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If this came out when I was a kid, I'd've been watching the shit out of it on VHS, but time, like a lot of big fantasy movies, hasn't been as kind to this as Iron Man or even Captain America. The production design and standard this thing set with the cosmic/fantasy hybridisation is great, but you can see it's all still a bit green around the edges about itself. Hemsworth especially doesn't quite take to his character the same way RDJ or Chris Evans did, but by the time it's over he's much less pantomime and more palatable (which I guess is kind of the point of the character).

It's got a lot of charm, but it feels like it isn't sure where it sits. Props to Paramount for bringing Kenneth Brannagh in to try and make his Shakespear chops shake this thing into something, which he kinda does, and at least here you've got more of a film that feels like it stands on its own as well as serves to set up what becomes the core of The Avengers storyline. With Captain America coming after this, it provides a nice little nod to the occultism/mysticism of the lore behind Red Skull's obsession, but also, hilariously, makes Captain Marvel seem even more redundant by muddying the waters around the teseract even more.

Anyone who likes this more than the Ang Lee film is the reason Marvel gets away with putting out garbage. There is NOTHING in this film that's even close to better than anything in that movie, and yeah, that includes the fucking poodle. Half a star for the sonic canons.

Now we're talking. It's fun, the stakes are solid from the get go and all the characters work. At this point I think we're pretty deep into the go ahead for the Avengers rollout, but this film rolls along nicely without ever really dragging its feet. It's a shame the movies never really touched on the alcoholism beyond this film, but minor nerd gripes aside, everything about Iron Man 2 works, either simply or effectively bar one National Treasure style leap with Howard Stark leaving a ridiculously obscured clue to his kid that pretty much god-in-a-boxes Tony in a way that felt unearnt when it probably just could have very simply.

Still, Iron Man 2 is a time. I enjoying it in the cinemas and people dogpiling on Rockwell, but those people are fucking dummies because Rockwell is never not worth tuning in for. Juggles crazy comic book villainry with industrial military complexities of Iron Man much better than the first did, but this (to my memory) is where Iron Man plateaus. The other solid thing about this is that, despite very overtly putting the Avengers stuff into play, none of it overtakes the story at hand, and the film stands pretty solidly on its own two feet and does a solid job of exploring the kind of escalation these characters see on a macro level once they step into the public eye.

The movie looks great, too, with much of what we're seeing being there on set and you still get the grain in the image that makes it feel like cinema. I noticed that even Cap, which is two films beyond this (Thor and Hulk coming between) has that flatly lit digital sheen to it, so I'm very curious to see how the next few films look. Again, no discernible score, but leaning harder into the dad rock needle drops. If it had that, this film would've jumped a whole star for sure.

Incredible Hulk is next. Not stoked, but haven't watched it since theatres. Pray for Mojo.

I have a distinct feeling that, just based on having watched Captain America first and seeing just how that LOOKED that this might be the best looking of the Marvel films purely from a filmic perspective, which makes sense given the whole thing started here.

It's genuinely interesting that this succeeded the way it did and led to where we are now. It's a solid film, coming from a time when Marvel films weren't really out there to sell toys. There're plenty of moments in this that aren't remotely friendly to anyone under the age of 15 just because of the situations at hand, but the film itself isn't particularly thrilling. It's engaging in very particular ways, but it's a far cry from anything Avengers and even Batman, who, at the time with Nolan's films happening, is your closest approximation. What you've got really, and this is my core problem with Iron Man's movies, is a rinse and repeat of guy in a suit fights jealous guy in another suit, that only exists because of Tony's suitery. Like Captain America, you've got a genuinely charming cast, and Bridges is great as a relatively boring villain (which, let's be real, is Marvel's thing), but it's all just a bit underwhelming, and it's how I felt when I saw this back in theatres. It's genuinely impressive that they bet the farm on this. It paid off spectacularly (and arguably detrimentally).

Again, shockingly, no discernible theme or score. And nothing that really stays bar the two shots -- the one of Iron Man walking away from the tank, and the other of the Iron Monger appearing in the darkness behind the chains. I think the other thing that kinda bums me out revisiting it is the direction they ultimately ended up going in with the 10 Rings group. Real shame Favreau never did the Fin Fang Foom follow up, but props to him for sticking to his guns and throwing it back in the face of entitled nerds being gross.

It's all about as flimsy as its attempts to convince you this film is set in the 90's while it just boringly recycles every uninteresting trope, plot device and visual from better films before it without any real personal gravitas or consequence, but its biggest sin is relegating Jude Law to this who-cares villain. At least Sam Jackson seems to be having fun and looks convincingly younger until you see him try to run.

Real shame that this film cost X-men: Dark Phoenix its Skrulls. At least that film was trying to do something interesting.

I dunno what compelled me to do this -- probably the deadlines and guilt I feel spending anymore time than absolutely necessary away from the office right now, but also feel so out of touch with movies that it's starting to get to me, so why not put something on I can tune out to here and there without really losing anything.

So here I am, doing the Marvel movies in chronological order. Thankfully Captain America was one of the early round films so it's not trying to tie itself into too much, but it's clear that with the success of the Iron Mans and (maybe) Thor and (probably not) The Incredible Hulk that it's the set up for the Avengers before the film even gets the juice. Not a lot of what happens in it feels like it has much consequence or gravity, and the whole film is as earnest as Steve Rogers himself and as wonky as the effects used to portray his pre-super soldier body. It all kindy works if you don't look at it too closely, and it's trying super hard to be something it just can't be. If it'd maybe leant harder into the Indiana Jones of it all instead of poking fun at it, it could've made more of the Red Skull as a villain in perpetuity, but it's all a bit toothless (bar one guy getting blitzed in a propeller).

Speaking of the Red Skull, Hugo weaving is great doing his best Werner Herzog, and the cast on this film is fucking insane. Just a shame that Tommy Lee Jones constantly looks like he wants to put one of the many rifles nearby in his mouth and Neil McDonough is given more screentime than Sebastian Stan. Still, Chris Evans shines with everything he's given to work with and the sequence where Cap arrives in the present is genuinely great.

I think it's just a bummer that such a great concept for a film -- a war movie with Captain America in it -- is all a bit toothless and daffy, but at this point Marvel had figured out they had a toy factory on their hands, so it kinda makes sense. Also, where's the score? How am I not humming the "Captain America theme" or "March of the Red Skull"?

2 and a half for now, but that may adjust as I go on. I suspect this one holds up better than the rest, but we'll see. On to... (checks notes)... Captain Marvel apparently.

What an odd little time… I’d tell you what it was but it’s pretty apparent that this thing doesn’t know itself either.

Embargoed but feeding people hand grenades will never not be funny

So, all of this happened, and instead of doing something about it, the person who found it decided to, what? Edit it all together?

THERE is your better Blair Witch sequel.

Perfect movie. They very literally don’t make them like this anymore.

Not a lot of movies I've disliked enough to walk out of. Three in fact. Chronicles of Narnia, A Serbian Film, and this and the only thing I regret about it was not doing it sooner because the only genuinely surprising thing about this movie is that Jennifer Lawrence's character -- the only reasonable person in the whole thing -- didn't bail like I did.

Props to Aranofsky for making such a technically intricate exercise in relentless frustration so quickly, and for convincing everyone involved it was worth doing. I think he's an extremely talented guy, and am in the extremely slim margin of folks that dug Noah, but this is the one that just didn't sit well for me because of how much of slog it is to ultimately be so disappointingly obvious.

Props to the director for getting this thing made with a large (ittedly in its death throes) studio and then released with another that flat out doesn't care for the genre unless it can sell toys. Shame it's not really worth the time it took to get out there, or the time it takes to get through it. You've got a handful of interesting ideas and a couple of great sequences (the fire in the sky bit is exceptionally creepy) strung together limply by an increasingly nonsensical boogeyman folklore cult and a wasted James Badge Dale trying to figure out what's going on as baffled as the audience. The big monster guy chasing everyone down for blowing in a bottle and thinking of him doesn't even look like that rad thing at the start of the film.

Part of me wishes I saw what so many others seem to see in this thing, but the other part of me suspects those people would blow into a bottle and think the very clearly evil suicide bone man is Jesus, so...

Baskin's a weird one. It rolled out around the same time as Void and Last Shift and like both of those movies, shoots for the cosmos with very little and... falls unfortunately short. I like what it feels like it's trying to do -- cosmic, maddening horror with Silent Hill focus through a Fulci inspired lens -- but again, it kinda falls short. I think the problem with a lot of these films is that they feel smaller than the ideas they're trying to convey. Yes, the unknown and unknowable is a big part of the horror, but whether it's the lack of focus on any of the characters until one really presents itself, or how these pieces are connected once they start to focus in on the important ones, it all kinda feels a bit too much like dreamlogic to hold together properly in the scope this thing seems to have.

Personal Hell narratives are always a bit hard, especially when other people are dragged into things, and so far, I think Jacob's Ladder is the only one that's really nailed this kinda thing, but Baskin is still a solid watch, just nowhere near as hardcore as I was expecting it to be or as crazy as it probably should've been.

I grew up on Hellboy comics and Mike Mignola's work as well as almost religiously playing Indiana Jones and the Fate of Atlantis right up to even last year, so the Atlantis myth combined with the artistic direction Mignola's name carries made this thing an immediate draw for me when it rolled out in my late teens. It blew me away then -- grimmer than your average Disney fare, devoid of musical numbers and an original story to boot...

...but Maddy and I chose to revisit this last night, and it's amazing how all over the place it is. The character designs are great, but kinda wildly inconsistent -- like each one is pinching from a different era of Disney animation style -- and the pacing is like Milo himself is behind the wheel of this thing. The breakneck speed at the start is genuinely dizzying only to grind to an absolute halt for a story that kind of doesn't make a tonne of sense and is hard to care about because everything is brushed over so superficially.

One of those ones that's best left to how your brain thinks it was in memory.

Haven't been able to fit much in in the way of films lately but fucking hell am I glad I got to squeeze this one in. I love the short story, and this is not that short story, but, to quote the film itself, it is what it is. If you went in to this film expecting anything other than what you got, especially on the back of the poster alone, then that's on you. Hilariously matter of fact in its absurdity and just a great time.

The only thing that could've made it better for me was drawing out the unraveling a bit (giving time to squeeze in more wild deaths that are given a montage instead) and maybe some kind of bookend epilogue with that great aftermath it ends on, but I look forward to owning and watching this thing routinely.

There’s a great idea in there where you have a world discovering yokai existing around them through found footage scenarios, but what Bloat is trying to do doesn’t serve it particularly well bar one moment.

Making movies is expensive and hard, but this idea was probably better saved for later on. Also, if you’re doing found footage, consistency is key.

I’m not quite sure what compelled me to sit through this one again. Maybe it was to see how the commentary of misogyny had aged, and whether it was as uncomfortable a watch as I ed, and it was. Maybe even more so watching it as a functional adult. Post-me Too and Not All Men and the insanity of the public division of people following Trump, these seemingly unreal characters at one time are now all too believable, making a really bleak movie even bleaker.

There’s a lot to unpack in it about toxic masculinity, and masculinity in general, that’s if you can slog through it. It’s a hard movie to recommend, but there’s a lot of interesting things that can be discussed about it, and it’s very well made… it’s just incredibly rough.

I'm hosting this thing at Fomo Cinemas in East Brunswick March 14th with a very special guest! I love this film to death and will post a proper review after the screening, but if you're in Melbourne next Friday and want to in on the fun, hit the link below!

Tickets: fomocinemas.com.au/movie-details/0001000284/Cat's%20Eye

You could've told me I just watched a playthrough of some middling video game and I'd've believed you.

The only brave thing about Brave New World is Marvel’s choice to make a sequel to 2008’s Incredible Hulk and telling everyone it’s a Captain America one.

Wonderfully tight but feels like it’s not really getting underneath things as much as it maybe should? Still, great Chad Ex Machina fun!

More like “Man Man” 

Kinda stinks that way more ambitious werewolf movies have copped a dud run and struggled for release and as a tale of generational trauma it’s about as effective as it is a werewolf movie.

when this was going to star Ryan Gosling…?

It’s so hard to find something I like about this movie, which is wild given how much is happening. I get that these movies are “family” friendly but… Lost World, man. Lost World.

Time does not treat this well. Maybe it wasn't that great to begin with and I'm just ing it being rad because it felt different (only it kinda wasn't, because I'm dead certain I saw an episode of Outer Limits that was basically this) and relentless and fresh, but revisiting it's apparent that time wasn't treating this thing well from the get go.

The duration of the story is implied in the title, but it feels like 30 Minutes of Night and yet still manages to weirdly drag narratively even at a seemingly excessive two hour length. As a book, the thing reads great, but as a film, the age of time is as inconsistent as Josh Hartnett's facial hair, and leaves you wondering which characters were doing what for how long now? Which also makes you wonder what the fuck the vampires were doing and why. Why send Ben Foster to hyper-act as an inconsequential Renfield when you could've done all of this yourselves? Why cut off your own food supply the second you get there? What the hell was going on with the little girl? Why can't you assholes use a door? Do they just forget there are still a solid number of survivors trying to escape and/or fight them? Maybe they just don't care about them -- which is understandable because you're not really given much with any of them to really know or care about whether they live or die beyond Hartnett.

The inconsistency doesn't stop with the text itself -- the presentation of the film is as all over the place as the pacing. Great shots and visuals are marred by sudden bouts of weird shakey-cam nonsense, which, despite (probably) being used to hide budgetary shortfalls, somehow weirdly manages to cheapen things visually. It's a shame, too, because there's a very clear effort to make the vampires look like they do in the book (something that's stylistically not all that straightforward given Ben Templesmith's art style), yet every time they show up, the camera guy starts having a seizure.

The only things consistently great about this movie is Hartnett and the score by Brian Rietzell. The rest is better left to a memory of what this was like when I first saw it, or a reread of the graphic novel.

It’s unfortunate that the title and premise so aptly describe the viewing experience. There’s a lot of great stuff, particularly in the first half of the film, and just like World, it’s great seeing a lot of the Crichtonisms absent from the original films creep back into things, but it all feels rushed to meet quotas. “Does it have A, B, and C? Great, put it on screens!” and feels chaotically slapped together. 

Just like Jurassic Park 3, the characters feel forced back into their roles for the most part, and even when Isla Nublar erupts, the stakes don’t feel particularly high. Justice Smith and Danielle Pineda are both great additions and a joy to watch every time they’re on screen but really should’ve been handed the mantles here, and Ted Levine, who’s never not great is such an obvious bad guy that his role as a kind of morally ambiguous Muldoon is reduced to obvious goonery from the second you see him. And that’s kind of part of it — all the characters outside of Pineda’s Zia and Smith’s Franklin feel like one dimensional caricatures plugged in to give things more weight, but most of them ultimately feel like cartoon characters. I get that these are films ultimately designed to sell toys, but so were the original two to some extent, and both managed to deliver distinct characters in a way that allowed them to breathe and grow naturally. Even Pete Postlethwaite’s Roland Tembo in Lost World feels more real than the suddenly conjured Hammond stand-in and his cloned daughter combined, which is a shame because that really should’ve been a pretty integral part to the overall A-plot of the film here without isolating younger audiences had it been given time to live up to its potential.

Like the film that follows, it’s A plot and B plot feel like they struggle for attention, and it’s a shame because everything is right there in the film to make it great. Bayona crafts a tonne of really great sequences with the core dinosaurs and characters (and I still tear up at the brachiosaurus), but it feels like he’s been pushed into corners around those sequences and so much of it feels hollow or inconsequential, or even small… much like 3. This whole thing is exemplified by the fact that  through the whole film, they’re freaking out about saving 11 species of dinosaurs here (in total, less animals than what you see in the first film) and acting like they’re the last of their kind and cataclysmically dangerous to the whole world. There’s a whole other island of proliferating and now wild dinosaurs they set two fucking movies on which is name checked twice. None of it ultimately makes sense and completely belies the intent of the film.

All that said, I fucking love that a lone stygimoloch kills more people in this thing in two rooms than pretty much any other dinosaur in the series.

I like that this thing does all the callbacks without being obnoxious about it, but a big part of me wishes we’d seen a world where Jurassic Park exists and functions without repeating the hubris narrative of the original film. Taken as it is, it’s a tonne of fun, and brings life back to a franchise that (ironically) needed to be brought back to life in the way this one does. New characters and angles, with respect to the monuments that came before it.

The Ian Malcolm in me wishes is seen this as a kid, because that’s the audience that it enthralled. As an adult that grew up with the originals it’s hard to shake the overridingly shallow nature of it, especially when it flirts with some of the more interesting ideas of the Crichton novels, as well as the world created by the events of the previous films (which becomes an unfortunate cycle as this series progresses).

All that aside, as The Force Awakens of the Jurassic Park series, it’s doing exactly what it needs to do, it’s just a shame it doesn’t go for more in this first film so it really could in later ones. 

That said, seeing the T-Rex get her own back is such a treat. Because fuck that Spinosaur.

It’s kind of amazing that the third film in the series has aged the worst of the run. Advances in the dinosaur physiology was in the public eye more than eye (especially with the appearance of the “quilled” male raptors) and the villain of the film was completely reevaluated physically by the time this thing hit DVD. But all that real-world nerd shit aside, it’s hard to ignore the fact that, after two wholehearted Spielberg outings, 3 feels half hearted on just about every front. 

It’s a retread of the rescue mission plot of Lost World, but rather than having plot direction and characters making decisions, here we just have a lot of things happening in succession until one of them gets lucky enough to activate a god in the box ending whilst literally saving them with a Chekhov’s gun. Even Sam Neil coming back as Alan Grant does nothing to elevate things as he looks as uninterested as returning to the character as the character does in returning to the island. Even as a retread into familiar territory, it doesn’t even acknowledge that it’s doing it when it very literally does and COULD have fun with it, which kinda brings things to the ultimate problem with Jurassic Park 3 — it just isn’t particularly fun.

The characters are unlikeable and despicable, the set pieces are small and nothing really feels like it has any gravitas, including the dinosaurs themselves, which, despite two films pushing CGI and animatronic effects beyond their capabilities each time, and ILM having just made Phantom Menace, feel less present than ever. 

But the biggest sin this film commits is by edgelord dunking on its own legacy and having the T-Rex killed by the Spinosaur in the first half hour in something that barely constitutes a fight worth putting to screen. 

Jurassic Dogwater.

Jurassic Park is my generation’s Star Wars. There hasn’t been a bigger film in my lifetime as far as cultural impact goes (suck it Cameron). It was rightly everywhere and there was barely a person that didn’t see it multiple times in theatres. It did to cinema what (aptly) Star Wars did before it in of pushing special effects and making you believe what you were seeing was real. It was, and still is, pure cinematic magic. And as a dinosaur kid, you cranked the volume on all of that mania to 100. That’s why what I’m about to say will likely upset people. 

Jurassic Park: The Lost World is the best Jurassic Park movie to date. Where Spielberg, Winston and Muren and eve Tippett all broke new ground as creators and film makers in the original, you can see the earnest nature of it; there’s a wonderful quaintness to that first movie… but Lost World everyone has gone in guns blazing, including Crichton, and taken what they learnt making that first film to make a genuine masterpiece blockbuster. The dinosaurs (particularly the raptors and the rexes) hold up better on screen, the set pieces are more intense (and anrguably more iconic) and the logical throughlines are better considered. Goldblum, while great in the first, is absolutely on fire in this one, alongside a much stronger cast of characters.

Yes, it does the King Kong thing (well, it’s the original Lost World that started it but most haven’t seen that), but you know you need to see it. That had to happen. There was no way a sequel to Jurassic Park was going to happen without the tyrannosaur going to the mainland and running amok. It’s a film that delivers on every promise you unconsciously foist upon it and does it in spades. It’s peak cinematic spectacle, but because the dinosaurs were already out of the bag, you just forgot how fucking amazing it is that these things are very believably alive on screen with these characters. 

Welcome to Isla Sorna, and the hill I will kill you on.

First rewatch for 2025. Still an absolute belter and the benchmark when it comes to integration and use of CGI, but it’s becoming clearer that Spielberg and his crew were still getting their head around a lot of the tricks at play on screen. It’s still a beautiful piece of filmmaking but this could genuinely do with a remastering on the CGI, which isn’t something I say lightly. 

Certainly doesn’t take away from the experience, and honestly, as much as I love the books, only Cameron could’ve come close to making something this wonderful.

I grew up on Hammer instead of Universal, so I don't have the connection to the originals a lot of people do and that may also colour things for me slightly differently to a lot of others but I being hyped for this thing way back in 2010, because I love me some gothic horror. At the time, I was disappointed but there were still things that kept me thinking about it. There was as much I liked and loved as I didn't.

So Nosferatu rolls around and I figure it's time to reassess. It's still messy and inconsistent, and I'm sure there's an amazingly insightful doco or commentary on the tribulations of the making of this film, but there's a lot of great stuff going on on screen. You can see where it's being held together with tape when you look too closely, but it's still tremendously entertaining and not the absolute shitshow your brain tries to tell you it is because everyone else's does. But it's a fun time, and almost every scene has something great or interesting to look at -- if movie art books were still a thing I'd imagine this would have an incredible one.

Also, Wojciech Kilar deserves credit on the very obviously influenced score.

Perfect movie.

While not blind to the deliberated nuances in the performances and narratives being presented, I’m never going to be able to fully appreciate this film and I’m incredibly privileged in that. It’s not showy or flashy in any way, but that’s isn’t the point; it’s imperative viewing, but the conversation that should follow even more so.

An even better experience the second time around. Still have some vague narrative issues with it but the filmmaking on show is beyond stunning.

Nobody is able to make so little so utterly filled with dread like Kurosawa. Chime is like being caught in a dream and being unable to do anything but bear witness to something you know shouldn’t be happening but are forced to accept as reality.

There are so many beautiful elements to this film that make it easy to forgive a lot of the wild head scratchers but in a true testament to the heart of this movie the older I get, the harder it is to connect with anyone other than Hook.

A wonderful mess!

More like The Dummy

This is the absolute underdog of the J-horror peak and does all the things you think you the Ring and Grudge doing each time you watch it.

Rules

YOU WOULDN’T A GHOST
BRRMTKABRMM-BAPABRRMMPADERRMMPRRRMMM

Not gonna be everyone's cuppa, but fuck yeah was it mine, and if you're following me, it's probably yours too.

Felt like it needed slightly more occult shit to really lock that down as an overall component of the grander picture (love where it was coming from) and separate things that bit more from the Dracula story, and way more Aaron Taylor Johnson, but capital nonetheless!

Also, love Bobby Eggs just ion projecting everything.

Loved it and love that it’s gained the traction it has but like every other religious horror movie that’s rolled out this year, I wanted more than I think it knew how to give despite being incredibly well written in its overall delivery of its message. i’m absolutely here for the  Hugh Grant Villain Era, too. Most identifiable villain put to film.

You’d be hard pressed to convince me of a better film this year

There’s barely a scene in it that I wasn’t laughing my arse off in. Perfect movie.

Probably not the best time to have watched it, and while it’s not really telling me anything I didn’t know or assume, I’m sure there are a lot of folks that are going to put this on out of idle or even morbid curiosity and not really see the tremendous amount of work that has gone into making this thing what it is, which kind of unfortunately gets in the way of it being engaging as a narrative piece or really as any sort of commentary.

It's worth a watch, but the climate is ultimately going to hamper the effort put into this film until people start looking back on it in years to come.

I liking this way more when I was a kid and while I wasn’t a dumb kid it’s clearly been a while between drinks with this one and time hadn’t been kind.  You can see Neil Marshall laying all the ground work and playing around with what would become the filmmaking that gives us the Descent films, and it’s great seeing films like this without a tonne of backing out there as benchmarks for what can be achieved and where that can lead…

…but me now, really struggled with it. It’s rough around just about every edge but as much as I struggle with it as an adult, I love that it is all this because it’s a pretty incredible exercise in indie filmmaking.

Really expected there to be more pugilistic rage being unleashed in this, but Dan Stevens is always a great time. There was something about the digital nature of it that created a weirdly flat visual that kept distracting me through it though, which is a shame, because I think there’s a tonne of potential to have really laid out some great visual punches as well that just can’t be achieved with that production choice.

Anyone who rates Afterlife or Frozen Empire as better than this needs to be put on a watchlist…

Been sitting on my “to watch” list for way too long and glad I finally broke it in. Nowhere near as nasty as I was expecting but bleak as hell and tight. It’s a cool concept that you don’t see played with much and kinda sets up a compellingly apocalyptic scenario I kinda want to see explored now. Sits snuggly with that whole Wrong Turn era of young adults with nice hair going on a trip and getting fucked up by a thing, and does the Cabin Fever thing but better.

Watched on Thursday October 24, 2024.

Holy shit…! What a swing and a ride! 

Horror is really going for the throat at theatres this year and I am so glad I’m here for it.

The only thing stopping it from a perfect score in my eyes is that I wish to Christ it have done the thing it was leaning towards as well as the thing it does.

Parker Finn is absolutely the name to watch

• Without Name
• The Happening
• A Field in England
• In the Earth
• Crimson Peak
• The Beguiled
• The Beguiled
• Bram Stoker's Dracula
• The Plague of the Zombies
• Play Misty for Me

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

Because all the cool kids are doing it…

No, fuck AvP.

• Alien
• Alien³
• Alien: Romulus
• Outland
• Alien: Covenant
• Aliens
• Prometheus
• Alien Resurrection