the film is that the scenes don’t feel connected. It feels like we’re just jumping into moments from this character’s life instead of naturally easing into the next. The number of times the movie ends scenes with a cut to black—over and over—it gets distracting.

And unfortunately, given the circumstances, this movie didn’t get a real chance to shine. They just dropped it straight to digital—no cinema near me showed it, and there wasn’t even a digital release where I live so I had to find other ways to watch it, which was really frustrating.

Some people say it’s just misery porn and I say to those people um… you do know that war is not just sunshine rainbows right it’s meant to be horrific. How else would you depict the horrors of war?

Much prefer this over Civil War. Pretty straightforward, simple narrative. For those who love Assault on Precinct 13, this is the movie for you.

This movie knows when to stay still and appreciate the silence of war—how quiet it can be just waiting around with nothing happening. But when shit goes down, it really goes down. Characters get whiplash, eardrums blown out from the shock—they need a minute to get their composure. I will it, though, it meanders a bit too much in those moments. For example, when an explosion happens right in front of them, the characters understandably need time to gather their bearings, but man, it takes a heck of a long time.

I can see Alex Garland learning from Civil War and taking that experience into this. Pairing him with a writer who has real-world experience with war was a great move. What really sells this movie is that the actors—whether or just lesser known—aren’t big-name stars. So when we see them, we’re not thinking, “Oh, that’s the guy from this or that.” To the uninitiated, they won’t put two and two together, and that helps the immersion.

And every time the movie snaps back into reality and we see the consequences of the situation the characters are in, the actors absolutely sell it. There’s one moment where an actor is screaming his lungs out—my God. The movie gives you silence, then pulls you right back into reality.

I do think the movie is a little too pretty. I’m not saying it should be desaturated like every other war film, but there needs to be a better balance. Alex Garland has said one of his biggest inspirations was Come and See, and that movie felt like a documentary. This one? It’s just too beautiful at times.

Really loved the intro scene—it gives you that energetic rush before the characters are thrown into war. It’s like they’re trying to hype themselves up before everything goes to hell

If I can describe this movie, it’ll be like you in a text conversation with a girl on a dating app but the guy is always trying to lead the conversation and take her to someplace but the girl is like giving him such bland minimal answers but the guy still trying for an example

Guy: Hey! What’s something you’re ionate about?

Girl: I don’t know haha

Guy: fair. I’m really into photography lately — been trying to capture the mood of the city at night. Ever tried anything artsy?

Girl: Not really

Guy: Gotcha. What do you usually do in your free time?

Girl: Just chill

Guy: Nice nice. Like watching shows, gaming, reading?

Girl: Yeah

Guy: Any favorites?

Girl: Not really

Guy: Haha you’re mysterious. Alright, here’s a wild one — would you rather time travel to the past or the future?

Girl: Hmm idk

Guy: Fair. I think I’d hit the 80s. Big hair, neon, synth music — kind of a vibe. Think you’d survive in the 80s?

Girl: Maybe

Guy: Haha okay I’m gonna take that as a yes. You strike me as someone who’d rock a scrunchie.

Girl: lol

Absolutely loved the music and the interesting choice of angles. I didn’t get to see much of Daisy Ridley emoting, but that’s clearly intentional for her character, who’s so closed off. When she finally does let all that emotion out, there’s a specific scene for it.

This isn’t a movie. It’s a war crime with a runtime.

Punch Drunk Love It’s on the list, so we watched it. Now I’m emotionally unstable, slightly in love, and craving pudding. Thanks, Paul.

Love sharing and experience with a group of friends that has the same reactions that you did when you first watched this movie and you get to introduce them to it

La Haine  the feel-good movie of the French riots… if you’re feeling really bad.

What can I say that hasn’t already been said about this film?

Well here is an interesting insight Robert De Niro drives a taxi

Some really great shots

But at the end of the day Mark Wahlberg is not it. I just don’t believe whatever he says from his mouth that the character and himself doesn’t believe it. I just don’t believe in what  he says.

And also the plants have feelings

Even though I do consider it to be his best movie, I wouldn’t say it’s a must-watch on the big IMAX screen. It definitely helps, but it’s not necessary it kind of feels like overkill, especially since it doesn’t completely take over the full frame of the IMAX screen.

Rewatching it again my god the imagination and thinking outside of the box in of how things are shot and technically made is really amazing. That being said, watching it on the big screen is a lot to digest, and when you haven’t seen it in a while, it really puts a lot on your plate. Also, it’s definitely worth acknowledging that Satoshi Kon’s Paprika was obviously a massive influence on this film.

You know, going into it again and rewatching it 3 times and now a fourth I think I finally have a handle on it. But then I realize I’m wrong. There’s just an overwhelming amount to take in, so many layers piled on your plate. Every time I think I’ve figured it out, something new throws me off. The depth of symbolism within symbolism it’s the kind of movie you can keep watching and always discover something new and different.

As someone raised in an Iranian family, I really appreciated the amount of bowls this film has. I understand what they were going for: showing that this family man isn’t all that different from the corrupt figures running Iranian politics.

I absolutely loved the directing. It was beautifully done, and everything was moving along so smoothly—until the moment one of the characters decides to ram a vehicle. The violence in this film feels like a distant force—something happening outside the family’s control. We mostly witness it through the kids’ phones, like an off-screen presence creeping in from the outside world. It’s brutal and raw, but shown in a way that keeps it at arm’s length. Which is why, when you see a character ram his car into another car, it feels completely out of place—it doesn’t fit the tone or style of this type of movie. That sudden shift gave me tonal whiplash.

Then comes the ending, and the tone is all over the place. It didn’t need to turn into a Scooby-Doo-style chase scene with characters running after each other. They could’ve taken it in a different, more grounded direction.

What I’m starting to realize about Iranian cinema is that it’s very meditative and cerebral. There’s a calm, patient quality to it that reminds me of Tarkovsky—films that take their time and let you sit with each moment.

But I think it’s definitely worth a watch

Hunter Schafer gives an excellent performance in this role, adding depth to the character. Much like Zendaya’s character in Part One, this special allows for a moment of reflection, giving these characters a chance to process what they experienced in Season One. Watching this after Season Two, it has become blatantly clear that Sam Levinson struggles to write characters outside of his personal experience. This is why it makes sense for Hunter Schafer to have co-written this episode—Levinson’s understanding of the topic he’s trying to tackle feels limited. He had something strong here but couldn’t live up to it in Season Two.

Some of my issues with this special are that, while it focuses on the character’s struggles, the transitions from scene to scene feel a bit disted and get distracted by the glamour, beauty, and technical aspects. The flashes of scenes from Season One felt unnecessary. I wish we had a more solid, stationary, and raw setting to keep things grounded, much like in Part One.

Honestly, I’m surprised I even watched this in the first place, given how much of a bad taste Season Two left in my mouth here’s hoping Sam Levinson lets his ego go and actually gets necessary writer’s room because season 3 after not living up to the deadlines and finishing the script for the show he definitely needs it and it’s okay to ask for help as a writer shouldn’t be ashamed for something like that

To forgive ourselves is to find something greater than ourselves because we’re going to let ourselves down sometimes our self alone isn’t always enough to overcome addiction and how it manifests in its different forms that’s why humanity creates religion in the first place.

I wanted something like this between these two characters, but never got it between those two seasons

Coleman Domingo is so good in this role that I wouldn’t be surprised if he gets typecast in this specific type of role. He’s that good. And yeah, of course, Zendaya is great, but I didn’t need this episode to tell me that—I already knew.

youtu.be/jKSCrxh6OYY?si=ttGq3yTN8VQD7n6W

We’re about to break the weeb meter.

At times, it gets overly dramatic—almost too dramatic. “I’m such a monster for something I did in elementary school” just grow up & move on.

A lot of these films revolve around the idea that something bad has to happen so the characters who hate you can forgive you. So, you do this thing, and then you’re forgiven.

The animation is stunning—absolutely beautiful. That bread animation? Holy shit that look good.

But to be perfectly frank, for most of the movie, I was just underwhelmed.

Which version of waking up are you?

This film is like a smooth, sexy stylish whiskey on the rocks—something I want to slowly savor and soak in its style.

What really makes it stand out is its attention to detail, adding those extra steps when you least expect it—things other, lesser films would overlook, like how to unlock a safe or handle intricate processes.

Watching it for the third time, especially after seeing it in IMAX, I found that the standard 35mm theatrical experience was the best option yet. I had already seen it on 35mm before, but that time, the audience wouldn’t stop talking. This time, everything lined up perfectly—the ideal theater experience and an unaltered version of the film. It was the perfect combination.

AHHHH AHHH OH MY GOD, I’M A GAY GUY

That was a line from Adam Sandler in the movie click

But hey, at least it’s not as bad as Jack and Jill

For such a quiet movie, it would be unfortunate for someone to let out a fart thinking no one would hear it only for everyone to hear it. My God, I tried to hold in my laughter after that.

All these characters have their moments to shine under the sun and show off their acting chops. They bounce off each other with great chemistry—especially Cristin Milioti and Colin Farrell, who go back and forth brilliantly. Their dynamic is electric.

Absolutely loved Cristin Milioti’s performance—she’s given a lot to work with, and she makes the most of it.

Each character gets the necessary time to be properly fleshed out, with some even having their own dedicated episodes. I wasn’t fully hooked until episode three, but once it clicked, it really clicked.

One thing I really appreciated is how, unlike The Batman movie, this show puts more effort into world-building—showing the city’s underbelly and the people who live in it. The Batman always keeps things from above, while The Penguin really grounds itself in the streets below.

It’s a crime mob  and a character study, and since those films have been done before, the show uses them as a template. Some of the decisions made toward the end are bold and make a statement. I wouldn’t mind if each Batman movie introduced a character and then gave them a limited series to flesh them out. Every major Batman character comes with the potential for their own story, and I respect that they didn’t rely on heavy fan service—like forcing Batman to show up—because that would have cheapened it.

This is what Sony wishes their Marvel villain movies were.

A couple of small things took me out of the show for a moment—nothing major, but worth mentioning. There’s a certain character filling a house with a certain something, and I kept thinking, “They would definitely smell that and open a window.” The fact that no one noticed kind of made me scratch my head.

And then there’s a moment where Penguin pulls out his phone and opens TikTok—that just  took me out of it for a moment

There’s also a fight sequence between Penguin and a side character that gets resolved in a way that feels too convenient. Instead of letting Penguin physically handle it, an ex machina swoops in at the last second.

Again, none of these things ruin the overall story, but they did stand out.

Do you wanna know how I got these scars? Well I’m the Joker baby.

Heath Ledger‘s smile has never looked so big after me watching it for the first time in IMAX

When I was young, I told my mom that this was a PG rated movie then came the moment where joker said in that mob meeting what happened to balls drop off?

For a movie that is 2 hours and 35 minutes long, it feels much shorter because it is so tight and well-paced. This is probably one of the movies where he was able to make it almost three hours long without him being scared of boring the audience, unlike his other three-hour films with weaker pacing.

He prioritises the larger set pieces by using the IMAX cinema cameras for those wide, massive city landscape shots. My favourite sequence is the chase-truck action scene featuring Batman’s motor pod vehicle, and using the imax cinema cameras gives it a larger-than-life, epic feel but it’s the consistency compare to the rest of the movie it knows when and where to use it

I could also say what you already know—it’s been repeated countless times: yeah, Heath Ledger is amazing. Wow, what a shocker.

It’s the movie that sparked the superhero film craze, whether you like it or not.

I also see influences from Kubrick—who isn’t inspired by him?—but the clearest influence is from the movie Heat, borrowing its style Very heavily

There’s this heavy seated anger that boils in the chest especially for me on what is depicted and shown on the screen. I have never really wanted to turn off or take a break from watching any piece of Entertainment or media much like how this did it for me out of anger and annoyance

The one part that kind of upset me and annoyed me out of the entire thing that stood outwas where one of the journalist starts filming the stuff that is happening then he gets cold out by the people who are doing these things and was called the Jew that is helping the other side and by that point it puts things into perspective of extreme ideologies and not looking as humanity and people as one whole thing they look at them as beneath them and it’s not their right to have a proper life with ambition it’s extreme authoritarian land that they’re living in

If I had just one slight of criticism while I do understand the severity of said situation and the extreme risk of filming these things I almost got nauseous due to the unstable camera always moving and looking at the ground and going up and down while he’s running

If these film makers/reporter journalist could come together and are from the opposite side of the river and can see eye to eye why don’t these other people with different beliefs and different ideologies can’t come together

Going into it, I was really intrigued by the subject matter and themes  It was trying to tackle the discussion of consciousness itself and if humanity had this  type of technology would it be used in the wrong way? And what is consciousness Is it just memories in a vessel or is it something else Those are the type of questions that I really wanted it to answer or at least tackle, but it didn’t go to the depths where I wanted it to go left me wanting more

There’s a little too much for my liking in of voice narration but Robert Patterson gives a excellent performance probably one of my favourites of his that I’ve seen he does so much vocally and expressively with his face and voice. He really gets to flex his muscles here it made it where I didn’t mind the voice narration because he’s doing so much

But I’m much prefer this than a studio assembly factory movie that has no soul compared to the the keen eye of Bong Joon-ho & Darius Khondji both behind the camera gives this world a nice gorgeous looking texture

Also, it’s a fun watch

The reason I’m watching this is because, every time my mates and I finish a session at the cinema no matter what movie we watch they always bring up how one of them loves Bullet Train while the other absolutely hates it. They keep asking me if I’ve seen it.

Well, today’s the day, folks!

Right then, lads
Aaron Taylor-Johnson, love ‘im, proper good actor, but blimey—his accent in this? Bit over the top, innit? Proper geezer mode, like he’s stepped straight out of a Guy Ritchie flick but dialed up to eleven. It’s almost off-pudding, if you catch me drift—like, “alright mate, fancy a Jaffa Cake and a scrap outside the pub?” It’s like they took every British stereotype, whacked it in a blender, and poured it over a crime thriller one of the last words that he said clearly you bellend 

Still, Aaron, mate maybe next time, ease up on the Cockney-o-meter, yeah?

My God, the sheer amount of stereotypes. It’s like a travel brochure gone mad. The Russian villain? Well, naturally, his whole thing is Russian roulette because what else do Russians do in movies, eh?

This movie feels like it’s trying to replicate that Japanese television commercial vibe and style, but it lacks the weirdness since it was made by an American director. I feel like you need to be more familiar with Japanese culture than the average foreigner who’s just discovering Japan. If you asked someone like that to replicate it, they’d just give you the aesthetics but not the actual weirdness.

The movie treats the audience like we’re dumb,  repeating scenes we’ve already seen like it doesn’t trust us to what just happened prior moments ago It insists on showing things again, just to make sure we really got it.

Okay, let me get this straight one of the side villains, the crime boss, says he bought all the tickets on the train so there wouldn’t be that many people. But how is it that there are people at the start, and then when they’re fighting, there’s conveniently no one around, yet later on, there are people again? It feels like the movie picks and chooses when and where people can be. Tokyo is one of the most packed cities in the world.

How were you able to survive that gun wound? It was fate that line is so corny

Of course my mate would recommend a film that has some association with Ryan Reynolds

And my mate thought that the substance ending was way too over the top dude did you watch the ending to this movie? They survived that ridiculous train crash like it was a flesh wound just walk it off

But again, I do enjoy some of the fast and furious movies and it’s got that type of DNA running through it but at the same time I may also hate these films so whatever he says 🤷🏼‍♂️

To who absolutely love this movie and haven’t seen baraka I ask you to go watch that and it’s a massive solid recommendation if you really like this film and while you do that, also check out
Samsara .

This is just gonna be a stream of consciousness so if it doesn’t make sense, okay?

We are microscopic particles in this massive fish tank we call the universe. Even if we try to make great leaps for humanity—economically or constructively—by building towering structures and achieving feats that seem tremendous, with anything doesn’t matter what and technology and feats in any field life will move on In time, everything we create will become a memory, and nature will inevitably reclaim it. Humanity is just another part of an ever-moving assembly line, a temporary component of the greater ecosystem.

Absolutely love the soundtrack my God they cooked really hard they said hold my beer and cracked their fingers and knuckles and got to work

Would’ve liked a little bit more of a different perspective in of camera angles at a certain point. I got sick and tired of the same massive wide aerial shots of the scenery and while it still looks good I’m just looking for some variety rather than the moving camera Helicopter Scenery shots and after a while it just gets a bit repetitive but when it gets away from that I’m like okay thank you

They came a certain point where the movie is going so hard trying to do like a symphony crash course explosion at a certain point it almost gave me a headache. Don’t know if that’s a compliment or a positive can’t quite put my finger on it

Cinematography is simple yet striking 

Ultimately service level thing for me is reconnecting and opening up about your emotions reconnecting with family . some reallyneat stuff here and there that I’m not gonna specify due to spoilers

After seeing Kieran Culkin in real pain, he really stole the show. He knocked it up to another level, one that the film wasn’t quite ready for with the amount of baggage he was bringing.

These two characters are the exact opposite. Kieran Culkin’s character wears his heart on his sleeve but still has this awkwardness when in the perspective of Jesse Eisenberg that I really felt. Jesse Eisenberg’s character, on the other hand, is the total opposite—reserved, closed off, with tight corners, like he just can’t open up. He’s way more of an introvert.

These two characters could really learn from from one another

It had a familiar yet enjoyable ending somewhat of a melancholy ending which I can enjoy

Ultimately didn’t really have a massive impact on me or had a resident emotional level

Got to experience this again with a good pair of headphones.

Let me just say the experience with headphones was a nightmare that I couldn’t get out of.

What I took from it is that Jonathan Glazer acknowledges we all know the horrific things the Nazis did at Auschwitz. The story of the commanders and their complicity has been told repeatedly, and at this point, many films simply depict misery or graphic horrors on screen. The genre, particularly in relation to World War II, has been explored so many times that it risks becoming repetitive.

Jonathan Glazer takes a different approach—he steps back and shifts that horror into the background, making it the second or even third film taking place off-screen. We don’t see it directly, but we hear it, and it lingers in our imaginations. He suggests that what happened during that time was so unspeakable that it cannot truly be captured through cinema.

Instead, Glazer places us in the world of the commanders and their families. We all like to think of ourselves as completely separate from the people in history who committed horrific crimes against humanity. We tell ourselves we are nothing like them. But Glazer shows us that these people are disturbingly close to home, which makes it even more horrifying. They were family —fathers, mothers, husbands, and wives. They had children. They ate breakfast together, played in their gardens, read their kids bedtime stories, and lived ordinary lives. And yet, they also participated in atrocities against humanity.

Glazer also highlights their detachment from all facets of love. Just look at how they treat their dogs—their pets display more character, affection, and soul than the humans depicted on screen.

Hulk be giving no fucks

bitch slap that dog

you know it’s really refreshing watching a film that’s black and white but is an hour and 17 minutes long

there are shots in this film that have been burnt into my retina even before seeing it to completion. There were shots in this that were so gorgeous. I’ve seen them before even watching the film and it was about time I fucking watch this one because this one has been sitting there for a while and I finally got around to it

tackle subjects matter like identity should we still walk the path that has been carved out for us even though the past tells us something completely different? Should we continue through this path that we are in or should we embrace the identity of our religion?

Agata Trzebuchowska has a very cinematic interesting face. It’s so beautiful in black-and-white. She could be just staring at a ball and it’ll still look interesting thinking about whatever she is thinking about but at the same time I do feel like in of the character reflections and thoughts and opinions on what she is witnessing is left to ambiguous most of the time leaving us questioning. What is she really thinking about? And hey I do like me some leaving it to the audience and not having everything spoonfed but I would like character to take strong stance and have an opinion on something. She’s very reserved.

also, I don’t know I feel like this is like a freshman film school student's wet dream.

even though I gave this a 7 out of 10 doesn’t mean you shouldn’t on this one. It’s a really interesting watch and a bit outside of the box and in some ways more affordable way to make a movie/documentary/play..

Genuinely some of the most funniest moments ever even though they do appear to be scripted and some are to seem really genuine but trying to make a group of people/gamers to take a play of a subject matter seriously and asking so much from them is a tall order but they pulled it off. Do you know how obnoxious the crowd is to a well-known game like grand theft auto and gamers in general asking them to do auditions and be serious about a subject that of like Shakespeare/Hamlet, it’s like teaching a dog do tricks. 

The audio could’ve been way better because my God I’m struggling to hear what exactly they are saying

The moments that made me laugh was the blimp technical error and even though it scripted the wife/girlfriend character telling the MPC’s to stop staring at them while they’re having an argument

Me and my monkey. Me and my monkey.

Packing my bong—monkey comes along.
Me and my monkey getting high.
Me and my monkey walking through the town.
Me and my monkey.

You know, I keep on doing this, and I keep on saying to myself—Osgood Perkins has potential, and I want him to hit a home run with one. This one is not it.

Again, much like Longlegs, I really enjoyed the look. Very crisp, vintage, texturally great film.

The storytelling—I feel like it relies so much on the actors telling us instead of emoting and feeling out a scene. I’m starting to notice this deadpan type of acting throughout Osgood Perkins’ films. There is a moment at the end that does give me a great emotional acting scene between two brothers where they are actually having a moment and emoting—but it’s completely ruined by a line where one of them essentially says, “She was my mother too.” Oh yeah? You just now figured that out? Really? You’re both brothers. At the start, he’s a young kid—how was he able to put two and two together so quickly after the first victim dies? My opinion? It just happens a bit too quick for him to solve and put two & two together.

It’s a case of when and where to tell the story and what to show—showing instead of telling. And the film just can’t quite strike that balance. My God, the overuse of voiceover in the first half—my God! Let us feel it! Show us with the actors! But no, they have to have that Wes Anderson-style deadpan acting the whole way through.

I enjoyed the comedic, over-the-top gore, but it doesn’t let you sit with it and enjoy. It’s just way too quick, way too over and done with. Instead of letting you sit there and take in the carnage, it just feels like—okay, that’s done, next scene. Even though I enjoyed how ridiculous it was, it still felt like a checklist of moments instead of something that actually lingers with you.

The comedy? A few giggles here and there, but nothing that made me laugh hard. The only part that really got me—unintentionally—was when the twin brother said, “Give me that fucking monkey.” That says something about your comedy when me and my mate are coming up with funnier moments than the movie itself—especially since it’s about a toy monkey.

I’d much rather Osgood Perkins make these kinds of movies than some pretentious art film that thinks it’s smart and deep.

But the most disappointing thing? The missed opportunity to have the monkey supernaturally say:“Oogh Oogh Aah-aah! OOH-OOH! AAH-AAH!”

I don’t run after buses trains or girls. I only run for the food. The person who makes the food does your dad cook? No we eat.

Very lived in texture world that is made and built here very grainy and very lived in every equipment has texture like it’s been used for years

I just don’t feel like the inmates will give two shits about a chef that can cook

And let me just say I saw a particular scene coming from a mile away

Didn’t have time to publish this one since I’m preoccupied with other stuff my mate keeps on poking me with a stick telling me to watch it well here you go

The intro title sequence even though I enjoyed the music nothing visually stimulating or anything of creativity in of the intro titles just a blue screen with text

Even though this is a nitpick I do feel like there was a little bit too much of locations of text to tell the audience where they are and it could’ve helped to tell where they are visually instead of having a text pop-up one too many times it happens back to back

The hand-on-the-shoulder jump scare is so funny, not scary. Out of all things to make a person jump, a hand on the shoulder is one of the funniest that a loud sound following it is so funny. I prefer my jump scares to be diegetic—where the loud sound or sudden makes sense within the scene itself.

Looking at the sets and the practical effects and the production makes me miss the days when sets were real, and not everything was created on a computer—especially spaceships, good pyrotechnics, and explosions.

And my God, watching the movie now, the trope of a scientist using a piece of paper and a pencil to explain how time or any scientific concept works is so overused. It probably wasn’t overdone at the time, but looking at it now, it’s been beaten to death. Movies keep relying on the same old trick—folding a piece of paper and poking a hole through it with a pencil to explain time travel or some other complex concept.

How many times is the trope of let me put my face or hand into something that I don’t know or I’m not sure of that would probably kill me and is foreign to me but I get it if we didn’t have that that wouldn’t be a movie

How many times is it going to show us his wife with no eyes Oh wow, we totally didn’t see that coming—for the fourth time in a row.

Okay, baby bear

I got nothing

Me: let’s watch there will be blood

My mate: it’s just going to be about religion and just some guy

This recent watch I just noticed there was a handprint mark on Daniel Daylewis‘s face after Paul Dano slap the shit out of him in that one baptise scene it wouldn’t surprise me if he did that for real

Criterion where is my 4K Blu-ray and special features it would sell like hot cakes

This has been on my watchlist for a while. I rented a copy from a store, but it was scratched and kept pausing at the same spot.

I’m probably the first person to say this in history, but making a movie with a low budget is hard

Discourse surrounding a movie—yeah, you gotta love it.

That Amelia Perez musical clip has been making the rounds online—you know, the “penis to vagina” line. People called it bad, but that clip was obviously taken out of context. Watching the full movie, it’s clearly meant to be funny.

I enjoyed Zoe Saldana’s performance. I really think she elevates the material.

Going into this movie, I thought it was gonna be a massive turd in the wind, but honestly, it’s just overblown. To me, it’s a paint-by-numbers Oscar bait movie—one the Academy calls a masterpiece, but I’ll never think about or rewatch again.

Is it worth being up in arms about? No.
Does it deserve 13 Oscar nominations? No—other films deserved those slots.
Is this a good depiction of Colombian and Mexican cartel culture and does it accurately portray what it’s trying to depict? I don’t know, because I’m not Mexican, so I can’t say.
Should the director have done more research? Yes, of course.

Are Karla Sofía’s tweets unhinged? Yeah, but it’s weird that no one cared when they were posted four years ago—only when the Oscars nominated the film did they suddenly get attention. Better late than never, I guess.

The dance choreography? Basic. Nothing about it wowed me.

And I just find it odd that a cartel crime movie is also a musical while tackling serious topics like the drug trade and the trans experience. But at the same time, making it a musical gives it this feeling that it’s not reality—it’s just a fictional, theatrical world.

Got to watch this on the big screen on 35mm. That texture, grunge, grain, and grit really help with this type of film.

Guy right next to me was giggling at that one interrogation scene where those two characters were getting interrogated by the officers. Do I need to explain why that scene isn’t funny?

The person right next to me said he studied this movie for a French language class. That’s the equivalent of a person who loves anime learning Japanese so they can go to Japan.

Something about experiencing a movie like this with a crowd of people and sharing it with them in the cinema really is special

Again you need a severe mentally high IQ to understand this one

In of comparing all these movies together, this one feels less interesting to me compared to the rest of Lynch’s work. It just didn’t quite click for me. That said, I love the shot of the highway covered in darkness, speeding through it—some really great imagery. And man, David Lynch, you can really freak me the fuck out.

There are also some genuinely funny moments that help uplift the film when needed, so it’s not completely drenched in darkness. That one scene with the mobster and the road rage—oh my god, that was hilarious.

However, there’s some really unnecessary T&A—like, really unnecessary. But hey, at least they’re self-aware about it, judging by that one police officer joke.

Also love that main poster of the movie

got the great privilege to watch this on the big screen for the very first time of me viewing it

What a massive energetic high octane joyride the first half of this movie was my God. It’s so much fun and so intoxicating and palpable.
really enjoyed the music

This is probably one of my favorite Nicolas Cage performances. He brings so much energy to the film, even in scenes that don’t necessarily need it—like the radio scene, which was hilarious. Did it need to be that extra? No. Was it fun? Absolutely.

Lines like “Did I ever tell you that this here jacket represents a symbol of my individuality and my belief in personal freedom?” perfectly capture his charisma. Nicolas Cage is so funny and magnetic. And that one shot—after brutally killing a guy down the stairs, hands covered in blood, a cigarette in his mouth—where he stares into the distance and points his finger? Burned into my brain forever. I’ll always associate Nicolas Cage with that image.

open.spotify.com/track/7Hg6a7tZsVTkXnBUepjZU6?si=7PktjcCnS7-ToGLyoVXDhg

Soundtracks to movies that I want to own on vinyl

• Fantastic Planet
• The Holy Mountain
• The Lord of the Rings: The Fellowship of the Ring
• The Lord of the Rings: The Two Towers
• The Lord of the Rings: The Return of the King
• Pulp Fiction
• Kill Bill: Vol. 1
• Jaws
• Inception
• Suspiria

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

My favorite trailers are the ones I go back to now and then. I think of a specific trailer when I think about these movies and how they handled their marketing. I love when a trailer doesn’t reveal much but gives you the tone and atmosphere. Some trailers don’t give away much at first, even though later in the marketing they spoil a lot. But the initial trailers keep things vague—except for a few on this list.

• There Will Be Blood
• 28 Years Later
• Godzilla
• Star Wars: The Force Awakens
• Alien
• Longlegs
• The Dark Knight
• Sinners

Films that I would like to own on VHS even though I have them on Blu-ray or 4K Blu-ray something about the retro static analog field gives it a little bit more texture

• Total Recall
• Alien
• Halloween
• Evil Dead II
• The Fly
• The Thing
• Boogie Nights
• Terrifier 3
• Mandy
• Possession

...plus 11 more. View the full list on Letterboxd.

Films that have my favourite intros title sequences in a movie in no particular order it could be an intro scene or the starting of a movie anything in general and then the title sequence comes up

• Se7en
• Enter the Void
• Lord of War
• Triangle of Sadness
• Raging Bull
• Lost in Translation
• Casino
• The Naked Gun: From the Files of Police Squad!
• La Haine
• Logan

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

Movies that wanna make me put the extra hours and grind and get that bread

• The Wolf of Wall Street
• Scarface
• Thief
• Uncut Gems

Films that give me comfort and joy and a sense of hope when I’m feeling a little lonely lol

• Kung Fu Panda
• Ferris Bueller's Day Off
• Good Will Hunting
• Lost in Translation
• Rocky
• Cinema Paradiso
• Spider-Man
• Spider-Man 2
• Gremlins
• Groundhog Day

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

since superhero movies are the norm these days here is my favourite superhero films in no particular order in my opinion still a work in progress.

• Unbreakable
• Logan
• Super
• The Suicide Squad
• The Dark Knight
• Captain America: The Winter Soldier
• Spider-Man 2
• Deadpool
• The Batman
• V for Vendetta

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

These films describe me my personality sense of humour anxiety and me being an introvert over all these films described me if you want to get to know me by just watching these films

• Punch-Drunk Love
• Adaptation.
• The Cable Guy
• Ferris Bueller's Day Off
• The Banshees of Inisherin
• Shame
• Sanctuary
• After Hours
• Superbad
• Shiva Baby

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

• Tropic Thunder
• Life of Brian
• Monty Python and the Holy Grail
• The Naked Gun: From the Files of Police Squad!
• Black Dynamite
• Army of Darkness
• The Cable Guy
• Bruce Almighty
• Lilo & Stitch
• Burn After Reading

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

My list of personal films that I consider to look visually gorgeous not ranked in any order except for number one

• Blade Runner 2049
• Waves
• La Haine
• Ida
• Manhattan
• Persona
• The Lighthouse
• Barry Lyndon
• The Tree of Life
• Samsara

...plus 15 more. View the full list on Letterboxd.

Films for Piper and Lachlan to watch together and have fun and enjoy sure, they might be not the sharpest good looking bloke across the street, but I just thought I should recommend these films since they deserve some exposure and attention, so do not miss this one recommended from yours truly Daniel enjoy

• The First Omen
• Kill
• Battle Royale

Films that have my favourite cover/posters

• THX 1138
• Funny Games
• An American Crime
• Malignant
• Suspiria
• The Lobster
• Batman
• The Exorcist
• The Zone of Interest
• Enter the Dragon

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

Obviously Each of these films, I enjoy them for completely different reasons

• F9
• Babylon
• Venom: Let There Be Carnage
• Air
• Malignant
• The House That Jack Built
• Death Proof
• Ready Player One
• In Bruges

When my teacher asks me what is my future plans for when a family member asked me the same thing

• Drive
• After Hours
• Shiva Baby