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thank you to whoever arranges the rotation of free movies on youtube. being blessed rn. *obsession* and this film have so much in common in the ways they purposefully frame male characters as completely misunderstanding or misrepresenting women characters because of their inability to see young girls/women as people. like trip in this film and bear in *obsession* confuse romantic love with wanting and using a young woman for the sake of saying you could have her at one point. lots of intertextual lines that could be drawn, but i’ll leave it there. just such a good film. i could never hate kirsten dunst in anything and knowing how much anxiety she felt when filming this makes me appreciate her performance so much more. and thank you to sofia coppola for your bomb ass music taste.

why’d they do that to my boy john leguizamo… tom holland has never looked better tho. to quote angelica jade bastién: “christopher nolan’s genius ends when a woman enters the frame.” and, like, it’s not only that because at least he wasn’t writing these women from scratch. he’s adapting women, translated by a woman. but even then, nolan has always had such an affinity towards making the interesting things about women characters their grief/trauma/obsession over the men protagonists. it’s exhausting. i said this about oppenheimer and i’ll say it again: i’m not clamoring for a bechdel certified, women-led film by nolan, but it’s like he’s completely immune and ignorant of the critiques and it just gets to a point. his casting also has to stop. it’s bad enough he expects every actor to be begging at his feet to be in one of his ‘genius’ films, but the complete failure to even attempt to cast no-names — and, instead, awe-worthy a-listers for awe’s sake — is part of the casting inflammation in film today. why have i seen robert pattinson and* *zendaya ten times in theaters in the past three years. it’s tiring. you can have as many talented actors as you’d like, all of these people are rightfully accredited, but there needs to be space made for those who can fit into these roles better. take five years casting your movie for all i care, just make sure you don’t take away the heart because you prioritized known faces in one cast list. and let’s not even get into the unethical practices that occurred during the production of this film. all my grievances said, i really liked a lot of the choices made here. this had to be my absolute favorite version of polyphemus i’ve ever seen. adored the design. circe’s scene was incredible and i literally wiggled my feet with joy and excitement as she came onto the screen. very well done. many action sequences were also very good. there’s a specific shot when odysseus looks to the shore and sees his fallen men, risen from the underworld that i know is going to go down in film history. i’ll never forgive nolan for taking away the “nobody” scene, but, then again, i’ll never forgive nolan for many things. will be a shocker if this doesn’t get nominated for every category (besides original screenplay and song, ofc), but even more shocking if it loses the sound design category. that rocked my shit. in a good way. a true 4.2 watched w/: maya + bobes 💕

if you don’t understand the seismic wave of broadway cultural icon that is jeremy jordan, then this movie isn’t for you and i’m gonna have to ask you to leave. and if i said this is one of the best musical adaptations? then what? shall i be jailed for being correct?? this is exactly what broadway geeks want from an adaption. so so good. questionable direction choices TO YOU. forgettable or odd songs TO YOU. to me this really brings the stage to screen instead of taking away theatricality for the comfort of the average movie goer. best of anna kendrick i’ve seen, but didn’t leave enough space to show just how funny she is. minus points for that.

i’d hate to be their thesis advisor.