6u532b

I don't know. I kinda enjoyed it. "Until Dawn" is a film adaptation of the PlayStation survival horror game, and while I'm not familiar with the game itself, the film manages to bring some thrills with its time loop concept. The film follows a group of friends who are investigating a missing girl, only to find themselves stuck in the same nightmarish town. They die and get revived multiple times, but their revival has a certain limit. The kills are violent and smartly executed, although they wear a bit thinner as the film goes on. What made the film gripping is how the characters solved the mystery in order to survive. The acting ensemble is pretty good, and the ideas are clever, even though the execution is uneven.

"The Ballad of Wallis Island" is a lovely and heartwarming drama about relationships torn apart and the wonderful ways they can be mended. In the film, a millionaire lottery winner invites a former musical duo to a remote island for a private concert, only for former tensions to resurface. The film stars Tom Basden, Tim Key, and Carey Mulligan, who all give committed performances as people with past turmoil. This is a musical-adjacent film, and the gorgeous folk songs fit perfectly with the serene locations of Wallis Island. The comedy and tragic undertones are balanced quite well, resulting in a low-key charmer of a film.

Yes, this is my first time watching this movie. And it's kinda fun! "Final Destination" has some creative ideas for death scenes and a pretty solid cast, although some of its thrills start to wear thin as it goes on. The film follows Alex and his clairvoyant-like attempts to prevent the deaths of people. Death acts as the invisible villain in the film who tries to catch up to those who cheated death. Once you get used to the formula, the movie slightly loses its charm. But the kills are definitely the kind of campy, bloody fun that would make for a cult franchise.

Having finished the second season of "Andor" a.k.a. the best Star Wars project ever, I just had to immediately follow it with "Rogue One." This still holds up very well, and watching "Andor" gives the film a lot of meaning. The film is mainly focused on Jyn, played by Felicity Jones, but it also showcases a group of rebels who found each other along the way as an unlikely team. The film's entire second half is action-packed to the brim, and the VFX are still spectacular. The story covers a lot in a short time, which makes the pacing a bit hurried. I would be ecstatic to see more of the characters who only appeared in this film.

The prince didn't even deserve any of that.

"The Ugly Stepsister" provides a grotesque body horror spin to the fairytale classic, "Cinderella," that utilizes its raw and guttural approach and vintage aesthetic to overcome uneven storytelling. Director Emilie Blichfeldt offers a nightmarish version of a fairytale that follows Elvira, the nasty stepsister to Cinderella, who goes to great lengths to become beautiful for the prince's ball. In the vein of similar body horror examinations of beauty standards such as "The Substance," the film critiques the unreasonable expectations given to women. All the performances are great, especially Lea Myren as the titular stepsister. The pacing is noticeably off at times and the film feels longer than it should be, but the experience is still unnerving. Thank goodness the ending offered a bit of relief.

"Warfare" effectively puts the viewer into an immersive, brutal, and hard-hitting mission of American Navy SEALs in Iraq, even if it does not develop any of its characters. Ray Mendoza and Alex Garland's film features a starry ensemble of actors who have just recently caught fame, and they play a real-life platoon thrust into a hellish situation. The ensuing gunfire and explosions are riveting and visceral. Narratively, the writing is pretty bare-bones, limiting the film to a contained action thriller. More characterizations could have benefited the film and added more drama and story arcs. But for the solid craftsmanship, this is impressive for a war film.

Meghann Fahy delivers a compelling performance in "Drop," but even her acting couldn't save a shoddily written script that would have any viewer questioning its realism. The film follows a single mother who enters the dating scene again, only to become the victim of a series of sketchy airdrops on her phone. She is soon forced to do terrible things to save her kid. Fahy plays Violet's desperation and astuteness very well, but the story goes in wild directions that ask too much of suspension of disbelief. The date is a total mess and it's almost unbelievable that it still went on. The third act goes full-blown action, and it is kind of crazy to watch.

David Ayer's "A Working Man" has some entertaining action sequences led by Jason Statham's usual charisma, but it's weighed down by generic plotting and weak dialogue. The film follows a former military construction worker who has to rescue a girl from Russian human traffickers. It's a series of villains that Levon has to defeat one by one, and the kills are pretty amusing. However, the writing here is just bare minimum, and some of the editing and production values are noticeably poor. For example, there's a massive moon in the third act that just took me out of the experience. There are some action highlights here and there, but overall, it's hollow and forgettable.

"The Pope: Answers" features the late Pope Francis responding to the questions of a group of young adults about various divisive topics, including sexual abuse among the clergy, LGBTQ+, sex work, feminism, immigration, and loss of faith. The group raises some important topics that should be a challenge for every religious person (I'm looking at you, Maria). The Pope did not give a satisfying answer to each issue—predictably so, as he is still a product of the Catholic institution. But it's still nice to see him listening to these people and giving some advice. Filmmaking-wise, it felt like a lot of footage was left on the cutting room floor, and the videos of the participants' lives are not seamlessly placed into the film.

"Into Infinity" was really enjoyable. It felt like a proper sequel to a feature-length film. The entire cast is impressive, especially Cristin Milioti, Jimmi Simpson, and Jesse Plemons. Milioti just conveys a lot with her face, especially with her eyes. The plot is totally unpredictable, and that ending is genuinely bonkers. It's astonishing how they did all the twists and turns in this story.

Came for the vampire horror. Stayed for the powerful exploration of community and music reverberating through time. Ryan Coogler's "Sinners" is a masterfully made period musical horror film that fuses various genres into an entertaining and thought-provoking examination of race, music, and society. In the film, twin brothers return to the Mississippi Delta to open a juke t for the Black community. What ensues is a bloody ordeal that tests the virtues of each character.

Michael B. Jordan is excellent in dual lead roles as Smoke and Stack Moore, which showcase his action star power. Jack O'Connell is absolutely maniacal as the Irish vampire leader, while Delroy Lindo is a standout as the beer-addled musician. Newcomer Miles Caton immediately impresses with his stirring voice and acting. The production values are all top-notch, and the way music is woven into the plot is fascinatingly unique and resonant. A sequence involving various periods of music is a standout, as well as the film's final act and epilogue that emphasize the impact of the past on the future. If I'd have one minor complaint, I wish the action sequences in the third act were longer.

Paul Giamatti, you will win your overdue Oscar one day. He absolutely carried this episode. I thought this was just fine. It could be emotionally devastating for some, but there's something missing for me. I can't wrap my head around the fact that this man just forgot the face of a woman he's been with for three years, and he was not particularly kind to her either. Nevertheless, the production design of the 3D photos is brilliant, and the slow and emotional unfolding of the plot is gorgeous.

This made me how hit or miss "Black Mirror" episodes can be. I get the concept of making Tamagotchi sentient and mass apocalyptic, but the execution of this episode just did not work. Peter Capaldi is acting the heck out of this while the inspector is just yelling at him to tell the victim's name. It is, quite frankly, forgettable and uninspiring.

I couldn't look away from this episode. Emma Corrin is immaculate and endlessly watchable in this. I think it's a bit rough around the edges especially in the parts of Awkwafina's team, but the idea of an old classic film simulation with sapphic lovers is so strong and well-executed. The episode felt like a feature film, and it's both funny and tragic. It's my favorite of the season so far, maybe mainly because of Corrin.

Siena Kelly and Rose McEwan are terrific here. The gaslighting was just really frustrating and got on my nerves. Was the concept close to our reality? No, and I feel like this would've been fleshed out better if it were a feature-length film. But the episode was still stressfully enjoyable.

Heartbreaking episode about basic human life getting inhumanely commercialized. Bold of Netflix to release an episode showing how dehumanizing tiered subscription models are, but they still do nothing about it. The concept is believably close to our future reality. Rashida Jones is particularly impressive, while Chris O'Dowd is also solid.

"Novocaine" is a violent and amusing action comedy that smartly makes use of the real-life condition of being immune to pain paired with Jack Quaid's charming talents. The film begins like a regular romcom, but then it switches into full-blown action once a bank robbery occurs. Nate has to encounter a lot of bloody pursuits to save the romance of his life. Quaid is simply terrific in playing awkward guys with heroic tendenices, someone like his character in "The Boys." Amber Midthunder is also quite captivating. Plot-wise, I wish there were a bit more unpredictable twists and turns. But all in all, it's a fun caper.

Best International Feature Film Thesis Rewatch (Final Film)

"Perfect Days" is a gorgeously restrained slice-of-life study of a toilet cleaner who finds beauty in the simplest things. Wim Wenders directs a Japanese language film that follows Hirayama's love for old cassette tapes, sunlight ing through leaves, public bathhouses, and the rest of his daily routine. Some events occur that interrupt his routine and make him agitated. Kōji Yakusho delivers an irable and heartfelt performance that makes the film find a whole lot of humanity. Wenders' filmmaking is similar to Yasujirō Ozu's quaint minimalism, and it makes for a soulful and quietly absorbing film.

Best International Feature Film Thesis Rewatch

"Io Capitano" offers a Homeric odyssey from an African immigrants' perspective, capturing the harsh difficulties encountered by those brave enough to traverse a perilous journey. Matteo Garrone directs this Italian film mostly spoken in Wolof and French, and it follows the journey of Seydou and Moussa whose ambitions of being popstars in Europe are met with grim realities in the desert and in prisons. It's a heartfelt and beautifully photographed film with a bit of fantasy, although its avoidance of being truly innovative holds it back from greatness.

It's a dad movie through and through. "Last Breath" features the real-life story of deep-sea divers whose mission in an underwater pipeline becomes a matter of life and death. The film feels like the standard perilous profession movie, and it compellingly tells the story with the help of strong performances from Woody Harrelson, Finn Cole, and the rest of the cast. The direction and writing are a bit shaky at times, but the underwater danger is still effectively captured. The true story is actually unbelievable, and while the film isn't extraordinary, there's enough solid filmmaking that keeps the film afloat.

"The Monkey" is trying to be a pulpy horror comedy with a lot of violent kills, but the style and surprises wear out with its unwieldy script and execution. If the film committed more to being funny, campy, and bloody, then it wouldn't have to attempt to be this arthouse-elevated horror. Osgood Perkins has some aptitude for visual flair as seen in "Longlegs" and this film, but his work is constantly held back by either being not truly scary or campy enough. What results is something all over the place and frankly a bit boring. Theo James is pretty good in the film with a dual role, although it's not adequate that he's working on a half-baked script.

Best International Feature Film Thesis Rewatch

"The Teacher's Lounge" captures the stressful tensions of working as a teacher in a system where unchecked prejudice is rampant. Leonie Benesch skillfully plays Carla Nowak's internal struggles as she maneuvers a tricky situation where a simple school thieving is blown way out of proportion. Carla's co-teachers are petty, the principal is incompetent, and the students are disheartened, especially Oskar who eventually ignites a counter-attack against Carla. It's a taut and riveting film that is genuinely entertaining on a rewatch, although that ending still feels like an incomplete head-scratcher.

Best International Feature Film Thesis Rewatch

J.A. Bayona's "Society of the Snow" examines how the need for survival could cross morality and faith, ultimately showing how strength can be built together through friendship and teamwork. This Spanish film depicts the plane crash in the Andes mountains that carried about forty Uruguayans, leading to a grueling struggle for survival. Numa, a devout Christian, narrates the story with heartfelt commitment. The first act features one of the scariest depictions of a plane crash in film. The middle act slows down the film a bit too much, but the ending is utterly uplifting.

Best International Feature Film Thesis Rewatch

"The Zone of Interest" is a haunting achievement in filmmaking. Rewatching the film allows you to find more symbols and images that you might've not noticed before—from the first time apples are shown on the ground, to the ashes scattered in the garden soil to make it more fertile, to the piano piece written by a Holocaust survivor. The unsettling sound design in the film feels like a separate world of its own unimaginable from what is seen in the Hoss' household and garden. This deservedly won the Oscar for Best International Feature Film. However, the mixed response to Jonathan Glazer's Oscars speech in of Gaza shows how Hollywood needs a fix to their performative politics.

Judi Dench and Billy Connoly's stirring performances enliven "Mrs. Brown," a costume period drama that is a bit too traditional in execution but still emotionally impactful. The film depicts Queen Victoria's grief over the death of her husband until horse master John Brown gets reappointed. The initial friendly encounter becomes quite the scandal among the Royal family and Parliament, while the Queen fails to have any public appearance. It is a very well-acted drama—Dench plays the stern yet grieving queen magnificently while Connoly portrays the rugged Brown with both bombast and heart. The storytelling has some jarring time jumps and episodic feel and the drama is at times flat, but the heartfelt connection between the Queen and Brown is still beautifully evoked.

This is a sobering depiction of how violent masculinist ideology is spreading even to the young generations through the internet, dividing genders and eroding the foundation of society along the way. Astonishing one-shot camerawork. I don't even know how they managed to achieve this feat of filmmaking. The performances are all excellent, especially from Stephen Graham, Erin Doherty, and newcomer Owen Cooper who might be one of the greatest young actor finds of recent times.

"Heart Eyes" combines romantic comedy and slasher horror with occasionally fun but mixed results, oftentimes holding back its storytelling in favor of cheap thrills. This Valentine's Day-themed slasher is actually quite promising—a serial killer uses creative ways to murder couples and the people who might get in the way. Very relatable. Some grimacing bloody kills happen, but the plot is constantly searching for something to sink your teeth into. The two leads played by Olivia Holt and Mason Gooding have some charm together yet their characters never become truly developed. It's fun but ultimately forgettable.

Oscar-winning Dutch short film "I'm Not a Robot," features a music producer who discovers that she is a robot. It is indeed very similar to Companion, albeit in an office setting. The camerawork is strong and Ellen Parren's lead performance is solid and compelling. It's just that there's not a lot of inventiveness in the story itself. It explores themes of excessive control over women's bodies, but it needs more element of surprise storywise.

I would've given the Oscar to "A Lien" instead of this, but I guess the filmmaking is more polished here.

"Incident" utilizes security camera and bodycam footage to show the tragic killing of Harith "Snoop" Augustus by the police with hard-hitting results. This documentary short film compiles the different footage as they all happen simultaneously, chronicling the police violence that is still rampant in America. Augustus was shot dead by Dillan Halley even if he had not unsheathed his gun which had a permit. What's more shocking is how the police officers believe that Halley did nothing wrong. This is a propulsive work, and even though it's not exactly cinematographic filmmaking, the editing is still praiseworthy.

Sebastian Stan and Jeremy Strong deliver riveting performances as two of the most infamous figures in American history, committing to the roles impressively even if the film is uneven and constantly searching for dramatic momentum. The film shows how Roy Cohn mentored Donald Trump to become the person he is now. The first half exhilaratingly features Cohn's ridiculous ideas and how they are imparted to Trump, while the more somber second half transforms Stan into a cutthroat despicable man. However, the film is both all over the place and middle of the road for its gargantuan subject. It's a bit dramatically flat and too episodic to get into the character, but it's still an unnerving watch.

Nominated for Best Live Action Short, "A Lien" compellingly provides a snapshot of a family torn apart due to America's unjust immigration policies. This film feels like a genuine thriller, and what's worse is that this happens in real life. Victoria Ratermanis and William Martinez are excellent as the parents of a nine-year-old girl. It's frustrating to see the bureaucracy lead this inhumane act of breaking families. The film has some shaky camerawork and busy editing that may be a little bit overdone, but it evokes the unease and heartbreaking desperation of this scenario.

Nominated for Best Documentary Short, "I Am Ready, Warden" follows John Henry Ramirez, a Texas death row prisoner who is nearing his execution after stabbing Pablo Castro 29 times in 2004. The film captures his search for redemption and forgiveness from Castro's son. This is an uncomfortable watch since the film tries to humanize a man who murdered someone with 29 stab wounds. People are saying he has changed due to religion. Was it earned? We'll never know for sure. But the film has a commendable humanistic approach to the subject that hears both sides of the situation. It's heartbreaking to see Ramirez' son who will be left without his father.

"A Complete Unknown" benefits from a starry cast, solid production values, and Bob Dylan's music, but it fails to delve beneath the surface and stays within dull and conventional biopic filmmaking. The film begins with quite the heartfelt meeting between Dylan, Pete Seeger, and an ailing Woody Guthrie. But as soon as Dylan rises to fame, the film gets stuck in a repetitive cycle of womanizing and singing and womanizing and singing. It seems that the film's only insight about Dylan is that he's a good songwriter and kind of a jerk who wants to do electric guitar music in the end.

Chalamet is fine but you can obviously see him trying his best to emulate Dylan. The real standouts from the cast are the magnetic Monica Barbaro, an amiable Edward Norton, Boyd Holbrook, and Scoot McNariy who both impresses with a short screen time. The film slightly improves in the final act where Dylan has to perform in Newport to subvert everyone's expectations, which should've been the main aim of this middling biopic. What happened to the guy who made the incredibly propulsive "Ford v Ferrari"?

Nominated for Best Live Action Short, "The Man Who Could Not Remain Silent" captures a glimpse of heroism amidst an ethnic cleansing operation in Bosnia and Herzegovina, although it doesn't explore enough about its subject. The short film is a tribute to Tomo Buzov, the only one who stood up against the attackers on the train. It's a well-executed short film, but I feel like it could've shown more about who Buzov is especially for those who are not familiar with him. He's not even the main character in the film. Nevertheless, I regard the film with respect.

Apple TV+'s "The Gorge" has a promising combination of sci-fi, horror, action, and romance led by a pair of charismatic actors, but the resulting film is an unsatisfying hodgepodge that fails to deliver. The first third or so of the film is quite strong—two snipers are assigned for duty on two outposts to prevent monsters from creeping out of a deep, dark gorge. Sadly, the ensuing action feels like something you would just play in the background.

The best parts of the film show Miles Teller and Anya Taylor-Joy communicating from far away and building a relationship. The hollow men are a bit scary as well. However, in the second half of the film, there is too much action-focused, Stranger Things-like creature feature that is rather exhausting and unexciting. The romance ends up being a bit silly and the CGI-heavy third act sinks it all, literally.

My father ed away last year. He was also an engineer and he was against the violent authoritarianism in my country. To say that "I'm Still Here" resonated with me would be an understatement as to how this hit my emotions. Walter Salles' "I'm Still Here" is a towering yet intimate drama anchored by an exceptional Fernanda Torres that examines the chilling impact of dictatorship while exploring a family's resiliency. The film builds the relationship of the family so well, which made the succeeding tragic events even more poignant.

This is a deeply heartfelt rendering of a mother's dedication to uncovering the disappearance of his husband, and Fernanda Torres is nothing short of revelatory in this movie. Torres internalizes the turmoil of Eunice Paiva so meticulously. Selton Mello also makes a huge presence as Rubens Paiva even if he only had a short screentime. The film is never maudlin or overdramatized—it gives respect to its subject while empowering human rights activists and serving a warning against the dangers of dictatorship.

Nominated for Best Live Action Short, "Anuja" captures a young girl's conflicting choice between her work in the factory and school education, if only the film provided a proper closure to its characters. It's a heartfully told story shot in Delhi, India, and it has an inspiring message about empowering the youth to have the right to education as they deserve. The decision to have an open ending is a bit of a head-scratcher, but this is still an emotional short film nonetheless.

Brady Crobet's "The Brutalist" tells the story of talent, ambition, and the resiliency of an immigrant's dream in America with an astoundingly epic vision. Adrien Brody plays with heartfelt dedication all the deep struggles of László Tóth, a Hungarian-Jewish Holocaust survivor and Brutalist architect. It's a film built on a massive scale with only $9.6 million on its price tag, a massive feat of filmmaking that reflects the commitment to the craft of its subject characters.

Lol Crawley's cinematography is transcendent while Daniel Blumberg's brassy score is profoundly immersive. Guy Pearce is excellent as the snobbish wealthy Lee Van Buren and Felicity Jones is luminous as László's wife. If there's a weak link in the film, it would be the lengthy runtime that feels a bit overindulgent and the choppy storytelling. It's a very long film but something still feels missing in the story. Nevertheless, it's difficult to not be swept away by the dizzyingly sumptuous work on display in the film.

Is the divisive Zionist rhetoric present? Yes, but not without an examination of the constant marginalization by the American society that leads to one's alienation.

"Paddington in Peru" may be the weakest of the three-part franchise, but it still has some of the wonder and delights that made Paddington a beloved character. The film follows Paddington and the Browns' trip to Peru after hearing news about Aunt Lucy. Ben Whishaw returns with a delightful voice performance. ing the ride are Olivia Colman as a shady singing Reverend Mother and Antonio Banderas as the gold-obsessed Cabot.

The best parts of the film highlight the heart of the franchise—Paddington's emotional connection to his family. However, the story that heavily focuses on the hunt for gold in an ancient city is quite generic and not particularly exceptional. The first two films, especially "Paddington 2," have a grounded, pastel-colored sense of charm and surrealism. This iteration is a bit too big-budget, large-scale adventure, which slightly obscures the core of Paddington.

Featuring a captivating Sophie Thatcher performance, "Companion" melds sci-fi, thriller, horror, and comedy into an uneven yet irresistible experience. The film relies on a twisty plot that captures a weekend getaway turned awry when a robot goes uncontrollable. It feels like a single-setting, cat-and-mouse thriller but here the humans are the villains.

Thatcher is excellent in the film and she perfectly makes the case for being a rootable heroine. Jack Quaid's impression of a deceitful incel is not really compelling, but at least he is annoying. The film wavers from campy comedy horror to serious sci-fi with jarring and lukewarm results from time to time, and I feel like the film could be even bigger and more unpredictable, but it is still plenty enjoyable.

"Bridget Jones: Mad About the Boy" provides a charmingly funny yet surprisingly touching coda to the beloved character's story brought to life by Renée Zellweger for many years. The film brings Bridget to the point of her life where she has to find a new romance while having two children of her own. This fourth entry to the series manages to bring out both laughter and tears.

The first half of the film is all colorful whimsy, with Bridget meeting Roxster played by Leo Woodall in a whirlwind romance. It's a bit oddly paced and some humor does not land, but thankfully, the second half brings all the emotion. Bridget and her children's grief is explored in an unexpectedly emotional way, and Chiwetel Ejiofor provides the perfect reliable figure for the characters.

Marianne Jean-Baptiste, Michele Austin, and David Webber's towering performances make Mike Leigh's "Hard Truths" a heart-rending watch about depression and family trauma. In the film, Pansy and Chantelle's mother recently ed away and they have to deal with their grief. Pansy is very irritable and furious about everything, but deep inside her is unhealed trauma. Jean-Baptiste is simply astounding—she has a breakdown in a sequence that reverberates throughout the film. The cast around her is excellent as well. Leigh's direction and writing are very composed and elegant, although I do wish the ending gave more closure to each character since the audience will certainly feel invested in each one.

"One of Them Days" delivers a buddy-comedy that makes the best of Keke Palmer and SZA's comedic timing and chemistry. In the film, two friends have to beat the time to pay their rent, or else they will be kicked out to the curb. It's a series of misfortunes for the duo as they find themselves in increasingly worse (but funnier) situations. Palmer is a total knockout here as she delivers Dreux's assertiveness and desperation, while SZA surprises with a charming performance as the broke painter, Alyssa. It's a nicely done comedy about community amidst economic despair, although I think it could be more chaotic and funnier towards the end.

Capturing Robbie Williams with all his talents and flaws, "Better Man" elevates the regular musical biopic with its fascinating use of CGI, bewildering musical sequences, and an unexpectedly touching story. The film is currently talked about as the singing chimpanzee movie, and the use of the monkey to portray Robbie Williams actually works. The story maybe slightly generic—a young singer gets obsessed with being a celebrity and succumbs to drugs and alcohol—but there is an affecting throughline with Robbie's family that got me emotional. The drug use montages in the middle can get a bit repetitive, but the musical sequences are genuine highlights that feature some impressively creative filmmaking.

I'm not gonna lie: this is a propulsive, gripping thriller that had me at the edge of the seat. But putting it into context, "September 5" fails to deliver the needed intricacies of the situation. As an enclosed thriller featuring ABC journalists covering the hostage-taking of Israeli athletes in Munich, the film is very well-made and acted. It effectively puts you into the nerve-wracking behind-the-scenes of television newscasting with excellent pacing.

However, this historical event isn't happening inside a bottle—there are years of conflict and abuses against the Palestinian people that the film chooses to ignore. To use the perspective of journalists might've seemed neutral but it actually fails to give identity to both the attackers and the victims. The film never explains WHY all of this is going on and the attackers are left as nameless ghouls. When the film ends, it feels like the film just asks the viewer to read all about it.

There are some creepy body horror sensibilities in "Wolf Man," but the shallow writing and direction feels like a waste of Christopher Abbott and Julia Garner's acting talents. In the film, a father brings his wife and daughter to the woods, only to be attacked by a rabid creature and slowly transform. The film tries to have emotional beats with the father's bond to his family, but the lack of characterization and depth in the writing makes it all feel unearned.

Abbott's transformation is the film's highlight as he commits to the physicality and the prosthetics-aided performance. Nevertheless, the film isn't all that scary and I found the one-night setting to be so limiting to the story. Leigh Whannell had fantastic work in "Upgrade" and "The Invisible Man," but this feels like a baffling misstep.

Nominated for Best Documentary Feature, "Black Box Diaries" is Shiori Ito's courageous narration of her horrible experiences that reveal Japan's weak justice system for rape and sexual abuse victims. The documentary directed by Ito herself uses unnerving security camera footage, recordings with investigators, and her own investigations to hold her ab able.

What's shocking is how the Japanese society belittles the abuse victims—calling them destroyers of the accused lives. Former Prime Minister Shinzo Abe's connection to the accused also shows how power and corruption hinder justice. Filmmaking-wise, there is nothing revolutionary here, and the film feels longer than its runtime. But Shiori Ito's sheer bravery to tell her story is nothing short of impressive.

"Sugarcane" chronicles the shocking exposé of Catholic residential schools in Canada that abused many Indigenous children, leading to despicable rapes, murders, and infanticides. This indisputably brave, important, and beautifully shot film follows the survivors of the schools and their descendants. 

Some of the most memorable moments involve co-director Julian Brave NoiseCat's conflicted relationship with his father and the meeting of the representatives with the Pope in the Vatican. Many scenes are heart-shattering—the abuses are never shown on screen but the stories told by the survivors are unnerving and soul-crushing. The documentary depicts some of the worst sides of humanity—when religion is used to harm and subjugate other people.

Innovative and affecting, RaMell Ross' "Nickel Boys" uses an ingenious first-person perspective in capturing a dark chapter in American history. The film encourages the viewer to wear the shoes of Elwood and Turner, two boys who are incarcerated in Nickel Academy where boys have been historically abused. It's a dark and harrowing watch, but the characters' connection is so heartfelt and powerful that it can withstand the horrors surrounding them. Aunjanue Ellis-Taylor gives a standout performance as Elwood's grandmother.

The stylistic approach is technically ambitious and enthralling, although it can also be sometimes alienating and confusing. There are a few times when instead of feeling the emotion, you concentrate on the filmmaking techniques. But the film is still an emotional knockout and the finale of the film is deeply moving and definitely hard to forget. I'm not very familiar with this real-life tragic academy and it made me want to look more into its history.

Halina Reijn's "Babygirl" has committed performances from a cast that captures a sensual subject, but the toothless approach to the themes makes the film underwhelmingly tame. Nicole Kidman stars in a challenging role as Romy, a powerful CEO who has deeper desires for pleasure and submission. Kidman is excellent here and so is Antonio Banderas as the theatre director husband.

Harris Dickinson plays the company's intern who becomes Romy's subject of interest. While his performance is sly and skillful, his character isn't explored enough to bring dramatic heft to the pairing. There are themes about power dynamics and the roles of women in the corporate world, but the script is too vague and aimless to create much-needed impact. It also doesn't help that the third act feels rushed and the conflicts get resolved very quickly.

• I'm Still Here
• Better Man
• The Brutalist
• Sugarcane

1. Conclave
2. I'm Still Here
3. The Substance
4. Anora
5. Nickel Boys
6. The Brutalist
7. Wicked
8. Dune: Part Two
9. A Complete Unknown
10. Emilia Pérez

Favorite films need not be acclaimed by everyone: they just need to strike a chord in your heart.
(List not ranked)

1. Apocalypse Now
2. The Apartment
3. Brief Encounter
4. Andrei Rublev
5. Singin' in the Rain
6. The Good, the Bad and the Ugly
7. The Thin Red Line
8. Moonlight
9. Le Samouraï
10. Sing Street

...plus 90 more. View the full list on Letterboxd.

1. The Holdovers
2. Anatomy of a Fall
3. The Promised Land
4. The Zone of Interest
5. Past Lives
6. Society of the Snow
7. Monster
8. Nimona
9. Killers of the Flower Moon
10. Perfect Days

...plus 5 more. View the full list on Letterboxd.

1. The Holdovers
2. Anatomy of a Fall
3. The Zone of Interest
4. Killers of the Flower Moon
5. Past Lives
6. Oppenheimer
7. Barbie
8. Poor Things
9. Maestro
10. American Fiction

1. The Wind Rises
2. Spirited Away
3. Kiki's Delivery Service
4. The Boy and the Heron
5. My Neighbor Totoro
6. Nausicaä of the Valley of the Wind
7. Princess Mononoke
8. Howl's Moving Castle
9. Ponyo

• When Evil Lurks
• Evil Dead Rise
• Talk to Me
• Cobweb
• No One Will Save You
• M3GAN
• Sick
• Scream VI

1. The Banshees of Inisherin
2. All Quiet on the Western Front
3. Top Gun: Maverick
4. Everything Everywhere All at Once
5. Women Talking
6. The Fabelmans
7. TÁR
8. Avatar: The Way of Water
9. Triangle of Sadness
10. Elvis

1. The Banshees of Inisherin
2. Argentina 1985
3. Top Gun: Maverick
4. All Quiet on the Western Front
5. The Quiet Girl
6. Everything Everywhere All at Once
7. Women Talking
8. The Fabelmans
9. Puss in Boots: The Last Wish
10. Aftersun

• The Banshees of Inisherin
• The Power of the Dog
• Another Round
• 1917
• BlacKkKlansman
• Phantom Thread
• Moonlight
• Carol
• Birdman or (The Unexpected Virtue of Ignorance)
• Nebraska

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

with five honorable mentions

• Come and See
• Apocalypse Now
• Singin' in the Rain
• The Apartment
• Andrei Rublev
• There Will Be Blood
• The Good, the Bad and the Ugly
• Moonlight
• Brief Encounter
• Ikiru

...plus 5 more. View the full list on Letterboxd.

Best of 2021 Narrative Movies

1. The Power of the Dog
2. Procession
3. A Hero
4. C'mon C'mon
5. Petite Maman
6. Pig
7. The Last Duel
8. The Worst Person in the World
9. Belfast
10. The Rescue

...plus 5 more. View the full list on Letterboxd.

1. Sound of Metal

   A heavy metal drummer enters a new world of silence. But instead of giving him peace and solace, this new world gives him fear and desperation. Through sensitive writing and direction, stunning sound design, and a transformative turn from Riz Ahmed, "Sound of Metal" depicts both the struggles and triumphs of the deaf community with tremendous depth. The film makes the point that being in the deaf community is not about finding an escape from the condition: it is about belongingness and acceptance.

2. Nomadland

   Heartbreakingly gorgeous and impeccably filmed, Chloe Zhao captures a woman braving through the ruins of a once luminous American economy. The film welcomes real-life nomads and illustrates the journey of these people with a lot of concealed pain and emotion. Pondering on freedom and restlessness, "Nomadland" showcases empathetic filmmaking that reflects these achingly lonely times. It is the most unflawed nominee but I just need a bit more ion for it.

3. The Trial of the Chicago 7

   Aaron Sorkin's film is a concoction of TV courtroom drama, satirical comedy, and historical fiction, and it might not work with others, hence the film's villainized status this awards season. But the exchange of dialogues is so well orchestrated and the heightened relevance of the story involving the trial of activists makes the film more impressive. Even if Sorkin's direction lacks dynamism, the editing is a firecracker and the ensemble is stellar.

4. Promising Young Woman

   Highly unpredictable and fascinatingly genre-bending, Emerald Fennell's candy-colored feature film debut studies how a woman processes grief and how rape culture gets perpetuated by lack of action. Carey Mulligan is stunning in the lead role, and while the film's conclusion might prove to be divisive, it provides an example of Fennell's commitment to her craft.

5. The Father

   This screen adaptation of a play is totally different from what you would expect from a drama about dementia. The film places the audience inside the mind of an aging man and utilizes intentionally perplexing storytelling to illustrate the struggle associated with the disease. It almost plays like a psychological thriller and it boasts extraordinary performances.

6. Minari

   "Minari" offers a quaint and contemplative tale of a Korean immigrant family discovering the false hope of the American Dream. While the film is small and its approach to stitch together separate moments is not always seamless, it makes the most of the down-to-earth performances of the cast, strongly affecting scenes and its poignant look at family dynamics.

7. Judas and the Black Messiah

   With scorching political timeliness and transfixing performances, the film takes the viewer in a visually strong scrutiny of a dedicated activist and a morally conflicted individual. However, its potent message gets slightly undermined by narrative hiccups, inconsistent pacing, and scarce highlights.
   
   

8. Mank

   David Fincher is known for his tightly structured films, but this tribute to "Citizen Kane" does not contain a fully engaging narrative to assist its top-notch black-and-white photography and elaborate production design. The story is not entirely unfulfilling but it is lacking in relevance and forward momentum.
   
   

1. Sound of Metal
2. Nomadland
3. Another Round
4. Boys State
5. The Dissident
6. Collective
7. The Trial of the Chicago 7
8. First Cow
9. Promising Young Woman
10. Dear Comrades!

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

1. Portrait of a Lady on Fire
2. 1917
3. A Hidden Life
4. Sorry We Missed You
5. Ford v Ferrari
6. Pain and Glory
7. Klaus
8. The Irishman
9. Marriage Story
10. The Farewell

...plus 5 more. View the full list on Letterboxd.

My ranking of Philippines Cinemalaya Main Competition Short Films.
Over-all, I think the top 3 are the only ones worth it.

1. Tokwifi

   A solid fusion of experimental romance, modernity, and indigenous culture

2. Fatigued

   The interactive-ness is not really effective but the subliminal horror is certainly compelling

3. The Broken Vinyl Record

   Traditional and commonplace but still heartwarming

4. Chanting the ion

   Slightly empty but gorgeously-photographed

5. To Calm the Pig Inside

   Photo and video footage slideshow with some dramatic narration

6. The Slums

   A hilarious satire at first but became cornier and tedious as it went on

7. Quing Lalam Ning Aldo

   Horribly generic telenovela score and nothing really special

8. Excuse Me, Miss, Miss, Miss

   Oddball "social commentary" comedy made tacky

9. Arise

   Shockingly empty and ineffective exploration of fisherfolk in rural areas

10. Living Things

    The concept is so corny and forcibly "experimental," it hurts

World War I and II films I have given a rating of 8-10. Includes films tagged in the "war" genre in Letterboxd.

• Come and See
• Schindler's List
• Paths of Glory
• 1917
• The Thin Red Line
• The Pianist
• Saving Private Ryan
• Hacksaw Ridge
• Son of Saul
• The Cranes Are Flying

...plus 17 more. View the full list on Letterboxd.

1. Landscape in the Mist
2. The Ascent
3. Paris, Texas
4. Do the Right Thing
5. Lola
6. Upstream Color
7. The Treasure of the Sierra Madre
8. Harakiri
9. Brief Encounter
10. Some Like It Hot

...plus 144 more. View the full list on Letterboxd.

1. Moonlight
2. Inside Llewyn Davis
3. The Tree of Life
4. Portrait of a Lady on Fire
5. Nebraska
6. The Hunt
7. The Wind Rises
8. Shutter Island
9. Ida
10. Under the Skin

...plus 43 more. View the full list on Letterboxd.

1. Andrei Rublev
2. Nostalgia
3. Solaris
4. Stalker
5. The Sacrifice
6. Mirror
7. Ivan's Childhood

1. The Thin Red Line
2. A Hidden Life
3. The Tree of Life
4. The New World
5. Badlands
6. To the Wonder
7. Days of Heaven
8. Knight of Cups
9. Song to Song

• Alien
• Inside Llewyn Davis
• Before Sunset
• Pet Sematary
• Kedi
• Can You Ever Forgive Me?
• The Shape of Water
• Captain Marvel

• The Apartment
• 12 Angry Men
• Psycho
• Ikiru
• Schindler's List
• Paths of Glory
• Nebraska
• Winter Light
• The Seventh Seal
• Ordet

...plus 5 more. View the full list on Letterboxd.

• Once
• Sing Street
• s Ha
• Call Me by Your Name
• Inside Llewyn Davis
• Before Sunset
• Lady Bird
• Short Term 12
• Eternal Sunshine of the Spotless Mind
• 20th Century Women

• Apocalypse Now
• The Good, the Bad and the Ugly
• Andrei Rublev
• Nebraska
• There Will Be Blood
• The Thin Red Line
• Moonlight
• Sing Street
• The Apartment
• The Shining

1. The Dark Knight
2. Joker
3. Logan
4. Wonder Woman
5. Batman Begins
6. The Avengers
7. Spider-Man: Into the Spider-Verse
8. The Dark Knight Rises
9. Captain America: Civil War
10. Avengers: Infinity War

• Andrei Rublev
• There Will Be Blood
• Atonement
• Amadeus
• Schindler's List
• Saving Private Ryan
• Barry Lyndon
• 12 Years a Slave
• Lawrence of Arabia
• Come and See

...plus 5 more. View the full list on Letterboxd.

• Andrei Rublev
• The Thin Red Line
• Moonlight
• Cold War
• There Will Be Blood
• Apocalypse Now
• The Good, the Bad and the Ugly
• The Shining
• The Seventh Seal
• The Departed

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

• The Good, the Bad and the Ugly
• Phantom Thread
• The Thin Red Line
• If Beale Street Could Talk
• Inception
• Interstellar
• Cloud Atlas
• First Man
• Forrest Gump
• The Artist

...plus 22 more. View the full list on Letterboxd.

1. Apocalypse Now
2. The Thin Red Line
3. Saving Private Ryan
4. Schindler's List
5. Das Boot
6. The Pianist
7. Paths of Glory
8. Come and See
9. Lawrence of Arabia
10. Hacksaw Ridge

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

Derived from the comments of my Facebook post: www.facebook.com/wilfredlucas689/posts/3364521990232051

• Apocalypse Now
• The Thin Red Line
• Scott Pilgrim vs. the World
• Her
• Meet the Robinsons
• Birdshot
• When Harry Met Sally...
• Lost in Translation
• Step Up
• The Trial

...plus 88 more. View the full list on Letterboxd.

• Shutter Island
• Singin' in the Rain
• Inception
• The Shining
• Blade Runner
• Birdman or (The Unexpected Virtue of Ignorance)
• Hereditary
• It's a Wonderful Life

• Joker
• Frozen II
• A Star Is Born
• Suspiria
• If Beale Street Could Talk
• Roma
• Godzilla: King of the Monsters
• It
• Moonlight
• Hacksaw Ridge

...plus 3 more. View the full list on Letterboxd.