Initially I gave this film a 4.5/5 but on a rewatch even though I was hesitant, I've decided to give it a 5/5, this is one of the most polarizing films I have seen so I can understand the clear split in reviews of this film and maybe a 5/5 is generous but I feel justified in doing so. When reviewing a film you have to take in so many key factors one of which I believe is how well a film executes it's goal and if it can do so in an entertaining and engaging manner, which I believe 'Requiem for a Dream' excels at. The film takes us on a journey through the lives of 4 people who are struggling with addiction and gives us a clear insight into the devastating effects that drugs can have on both our mind and body and the ultimate grasp it holds once it initially dives in. From beginning to end we are met with incredible and clever camera work and the effective use of music to give us a first hand experience of this joy but ultimately the despair it creates for ourselves and others. The split second shots of drug use that are used throughout the entire film highlight how in such an instant our problems can be taken away but also how we become so incredibly dependent on these moments which is seen as these split second shots of drug use become more frequent as the film progresses, also the anxiety inducing soundtrack of the film is phenomenal taking place at every key moment of choice whether the character will dive deeper into their addiction or seek a way out, yet Aronofsky still manages to not overdo this and instead finds that perfect balance. In addition to the genius film making delivered by Aronofsky, the phenomenal performances delivered by the actors and actresses truly makes us feel for these characters as intended. The standout performance of the movie is evidently Ellen Burstyn's portrayal of Sara Goldfarb who at the beginning of the film is the only character that is not already engulfed in their addiction and instead we observe her journey through addiction from the beginning until the end. This exceptional performance by Ellen Burstyn heavily effected my viewing of her character and created a distinct sense of despair and draught for her character compared to others for me as she portrays this lonely old lady who lives by each day just wasting away until she is finally delivered with a sense of purpose and something to live for and something-<blockquote><i><b>" that makes tomorrow all right"</b></i></blockquote>This emotional connection I felt with her character along with others is what makes the ending so much more difficult. The film also highlights how people battling drug addiction are treated in modern day society and how instead of trying to help them we often abandon them and neglect them. This is evident in each character's climax, for instance we see how when Harry arrives at the hospital and desperately needs treatment for his arm the doctor instead abandons him and calls the police which ultimately resulted in him losing his arm. Marion is also a depiction of this as when she becomes dependent on drugs, she is used and exploited for this by "Big Tim" and his friends instead of being rescued from her abyss. Tyrone and Sara each represent this aswell but I won't dive into this at this moment. Ultimately, I believe the film is phenomenal and expertly explores the struggles of addiction and it's devastating consequences while simultaneously creating an imapctful, entertaining and engaging film. Although I can understand why the film is not as appreciated by everyone else.

I went into this film with low expectations and only decided to watch it due to a video I seen on the soundtrack and truly it exceeded my expectations in that aspect but otherwise the film was average. I understand the criticism the film recieves due to it's controversial manner but I still enjoyed it, maybe if I was a bit more connected to the storyline then I would have been disgusted by it too but I just wasn't. Although the lack of historical accuracy is evident, it still has an exciting plot with highs and lows and creates beautiful scenes throughout with catchy songs that hook the viewer in which is a critical point to this film. The plot I felt at sometimes could be dull and the characters weren't extremely compelling but it is just a Disney film, aswell as this the message of the film is at times evidently positive and anti-war and shows the 2 sides critiquing each other on the same characteristics-<blockquote><i><b>"The paleface is a demon"</b></i> <b>"Their skin's a hellish red"</b></blockquote>Which highlights an indifference between the two groups. The film also highlights humanity's repeated mistakes as a species in reference to war<blockquote><i><b>"They're not like you and me </b></i><i><b>Which means they must be evil"</b></i></blockquote>Although these noticably important messages are conveyed, there is also evidently an overwhelming showcase of negative stereotypes and the film also romanticizes the colonizers. In conclusion, the film is entertaining and enjoyable through the use of it's beautiful scenes and compelling music, but overall relies heavily on these and is not particularly a great film in any other aspect, hence receiving the given rating.

My thoughts on this film are relatively short and there is few. Although the film is not phenomenal in any aspect it still remains fun and enjoyable throughout, across the board all aspects remained great I would say, it takes a serious yet humourous view on racism and it's existence in modern day society conveying an important message on equality and society but still managing to be entertaining and exciting throughout. The comedy I particularly liked and it plays a critical role in the film, the acting was excellent and the portrayal of the characters was evocative and powerful as it illustrated the depth of racism in modern day society and how it is still evident in every day life.

Although the film starts off rocky to say the least with a lackluster first 20 minutes, which includes the very rushed and completely unemotional deaths of Sarah's husband and daughter, it revives itself in the later parts of the film with it's creative and fufilling horror. The beginning of the movie was poor and quite frankly boring, the only entertaining moment I found to be was the car crash but even that was rushed, unemotional and was just sudden to implement shock value which was a theme that would carry on throughout. The acting was generally poor from all included and the characters were very hard to actually like, Holly was just blatantly dumb and reckless which resulted in her death, Sarah was a bit self centered and brought down the mood early on in the film whenever she could, Beth was an okay character she was just trying to be a good friend, Juno I felt was over hated, understandably her desire for a new adventure ultimately cost everyone their lives but it was unintentional, maybe she was in it for her own ego as the other believed but she seemed to have good intentions, kinda. Once they entered the cave I felt the film became instantly more interesting and entertaining with the early sense of ominity of what lurks within, aswell as this the claustrophobic feeling and sense of paranoia when they are traversing through the tight tunnels effectively sets the tone for the rest of the film. The horror I felt to be creative and quite interesting, a very human-like species that have evolved down in these caves in order to survive and rely on their hearing in order to hunt and maintain their way of living. The film's frequent use of jump scares was at times predictable but generally remained fufilling and the constant predatorial hunt that they had to evade was exciting and tense. There is some evident plot issues, for example how did Beth survive for so long down there when she was stabbed directly through the neck, aswell as this her explanation to Sarah of how she truly died made the following scenes predictable and even the ending, sorta. While on this topic, the ending, it was poor and unnecessary, it's the kind of ending a child creates for their short story when they are 10 "and it was all a dream". Although the ending plays into the film's shock factor that is so frequent throughout, that's all it does and it does so in a lackluster manner, I felt the film would of been so much better with it's initial ending of Sarah fleeing the cave and it would've felt so much more impactful.

Considering I went into this film with the expectations of it being abysmal, I'm okay with how it turned out. The film is to be quite simple a money grab, attempting to grasp even a small bit of the success that the first descent achieved. It doesn't do better in any aspect in comparison to the first film, the plot is meh and dumb, although I did find the old man interesting and it was evident he played some role with the creatures from the start. The characters were meh aswell, the chief was particularly annoying and like the original they struggled to make good decisions and rather remained idiotic. Acting wasn't any better than the first film, it remainded poor. The plot was dull and remained the same as the first one really just with a tiny backstory, Juno's survival was kinda cool but it didn't really matter, I suppose it allowed Juno and Sarah to achieve some sort of redemption respectively. In reality this sequel is just a worse version than the original and doesn't improve in any aspect, it was unnecessary and just a let down.

The film has generally high reviews,and the premise of the film sounded interesting so safe to say I went in with high hopes, but it sadly didn't deliver. The premise of the film is that a man stumbles upon a drug deal gone wrong and enters a game in which he can't win, or something like that. The idea of the film and the story I found interesting, a cat and mouse game from beginning to end but I just couldn't embrace it as much as I wanted to, the acting is phenomenal and the characters are great but the continuous sense of calmness and stillness which slows the movie down is what ultimately sucked the joy out for me. I understand that the Coen brothers intended to do this and evidently it works for so many other viewers but it just didn't quite click for me, I felt that the story in itself was never bad but the atmosphere of the film felt boring at times. On a technical level I think the film is phenomenal, acting is excellent, characters are well-written, the film is shot beautifully and so on, but it just wasn't as enjoyable as I hoped it would be and maybe that's all that matters. Maybe on a rewatch the film will work wonders on me, but I don't think that'll happen any time soon

The film is in essence a <i>"brother" </i>to<i> </i><i>The Descent, The Descent </i>but with a folklore twist. The premise of the film is eerie and ominous as a group of friends who decide to take a hiking trip in order to <i>'honour' </i>their deceased friend are displaced and choose to travel through a forest to ease problems. The film generally remains enjoyable throughout with it's beautifully shot scenes and the ever-changing tension filled atmosphere within the forest and within the group itself. The charcters of the group aren't incredibly compelling and Dom is exceptionally annoying up until his final scenes, but their different natures and how they each reacted differently to the events that happened led to a compelling split within as they struggled to maintain their sanity and begin to lose their sense of hope, additionally the eerie and ominous atmosphere within the forest was effectively elevated through the compelling soundtrack and cinematography that the film carried throughout. The story doesn't rely on jump scares to fulfill it's horror element but instead chooses to build a strong story while simultaneously using this to exemplify it's horror essence and does so effectively, the horrific creature that inhabits the forest is unique and it's constant unknown nature delivers a sense of paranoia which effectively engages the watcher with the story, but is also very implausible so I can understand any destain for this part of the story. The third act of the film is weird but in a decent and creepy way which suits the atmosphere of the film, although the ending was a bit anticlimactic it was just a bit odd that Luke managed to survive. Overall, the film is decent, creative and interesting throughout, but not truly excellent in any aspect.

Engaging and entertaining throughout to say the least. As an action film it performs well, with great fight choreography, good cinematography and a fitting plot but there are also questionable moments regarding the story like why didn't John just kill Iosef at the pool when he had the chance, why did Viggo keep John alive for so long when he also had the chance to end things, but I suppose these things are quite frequent in action films in order to supply the viewer with more <i>'pow pow' </i>and '<i>bang bang'.</i> Apart from plot issues the film stands up relatively well, yes there's a sense of repetitiveness as every 15 minutes we see Keanu throw another guy over his shoulder and shoot him through the head for the 50th time but hey what can you do. Characters are fun and enjoyable (apart from Iosef), the visuals of the film are extravagant and the music is fantastic and very suited to the atmosphere that <i>Stahelski</i> creates within the film The film is generally enjoyable but like many action movies struggles to maintain a consistency in storytelling and has one too many conveniences for the protagonist.

Unironically this film is one of the greatest films I've ever seen. My first viewing of the film more than 20 years after it's release and not fitting into the expected target audience, yet I was still blown away by it's excellence. Maybe my lower expectations going into this film is why I was so blown away by it but either way it's phenomenal. The protagonist of the film as you can guess is <i>Shrek, </i>who is no ordinary fellow, classified as a "<i>fairytale creature" </i>due to his unique appearance and nature which is what makes his character so special. Shrek is initially portrayed as an outcast, a disgusting beast who the local people fear and have decided to try and kill him, as they venture towards his home in the middle of the swamp, we see Shrek in all his beauty, simply eating his unappealing dinner, not bothering anyone. When the hunters do arrive, Shrek unbothered, simply leaves his house and plays with the hunters like a child plays with their food, but not as menacingly as you might expect and he has no intentions of hurting the hunters but instead just seeks solitude from the outside world. Shrek's reaction is a critical representation of his character and society itself, how a person can be viewed as different and harmful just due to their appearances while in reality they mean no harm and just seek solitude and to be left alone. The story of the film is compelling and entertaining throughout as we follow an outcast and his unwanted companion as they venture to save a princess in order for the protagonist to reclaim his home and his simple way of living. The story of the film is effortlessly fun and enjoyable primarily through it's dynamic duo of protagonists and their interactions. <i>Donkey</i> is a humourous, extroverted and generally happy individual, while <i>Shrek</i> is reclusive, introverted and enjoys being alone, this dynamic between them creates a fun and ever changing atmosphere between the two which elevates the film's already delightful ambience. The story also takes a look into society and it's treatment of minority's (the fairytale creatures) and how some embrace their unwanted nature and enjoy the solitude (Shrek) while others wish to exist with the rest of society instead and live peacefully among them (the rest of them). The film still stands strong in it's technical aspects even 22 years later, with an exceptional soundtrack which captures the era it was produced in but also the magical and captivating atmosphere that is present in the film. The beautiful animations radiate a sense of excitement and joy that the film so effortlessly carries throughout. The characters are compelling and loveable and this only improve as the story progresses. As a kids film, the movie excels in every aspect, creating a loveable protagonist and his companions while also having a compelling antagonist, beautiful imagery throughout, a delightful and evocative soundtrack and a brilliant story with an incredibly humourous and fun atmosphere. All while simultaneously, representing a modern day problem in society and it's dramatic consequences to each person. I truly believe the film is sensational in every way and it still manages to stand strong 22 years later.

A lot of sequels don't end out well and are just made in order to try and grasp any success that a first movie might have, I'm glad to say this is not one of those sequels. In comparison to the first film, this sequel stands strong and doesn't truly falter in any way. There's more emphasis on the musical aspect in this film and it works wonders, the soundtrack is incredibly captivating and magical, it perfectly sets the tone of each scene and captures the atmosphere that the directors try to create which elevates the viewers experience as intended. The sequel also expands this already phenomenal world, and lets us dive deeper into this magical universe and all that it holds, revealing new characters, both cruel and kind while simultaneously building a strong and compelling story that maintains it's grasp on the viewer all throughout. The animations in the film also improved as expected which made the already beautifully elegant scenes ever so more dazzling. If there are only improvements then how did it end up with a lower rating you might wonder. The new characters weren't as captivating as the original characters and didn't quite have anything special to them, they remained good but not excellent. The story of the film wasn't quite as thrilling either, it wasn't bad by any means but the first film was just so mesmerizing that it was hard to live up to any standards set by the first movie in terms of characters and plot. The first film left me awe-struck due to it's unexpected brilliancy, which may be due to my low expectations before watching it and not due to it's excellence but I guess I just don't know yet. I am also watching this directly after watching the first film so that may influence my rating both positively or negatively, I will need to rewatch these films in order to obtain a better grasp on their true quality.

Talk about a fall from fucking grace. I went into this film with low expectations but fucking hell this is bad. I don't know how this film even made it on screen, I despise it whole heartedly. I don't know if the film has one good factor to it tbh, the fun and humourous atmosphere that was so prevalent in the previous films just disappears, the humour was terrible, not a single joke was funny or landed in any way good, the only funny parts I found to be were when <i>Prince Charming</i> was getting ridiculed. The plot had a decent idea, attempting to continue on from the previous film's events and success but still aiming to expand the world and venture into new areas and possibilities, but it was executed fucking terribly. The story was boring and dull and didn't excite me in any way past the half way mark, and instead of being energetic about the story and how it may progress I was instead hoping that the film would finally come to an end. The characters were incredibly poor aswell not a single new character was in any way as captivating as the previous characters that were revealed to us, the princesses were incredibly fucking annoying all the way throughout, their only good moment was when the <i>Immigration Song </i>starts playing, I felt rejuvenated and was enjoying the film for about a minute until it returned to it's boring, dull, and astonishingly bad nature. The soundtrack also takes a visible decline in comparison to the previous installments's incredible soundtracks, not necessarily bad but just not great. The magical, thrilling and captivating atmosphere of the previous films that so effortlessly created an entertaining and enjoyable yet complex and deeply layered story just disappears in an instant here and truly there's very few aspects of this film that I don't believe to be abysmal.

After the astonishingly bad <i>Shrek The Third </i>and the similarly low reviews on this film, it was safe to say I didn't have high expectations but I chose to watch the film anyways and I was pleasantly surprised. The film takes a look back at it's roots and how far it has come and decides to return to these roots and embarks on a magical journey with a captivating storyline and compelling characters from start to end. Shrek's desire for solitude and peace that was so evident in the first film returns and with a captivating storyline as Mike Mitchell decides to take a look at the joys and despairs of parenthood in this film as Shrek struggles with being a father and how to operate his new repetitive and chaotic lifestyle, and he works wonders on it. When Shrek becomes a father he isn't so excited as seen in the previous film and this movie expands on this as he struggles to maintain his happiness while he attempts to raise three children and deal with his new, less ogre-like lifestyle. After Shrek finally reveals his destain for his new lifestyle to Fiona, the story takes a turn as the eccentric and cunning <i>Rumpelstiltskin</i> overhears this and launches his new plan into action. This embarks us on an emotional journey through Shrek's life as he attempts to regain all he has lost and tries to understand where his true happiness resides. The story is fun, enjoyable and engrossing at every turn, the new characters are great aswell, there's a certain dislike around Rumpelstiltskin from the general audience but I enjoyed him and found him to be evidently better than the 3rd installment in the franchise and maybe even the 2nd. He has an engrossing backstory which captures his true nature and why he has such a destain for the ogres and Shrek himself, and he also proves to be a cunning and challenging foe for the protagonist. The soundtrack as usual performs well, and the captivating imagery is beautifully animated. The atmosphere of the film remains fun and enjoyable throughout with it's compelling story and characters, wonderful soundtrack and beautiful animations. All around the film performs well in the franchise and is a clear improvement from the previous installment as it returns to it's roots and embarks us on a magically captivating love story while simultaneously looking into the joyous yet depressing reality of parenthood.

Stahelski returns for his 2nd installment in this fantastic action franchise and he creates a sensational film. Following on from the previous film's events of John returning from retirement for love, this time John is forced out of his even shorter retirement due to a blood oath he made. The story is compelling and interesting as we are introduced to the true scale of this organization that John exists in and to new characters, such as the antagonist of the film <i>Santino D'Antonio (Riccardo Scamarcio) </i>who is a particularly smart and cunning individual, seeking John's assistance in eliminating his sister in order for him to gain a seat at <i>The High Table. </i>The technical aspects of the film remain at a good level like the first installment in the franchise, the acting is good and the fight choreography excels as expected. The cinematography is also great and beautifully shot with the use of an evocative and fitting soundtrack. Overall the film stands strong in comparison to the first and maybe even improves upon the foundations that the first film built, remaining thoroughly engaging and enjoyable from start to end through it's exciting storyline and engrossing characters.

Talk about a consistent franchise, each installment remains generally strong but not everything is fantastic. There's an evident sense of repetitiveness in the film, I felt like by the end I'd seen the same scene about 20 times. There's also a heavy amount of conveniences for the protagonist as he manages to scrape survival in some impossible situations. Although, apart from those discrepancies the plot I believe was one of it's strongest factors and I thoroughly enjoyed it throughout, it continues on from the excommunicado issued onto John in the previous film and embarks us on an incredible journey through John's world and his past lifestyle. The adjudicator was particularly interesting aswell, as it shows us the true nature and scale of The High Table and the power they hold in this universe, on a side note the ballet scene where the adjudicator visits the tarkovsky theatre is unbelievably stunning and beautiful. On a technical base, the acting remains strong, the soundtrack is phenomenal and the cinematography is beautiful with striking imagery. Overall, the film remains as strong as the previous installments in the franchise and maybe even better.

Spanish Cat. Not a bad origin story all things considered, I went into the movie expecting average and it didn't disappoint. The plot is generally decent but can feel dull and boring at times, the animations were good and created some beautiful scenes, the soundtrack I loved and was probably my favorite aspect, I felt it captured the mood and atmosphere of the film very well. The characters weren't bad, <i>Humpty Dumpty</i> could be annoying at times but overall he was decent, there was also an unexpected amount of sexual tension for a children's movie about cats, but each to their own. Overall the film is generally good and doesn't truly fail in any aspect, although nothing is incredible, decent film but not much better.

Yeah I mean it's a cool story I suppose, bully bullies girl then the bully gets killed, no to bullying and all that. I just don't know if sending a message that murder is better than bullying is a good thing to do, but each to their own. Acting was good from the main actress and how she was treated was more disturbing than the final scene, which I believe was intended aswell. Overall it's alright, really nothing spectacular.

I really didn't have a clue what was happening most of the time, if I had severe OCD then maybe I would understand what he's going through and would be more engaged with the film but I don't. It's a pretty creepy film and it's shot magnificently, I guess my lack of understanding of the film is what ultimately brought down my experience.

Eh, didn't really feel scary or tense, there was a sense of ambiguity while the girl walked down the stairs but the film as a whole just didn't click with me.

An enjoyable comedic take on the zombie genre. There isn't really much to say on the film if I'm being honest, it's fun and enjoyable throughout but truly nothing fantastic. I loved the visual effects and the plot was decent aswell, the characters were fun and generally enjoyable but I just wasn't as thrilled by it as I wanted to be. When creating a comedy movie compared to other genres I feel like there's a more polarizing audience for it, which is evident here aswell hence the ratings, and I suppose I fall in the average, I'm tempted to give it a 4/5 but I guess I just didn't love it enough for that.

I wasn't actually expecting this film to be this good from the ratings.I really enjoyed this film, particularly the first half of it. The movie continuous on from the previous film's events in a fitting and entertaining manner, and generally remains enjoyable throughout. The plot was decent and I liked the visual effects aswell, but what truly carrier the film was Zoey Dustch and her character, she manages to make the bland cliche of a dumb blonde girl into a fun and hilarious character. Her performance was great and the humourous atmosphere she carried throughout the film was fantastic and it just boosted my enjoyment of this film tremendously, and was probably my favorite part if I'm being honest. Although, apart from this the film didn't excel in any other aspect, the plot was decent and I liked the characters, both old and new, I enjoyed the humour of this film more than the previous installment aswell. The ending is what really brought the movie down in my eyes, I understand it's attempt at trying to remain fun and enjoyable, but it just didn't work. It felt dumb and flawed, the <i>T-800s</i> were meant to be strong, but fuck me, them being at the centre of a massive gas explosion and it doesn't even scratch them, also <i>Nevada's </i>return was something i suppose, still don't know about them doing a backflip with a monster truck. Overall, the film was fun and entertaining throughout but it was heavily carried by Zoey Dustch and her character, otherwise it was generally average.

Eerie, disturbing and exceptional in every aspect. The animations are fantastic and incredibly fitting for the storyline, the plot is magnificent as we follow a man who's obsession costs him everything. The complex story fascinates me as there's so many layers to it and how open to interpretation it is. We see a man who has obsessed over his teeth from a very young age when he had a strong distaste for them, but as the story progresses he finally realizes the beauty of his teeth when he is forced to use dentures, and so attempts to create the <i>perfect set of teeth, </i>only for this blind desire to destroy him. The portrayal of obsession and perfectionism and all it's devastating consequences is so beautifully crafted and ultimately fulfilling. The complexity of the film is what ultimately engaged me, the flies show how his obsession over teeth has led to him neglecting everything else in his life, particularly hygiene. This neglect could also be derived from the abuse he suffered as a baby? As early on in the film we see his mother strike him when he was only a baby for a simple mistake, this neglect may have continued on in his life and led him to become the man who he was. Overall, I loved the film and thoroughly enjoyed it throughout and felt it was exceptional in every aspect.

That was actually pretty good, for one of the <i>shorter</i> short films I've seen it spent it's time wisely, not letting any moment go to waste. The unique take on the leprechaun was enjoyable (him being tall rather than short) but I don't know if he worked quite aswell in the light compared to in the shadows, he was still relatively creepy but I guess the reveal wasn't all that scary. Other than that the film was decent, I never felt scared or anything, it was just a bit eerie.

One of the two protagonists in this horror film is a freestyle rapping child. What a little twat, at every turn that little kid just annoyed me (ok maybe not every turn), that's a bit harsh he did have some decent moments where I didn't hate him. The girl wasn't as bad but could be a bit irritating at times, like in the final scenes when she's locked in a dark room with <i>Nana </i>and she keeps turning the camera away from the terrifying old lady that previously was going to attack her with a knife, that's just a tad dumb don't you think. Apart from that the film wasn't bad, I quite liked the premise of the film, although it wasn't that compelling and I already knew about the twist before hand which may have hindered my experience. While speaking about the twist, I felt it was executed poorly it wasn't in any way awe-striking to me or anything, it just kinda felt like another jump scare, this may be due to me already knowing about it beforehand but idk. The acting was generally good aswell, I particularly liked the grandparents's performances and their characters. The jump scares in the film were well timed throughout aswell, and I didn't feel like they were overdone. The soundtrack I thoroughly enjoyed, aswell as the camera work. The found footage route of the film suited the plot and also worked wonders for the movie, and the lighting of each scene was tremendous and created a direct link to the viewer. Overall, I quite enjoyed the film but the irritating main characters and general mediocrity drops the film down heavily.

Not bad, was positively creepy and ominous throughout, i just didn't really care enough about it. I wasn't quite as hooked into the short as I have been with other short films, pretty mediocre film.

Yeah, this was shit. The no dialogue choice was just boring, 5 minutes of the film is spent with her conquering herself in order to survive this devastating pain and finally receive these wonderful powers for her to go fucking shoplift. I'm glad some people enjoyed it, I just thought it was shit.

I didn't actually think this film struggled in any aspect. The camera work was phenomenal and the symmetric scenes were fantastically shot. The soundtrack was great aswell, I mean how can you go wrong when you have a Queen song in there. The acting was also good and the characters were generally enjoyable but nothing spectacular in regards to both of those aspects. The plot was generally entertaining, and I liked the way the ending wasn't incredibly convenient in any way, like some zombie movies and only 2 of their group managed to survive. But on a personal enjoyment level, I didn't love the film by any means, it was good but just nothing amazing. Overall the film doesn't terribly struggle in any aspect but doesn't excel in many if any either.

<i>Edagar Wright </i>continues to perform on the big stage with his 2nd installment in the <i>Cornetto Trilogy </i>and creates a master class of a film. A policeman who is by every means exceptional becomes too good for his own good and is sent to the quiet peaceful town of <i>Sandford</i> as a form of punishment, but this expulsion transforms into a thrilling murder mystery as he begins to unravel the web of lies surrounding this mysteriously perfect town. The film's opening scenes are incredibly strong, as we meet the protagonist of the film <i>Nicholas Cage </i>and see how he is '<i>suffering from success' </i>and is forced out of his current lifestyle into one that will seemingly be more <i>simple. </i>The storyline of the film generally remains fun and enjoyable throughout as we dive deeper into the secrets of this mysterious town and all it's inhabitants, although there are times when the plot excelled and others when it felt lackluster. Aswell as this, the characters are well-written and positively ominous throughout which creates a thrilling and compelling storyline. The camera work yet again remains sensational and the constant foreshadowing is fabulous. The soundtrack also stands strong in comparison to the first film, however this one doesn't have a Queen song in it. The acting is also generally strong from all involved as S<i>imon Pegg </i>and <i>Nick Frost </i>improve upon their previous performances and consequently help create the hilarious and incredibly compelling protagonists of this film. Overall, the film is a clear improvement from the first installment of <i>Edgar Wright's Cornetto Trilogy </i>for me and I was generally engaged and satisfied with the film throughout.

I pleasantly enjoyed both <i>Shaun of The Dead </i>and <i>Hot Fuzz </i>so I expected to enjoy this aswell, even though the ratings are visibly lower than the other 2 I felt this film was generally on par to them. We follow a man who is by no means successful for modern day standards, but he also doesn't want to be. I believe that's the beauty of the film, <i>Gary King </i>doesn't seek the luxuries that most people want like to have a family and kids or a well paying office job, he just wants to be free and happy, which I guess is all that truly matters. The film takes it's time to venture into the sci-fi aspect of the story, which I felt was a brilliant idea as it allows time for the story to build upon itself while simultaneously creating an incredibly compelling group of characters. I truly loved the characters of this film, they felt a lot more complex than the other films and also more relatable in a way. When the film does arrive at it's sci-fi aspect it does so in a sudden and impactful manner which creates an exciting if somewhat implausible plot twist. The film progresses strongly and creates an excitingly fun movie as they continue on their journey to finish this foresaken challenge while also diving into the internal problems of this old friend group. The ending is maybe dumb, the comedic take on <i>Gary King's </i>stubbornness that is so apparent throughout the film is maybe funny but I don't know if an alien species that has conquered multiple planets are really gonna give up because of one obstinate man. The following scenes were enjoyable as we see how <i>The Network's </i>departure has affected society and the future of each of these characters. Throughout the film on a technical basis the camera work and soundtrack remained strong and the acting was also fantastic, especially <i>Nick Frost's </i>performance. Overall the film was thoroughly enjoyable throughout and remained captivating due to it's fantastic characters and compelling plot.

Rawr! A generally enjoyable look into the effects humanity has had on wildlife and their place in nature. The film starts off pretty slow to say the least and I wasn't hooked into it at all until the island part, but it does pick up well from that point on. The premise of the film was one of the best parts of the film, as we see a zebra who lives gracefully in a zoo pass his 10th birthday and he begins to wonder if this is all life has to offer, but could've been executed better. The dynamic between Marty and Alex was great, 2 best friends who have opposite views on their current lifestyles and their futures. Alex's role in the story was great and it was a thrill to watch how he struggles to operate in this wild environment where he truly belongs after spending so many years in captivity in the <i>urban jungle </i>of New York, his transformation was a pivotal moment in the story and was one of the better parts of the film. The penguins were also pretty cool and although they play an important yet often unseen role in the film, they were still one of my favorites aspects of the film. The other characters in the film were generally alright but truly nothing spectacular, Julien is a bit of a twat but <i>move it move it and all that</i>. The idea of the film was as previously said good, but also not incredibly well executed. The beginning of the film just didn't hook me in at all and generally felt pretty slow and dull, the arrival at the island was decent but their time at the island wasn't incredibly strong or entertaining either, and finally the third act of the film was probably the best part of the film as we see how the characters of the film have adapted to all that has happened and also their plans for the future as it attempts to flow into a second film. Overall the film is generally alright but nothing spectacular in any regard.

Rawrr!! Apart from the heavy inspiration that the film recieves from <i>The Lion King, </i>it turns out pretty well. Unlike the first film I felt hooked into the story from the beginning and was excited to see how the group would perform in Africa and adapt to their new lives. The exploration of each character's immense depth is a thrill to watch and one of the better aspects of the film, Julien is still a bit annoying but not as annoying as that wee fucker Mort. The story is generally decent but the sense of repetitiveness from the heavy inspiration it received from<i> The Lion King </i>kills any originally and creativity the story may hold. The soundtrack was decent aswell, and I think it suited the kind of atmosphere the film tried to create. Overall, is an improvement from the first film but still nothing truly spectacular about it.

Rawrrr!!! The first act is truly fantastic and builds a great foundation for the rest of the movie, unfortunately the remaining acts fail to live up to this but still manage to stay fun and generally enjoyable. A huge reason for my partial disliking to the film is the lack of logic it manages to maintain, why am I watching a brown bear drive a Ducati for 5 minutes or why is a psychotic french lady running through walls and acting like a dog. There is no real addition to character depth in the older characters in this movie apart from Alex, the new characters were generally enjoyable aswell and I particularly liked Vitaly and his story was fantastic. The soundtrack slapped and was probably the best part of the movie, the scenes with <i>Fireworks </i>were sensational and just radiated pure happiness. The idea of the film was okay I suppose, the fact they could've just got a plane is another example of the lack of logic in the film but woo go circus! Overall the film lacks any structure and is a logical mess but there's plenty of fun and entertaining moments to produce a generally enjoyable movie.

Yeah I suppose cool message and it was a good idea to build on for the movie but it just wasn't well executed. The film is just boring at times and struggles to hold it's grasp on the viewer for very long and there's no real explanation to anything that actually happens. The characters are meh aswell and there's nothing incredibly compelling about them. The ending is just bad, they carry this Panna Cotta all the way down 327 levels that was supposedly<b><i> the message</i></b> just to give it away to a little girl who is actually <i><b>the message</b></i>, then the protagonist of the film just walks into the dark abyss, nice! Overall the film conveys a cool message bout struggles to do so in a captivating or engaging way.

Kate Hudson and Madelyn Cline tho 🥵 I mean fair play to Rian Johnson for at least attempting to reach the same heights that <i>Knives Out </i>reached but unfortunately he struggles with this obscene task. The film still remains fun and humourous throughout, although some of the comedy just didn't quite land with me. The cast is great and of course the characters are intentionally dumb and shallow which I suppose fitted the atmosphere that Rian attempted to make but maybe it could've been done in a more interesting way. The plot is fun and mysterious throughout as you would hope but I also wasn't quite as invested into it as I was with the first film. Overall the film still remains strong but in comparison to the first film, doesn't quite reach those heights that <i>Knives Out</i> achieved so effortlessly.

<i>Jackie Chan </i>and <i>Chris Tucker </i>are truly a sensational duo and before seeing these films I could've never imagined the joy they would give me. The chemistry between the two is phenomenal and it creates a thrilling and joyous atmosphere throughout alongside the film's spectacular comedy. The plot isn't particularly fantastic or anything and can sometimes feel dull but generally works well and the action sequences are intentionally dumb yet still generally fun. And omg the soundtrack, killer songs and the scenes of Lee and Soo Yung singing are so incredibly joyous and just happy. Overall, the film is really just fun epitomized but can't hold a strong enough plot to maximize the satisfaction that it could've delivered.

Kinda Sensational. A truly remarkable film about depression, parenthood and above all else the role one person can play in another's life. From start to finish the film is deeply engaging and holds it's grasp on the viewer throughout with it's deeply evocative storyline, exceptional acting performances and unbelievably compelling characters. Every scene is so beautifully crafted and always has a fitting song to drive the scene forward (that <i>Under Pressure </i>scene was spectacular). The film is incredibly subtle throughout and that is what makes it so powerful, it isn't a blunt story but rather, complex and eye-opening, this style that Wells decided to take the film through works tremendously well throughout and particularly in the final scenes. The film truly doesn't struggle in any aspect but obviously the storyline will affect certain people more than others, and I think that's why I can't give it a 5/5. It was emotional, evocative and incredibly powerful, especially in those final scenes but maybe my expectations were too high or something cause it just didn't <i>destroy</i> me like I wanted it to. I was incredibly moved by the final scene but something just didn't click, maybe it was my slow understanding to what actually happened but idk yet. I will need to rewatch it to grasp it's true quality. Overall, the film is incredibly captivating and powerful throughout but something just didn't click for me to give it a 5/5 rating.

Considering the film is over 120 years old now it actually stands up pretty well. A fun fact I found out about the film is that in that era they couldn't record sound so movie theatres would hire live orchestras to play at the same time as the film rolled, which I suppose is kinda what makes the soundtrack of the film so fantastic and truly fitting for the wackiness vibe of the film. Apart from the killer soundtrack, the story is actually pretty cool too I mean I don't know why they went to the moon but it was fun and enjoyable while they were there compared to the first few minutes of the film which felt slow and dull. Overall a pretty cool film and a truly iconic and influential piece of cinema.

I didn't actually realize this was the first short film <i>Dyalan Clark </i>released on his channel before viewing it but in hindsight it shows. As only a 2 min short film you can't expect too much but he does well anyways and creates a tense atmosphere but that's really the only positive. The plot is nothing original and the acting is meh, the final jump scare I actually expected but it still made me jump. Overall the film is nothing special but has a cool jump scare and a generally tense atmosphere.

<i>"and to think, if it weren't for you, I never would've danced at all"</i> <i>Us </i>is truly one of those films that gets better on a rewatch, after my second viewing of the film I am still left in awe at how good and complex the film is. First of all, something that I didn't remember being THAT good, the soundtrack. Omg it was sensational, <i>Michael Abels</i> truly manages to capture each and every scene in such a beautifully perfect way whether it be the final scene where <i>Red </i>and <i>Adelaide </i>are fighting or a more light mannered scene like when the Wilsons head over to the Jones's house and are relaxing there. Each scene is propelled forward immensely by the captivating soundtrack and truly, in terms of scores you can't get much better than that. Then there's the acting which is truly fantastic from all involved but particularly <i>Lupita Nyong'o </i>who delivers a stunningly perfect performance. The characters are brilliant aswell, whether we're talking about the protagonists and their duplicates or the more light mannered family of the Jones, those twin sisters were bitches tho. The dynamic between each of the Wilson's and their duplicates was a thrill to watch particularly of course <i>Red/Adelaide </i>but also <i>Pluto/Jason </i>who's imitations of each other we're almost identical which wasn't the same in terms of other doppelgangers which raises even more questions about the film. The film very clearly aims to be thought-provoking and evocative but it manages to do so in such a captivating and compelling way that brings life to the intricate layers of the story and doesn't just be complex for the sake of being so. There's a clear metaphor in the story of how the tethered are the lower classes of the USA and how they attempt to mimic the actual humans who are the higher classes of society, I don't know enough on this aspect of the film to continue critiquing it but it's clear that it exists. The final twist is truly sensational as it changes everything that we have just witnessed in the movie, there's a question whether the Adelaide which we have watched the entire movie is the <i><b>evil one</b> </i>or not, but I don't think there actually was an <i><b>evil one</b> </i>at all. The Adelaide we've followed the entire movie is revealed to be the initial tethered and to have replaced the actual human, this explains her constant paranoia while she is as at Santa Cruz as it derives from her knowledge of the truth about this place and herself. On the other hand, Red is revealed to be the actual human and to have been replaced and trapped underground since she was a child, her anger and frustration derives from the fact she had everything beforehand but it was all taken away from her in an instant. Each character has a good reason to be the way they are and are the <i>heroes of their own story </i>which poses a question to whether there is a villain in this story or not, maybe Red went about revenge the wrong way but is there any correct way to obtain revenge. Overall, the film is truly fantastic in every aspect and manages to be a thrilling and at times truly terrifying horror but also a light mannered thought-provoking film about modern day society.

<i>Jordan Peele </i>truly has truly mastered the creation of politically aimed multi-layered horrors between this and <i>Us. </i>Although tbh I'm not as in love with this film as I am with <i>Us </i>but I can totally see why a lot of people prefer this film. The movie begins strong with an unsettling first scene that builds an eerie atmosphere that will continue to haunt the rest of the film as we watch a black man get kidnapped in the suburbs all while the song <i>Run Rabbit Run </i>plays, this chilling first scene truly sets the dramatic tone for the rest of the film. This incredible soundtrack continues throughout and elevates each scene immensely. The acting is great from all included but <i>Betty Gabriel's </i>performance truly moved me and made the final reveal so much more impactful. The characters are enjoyable aswell and each character serves a great purpose, there was no charcters that I actually disliked which was pretty cool. The film felt more like a thriller than a horror and I wasn't truly terrified by anything about the film but the storyline was also a lot more complex and generally interesting than other horror films so I suppose that's something. Overall the film remains strong in every aspect and the generally high reviews of the film reflect this, however, the horror aspect wasn't quite there for me which diminished my enjoyment of the movie aswell as my lack of connection to the movie I suppose.

Although this is in my <b>opinion </b>his weakest movie yet, <i>Jordan Peele </i>still fails to make a bad movie. <i>Peele</i> truly gets ambitious with this film and it's a thrill to watch. The plot is evidently more ambitious than his previous storylines and maybe the nature of this storyline hinders the possibilities of the film in a way but Peele still manages to create an interesting sci-fi movie with a bit of horror. The film didn't really feel like a horror but more so a thriller like the way <i>Get Out </i>felt for me, I was curious to how the film would unfold and what each <i>mysterious occurrence </i>(like Gordy or Jube's show) actually meant in the grander scheme of the film but wasn't truly frightened in many moments. And of course with<i> Peele </i>the plot of the film has a deeper meaning, the <i>American Dream </i>I have seen referred to when talking about this film and it's metaphor, however I don't know much on this subject so I'm not going to say any more. The acting remains great and the characters are fantastic, the dynamic between OJ and Emerald is fabulous and their relationship is brilliant. The soundtrack is of course great again, Michael Abels seemingly can't falter. Overall the film is fun if outlandish but also a tense suspenseful movie that carries it's generally chilling atmosphere all the way to the very end.

There's really not a whole lot to say on this film if I'm being honest. The film doesn't improve in any aspect for me, maybe the action sequences but I just can't remember many of the action sequences in RH1. Apart from that the comedy produces quite a few laughs but can get repetitive and the storyline remains relatively dull throughout with a hint of revenge but it's not explored enough to create a compelling plot. And in terms of the story the first half of the movie was a lot more enjoyable for me than the second half by a clear margin aswell. Overall the film is still fun but nothing amazing in any aspect.

Although the film is original and takes a different route through the horror genre, originality unfortunately isn't everything. I haven't seen any other found footage films (that I can think of) so I didn't know what to expect and I have no clue if this represents the sub-genre well or not but I'm kinda delighted with the route that Patrick Brice decides to take the film, although it is probably just cause I haven't seen this type of film before. Although, apart from this being my introduction to the sub-genre, there's very little else the film offers on a technical basis. The story felt boring tbh and the repetitive jump scares were too predictable. I wasn't really hooked in until the big reveal which an 80 minute film can't really afford to wait that long to hook a viewer in, however the rest of the film was better compared to the first half. There are some classic idiotic decisions made by the charcters like any horror film and Aaron was a bit of a shallow character and wasn't incredibly compelling for being 1 of the only 3 characters in the movie. Josef was decent and his creepy side really showed in the final half of the film which actually felt like a good horror when it wasn't so focused on jump scares, however the ending felt very abrupt and just not very thought through. Overall, the film is generally meh with an emphasis on repetitive jump scares but slowly picks itself up and transforms into a creepy horror.

Yeah idk about this one either. In terms of a sequel I don't think it's bad but idk if it was actually necessary. The plot is meh tbh and there isn't really much creativity compared to the first one, it just follows the exact same idea and it's jump scares are yet again too predictable. The film also wasn't scary in any way for a horror movie and I felt like I was watching a boring interview instead. Sara was hot but she wasn't incredibly compelling and Aaron was decent yet again but didn't quite feel as creepy as the first film. The ending felt abrupt again and they kinda just killed Sara then brought her back then killed Aaron and brought him back? Idk what the whistling at the end means. Overall the film is generally meh like the first one and doesn't really improve or falter in any massive way in comparison.

I decided to watch this film because I seen the helicopter seen on TikTok and enjoyed it but I didn't expect it to be the best scene in the whole film. The film is just shit tbh, the jokes are just generally bad and intentionally offensive which works sometimes but otherwise it's shit. The story is terrible and is in no way compelling. Acting is meh, I mean SBC really gives himself up for his roles but apart from that, meh. There's really no outstanding or even good factors about the film if I'm being honest.

As an entrance to the franchise I don't think it's bad, it explores Hogwarts at a basic level while still tapping into the more secretive and mysterious aspects of this magnificent world. However, the film as a whole isn't exactly brilliant. I really enjoyed the start of the film and it felt kinda fun seeing a bit of the muggle world again knowing that there will be very little of it for a while, of course Dudley and Co. are still wankers tho. The journey to Hogwarts and the initial environment of Hogwarts is fun and delightful to experience again, although I didn't remember Hermione as being that fucking annoying, and things like the quidditch game were decent aswell. The whole idea of Snape being the bad guy was kinda cool I suppose but Quirrel wasn't in any way a compelling villain which is as intended I suppose, he's just meant to be a stuttering nervous professor who you feel sorry for. The whole plot wasn't great and felt a bit dumb at times and Dumbledore is a bit of a cunt for handing out 170 points like that. Overall a good entrance into the franchise but doesn't stand out in any way for the franchise.

I definitely prefer this over the first film but there's not a whole lot between them. They are both good but truly nothing outstanding in the franchise. First of all, the film feels too much like a transitional film, it tries to explore the darker themes of the universe but struggles to as it also tries to hold that same flair of a children's film which I don't really think works that well, maybe it's better for the grand scheme of the universe that it doesn't jump right into the dark and gritty nature of Hogwarts but I guess we'll never know. A clear stand out point in the film is the runtime which I don't understand why, there's a lot of filler content like why is there a scene of Ron throwing up slugs. The characters are expanded upon and new ones are met which is nice but the scenes where Hermione and Draco are fighting each other just feel dumb, the acting is meh which I suppose is reasonable because they are still kids but the script is just cringe inducing, really any Draco scene in this film feels meh and just cringe. The plot is decent, posing as an origin story for Voldemort which is cool but apart from that it feels drawn out a bit. Overall, the film is decent and I personally preferred it to the first film but there's also a lot of room for improvement.

There's finally a clear look into the dark and gritty side of this enchanting universe and <i>Alfonso Cuarón </i>really works wonders on it. The beginning of each of these films is phenomenal and honestly one of my favorite parts of it, the look into the muggle world and Harry's life outside of Hogwarts really is a thrill to watch for me and this installment in the franchise does it the best so far. As usual the film begins at home with Harry and his adoptive family and his unwanted existence is made clear to him yet again but the film takes a swift turn as Harry decides to run away and finds himself in a world that is only growing more dangerous by the day. The plot excels in comparison to the first film, primarily due to it's lack of restraint and how willing it is to leave it's childhood flair behind. <i>Sirius</i> is a compelling villain from the start, and the sense of ominity and horror that surrounds his character only enhances this experience. There's less scenes with Draco in this one so there's less dumb confrontations with Hermione here aswell, which is always a plus. The exploration of Harry's family and history is done brilliantly aswell and the new characters that are revealed are so magnificently portrayed. The cinematography is truly as magical as the universe it is set in and captures the true beauty of this enchanting world so effortlessly. Overall the film excels in comparison to the earlier films and poses as a great introduction into the true complexity and enchanting universe that is Harry Potter.

Fun. First of all, there's an evident amount of plot issues, like does a whole year of people travel abroad for a year to support one student in a tournament, why is the tournament so long? What do the hundreds of people that come to spectate actually watch when the contenders are in the lake or maze, do they just sit there and wait? Cedric's death is basically not mentioned after Harry returns with him, and maybe not a plot issue but why is a 17/18 year old dating a 14 year old? Apart from the logistics of the plot not being quite justified, the film is pretty good. The plot is interesting, fun and enjoyable as it explores this vast world of wizardy and it's characters, the introduction of Voldemort is eerily ominous and sets a good basis for what is to come. The new characters don't really offer much apart from <i>Moody </i>and the final arrival of Voldemort in his true form is a thrill to watch, Ron is a little bitch which isn't too much of a shock and I grew an unexpected appreciation for <i>Longbottom</i>. Overall the film is generally vibrant and fun but still possesses a darker tone beneath itself that creates a thrilling story but falters due to a lack of logic.

It's kinda odd how many directorial changes there are in this franchise, but anyways. I really loved the opening scenes of all the previous films, and this one wasn't bad and builds a good foundation for the story but otherwise it was lackluster. Dudley gets a bit repetitive after a while and he is the primary factor of this opening. Apart from that, the film is great and I don't really see a huge change in quality in comparison to the previous films. The plot is decent but truly nothing spectacular, I understand you need to take it slow while building a franchise but the story could've been a bit better. <i>Umbridge</i> isn't a particularly amazing villain and I don't know if she has any redeeming qualities, she's a representation of old teaching ways and an idealist of sorts but really just comes off like a bitch too much for the film to dive into her character. The introduction to other new characters was fun, particularly <i>Bellatrix </i>who I've been eagerly waiting for, and the expansion of other characters' history is done well. The acting is improved upon noticeably from our trio of protagonists and the recurring cast are also great, <i>Gary Oldman </i>really delivers an emotionally impactful performance. Overall the film plays a pivotal role in the expansion of this magical universe and in the franchise but hinders in the storyline aspect.

Emotional. The film is a sort of replica of the preceding installment in the franchise in the way it dives deeper into the dark aspect of this universe but fails to produce a fantastic story for most of the fillm. Considering the film is called <i>Harry Potter and the Half-Blood Prince, </i>I expected there to be a heavier importance on the<i> Half-Blood Prince, </i>he was focused on for about a whole 10 minutes of screen time and the reveal at the end felt abrupt and sorta unnecessary considering he hadn't been mentioned since about 40 minutes earlier and even when he was he didn't seem to matter. Of course it makes more sense to reveal him, the film just should've done so in a more impactful way or not based the film around this idea then barely even explore the idea. Otherwise, I quite enjoyed the film, the deeper exploration of this dark and eerie world of wizardry was exciting. The story is eerie and compelling at times but also holds a more lighthearted tone as it explores our trio of protagonists' transition to adolescence and their romantic struggles, this is good and all but can also feel very dull at times. The development of Draco's character was one of my favorite aspects as we finally see Draco change from a simple childhood bully to a boy who is suffering from the burdens of his father and has to mature and adapt to these circumstances very suddenly. The ending is emotional, captivating and powerful, it sets the tone for the following films in such an impactful way that you feel compelled to watch them. On a side not the scene where <i>McGonagall </i>points her wand to the sky and casts a light, and everyone else follows is truly magical. Overall the film is compelling and powerful but can't keep that same flair all the way throughout.

From the general audience this film is seen as one of the worst in the franchise and before watching this again I wasn't sure why, although now it's evident. The film's primary role is to build suspense for the following film and it does so in a decent way. It spends a maybe ridiculous amount of time on the group's hardships and their inner turmoil instead of focusing on progressing the plot, which is a good idea for a part 1 but it didn't feel incredibly compelling. There's a lot of scenes that are thrilling and tense but also quite a few that feel dull and dragged out. There's another heartbreaking loss in this film in the death of Dobby, as much as I loved him and how gut-wrenching it was to see him go, the film dealt with him in a very rushed way. He shows up for about a minute and then is seen about an hour and a half later and dies within 5 minutes, he delivers a heartwarming speech and is killed by sheer unluckiness. I feel like more screentime could've dealt with his death a whole lot more and made it even more impactful. Overall the film poses as a preparation film too much for it to actually produce anything stunning for itself.

The franchise really ends on a bang and is truly breathtaking. Before I dive into everything, how the fuck did Molly Weasley manage to beat <i>Bellatrix Lestrange </i>and <i>Neville Longbottom </i>ended up being the second savior. Aswell as this, Ron is just a bit ugh during the film at times like when he says <i>"That's my girlfriend</i>" and starts running off to fight a guy. Also even after 8 films Ginny and Harry still have zero chemistry, Luna worked so much better with him even though she was a bit odd. I think the pacing is a bit off tbh, there are times (rarely but still exist) when the scenes feel a bit slow and aren't incredibly interesting. Apart from all that the film is fantastic, from start to finish it's action packed and generally compelling, unlike the previous film this one progresses strongly through the story and creates a thrilling plot while doing so. The soundtrack is unbelievable and I was not expecting it to be that good, every scene is only enhanced and it creates a connection to some scenes that is truly sensational. The acting is fantastic from everyone included, particularly <i>Ralph Fiennes </i>who portrays Voldemort in a brilliantly compelling fashion. There are certain scenes which are levels above everything else, such as <i>McGonagall's </i>duel with <i>Snape </i>and really every other time she's on screen, especially when she is protecting Hogwarts and everyone creates a barrier around it. And even though I knew what was coming, Snape's reveal was just so mesmerizing and emotionally impactful. Also Harry had all the <i>Deathly Hallows </i>in his reach but just said fuck that. Overall the film is action packed and compelling throughout and goes the extra step at times to create some truly mesmerizing scenes.

There's no doubt that the film is filled with plenty of dumb, fun and wacky moments, but that's sadly not everything. There's a plethora of funny jokes but there are also times when the ridiculously dumb comedy just feels forced and irritating. The storyline isn't bad but can feel very slow and dull at times aswell. There's not really too much to say on the film, it has funny jokes for the most part but at times is repetitive, and the storyline is average at best.

I'm a real sucker for a good murder mystery and <i>See How They Run </i>fulfils that desire beautifully. From the start of the film it's engaging and quite unique in it's entrance, it tells us exactly how the film is going to play out but does so in such a engrossing way that I didn't even realize what was happening for a few minutes. The comedy is brilliant and much better than I expected, there were times it didn't quite hit but that was pretty rare. There's a strong influence from<i> Wes Anderson </i>here and it does well and adds a <i>sense of joy </i>to the film for me due to my love of Wes. There's not actually much bad about the film which is why I'm sad that I didn't like it as much as I wished. There were times when I wasn't completely invested into the film and didn't feel engrossed by anything happening, but maybe that's just a fault from me. The final reveal wasn't incredibly <i>awe-striking</i> but the backstory to it was quite cool and engaging. Overall the film is just a simple murder mystery that is incredibly fun throughout but nothing spectacular in any other aspect.

Wow, I absolutely loved <i>Requiem for a Dream </i>and had high hopes for this film aswell which I wasn't sure if it would actually live up to them or not, but my god it did. The film is mesmerizing from the start and the opening scene was a complete spectacle and I have to say I rewatched it one or two times just to grasp everything he said and what was going on. The first half of the film wasn't anything sensational but it was still great, it built a good story and connected us with each character and done so in an interesting way. I struggled to empathize with the characters at the start but as the story progressed I began to feel a greater connection to the characters, especially <i>Renton </i>who's continuous attempts to escape but ultimately never finding a way out was moving to say the least. I grew an unexpected appreciation for <i>Spud, </i>his character is kind, harmless and always trying to help if he can, yet he is never truly appreciated for. Although he is not as prominent in the film <i>Tommy </i>was still a deeply powerful character, he was one of the few people who didn't take drugs at the start of this film yet ultimately he was the one who died to them the soonest, the speed at which his life was destroyed due to drugs was shocking and deeply unsettling, his character is a true portrayal of the speed at which drugs claw into a person and how they hold on for as long as possible. <i>Sick Boy </i>was an interesting character, he seemed the <i>least addicted </i>and had better self control than the others but he still succumbs to what is most likely the biggest tragedy in this movie, the baby's death. The moment was sudden and was dramatically impactful, the agonizing scream of <i>Alisson </i>was terrifying at first but then became heart-wrenching when the baby is shown. Another heartbreaking moment I found to be was when <i>Renton </i>was coming off the drugs again but this time he was trapped in his room by his parents, the sequence of events that occur while he is high are unbelievably compelling and deeply disturbing, this portrayal of being high is frightening and deterring from start to finish. The story is fascinating and each twist and bend in the story only propels the film forward. Aswell as this the soundtrack is phenomenal and captures each scene brilliantly. Overall the film starts strong and only improve as it progresses, the characters are each unique and compelling in their own way which plays a pivotal role in the film's success in conveying this emotionally impactful story of drugs and a person who tries to escape from their unyielding grasp. <b><i>"Choose life"</i></b>

I'm kinda sad that the reviews aren't with me on this film because I actually quite liked it. The film is nothing special for the franchise but I found it to be really enjoyable throughout and felt a lot more consistent than it's predecessor. There's maybe a larger amount of racism in the film but It didn't heavily damage the film for me and I found it funny most of the time. There's no crazy action sequences bar the final one but it also is idiotic in it's climax so maybe the lack of spectacular action sequences is a positive. The story was kinda cool, the long lost brother aspect was really just to add something to the story so it wouldn't be too stale but I didn't mind the story, although it really didn't reinvent anything for the franchise. Paris was a pretty basic choice and the plot feels like the previous film just remixed. Overall the film is deeply enjoyable throughout for me and passes as a fun comedy.

To be honest I'm baffled with the 2.8 avg rating, it's not exactly a masterpiece but 2.8 feels harsh. I was never a huge fan of <i>Caity Lotz's </i>acting in shows like <i>DC's Legends of Tomorrow </i>but I don't think she does terribly here, especially considering the amount of lackluster performances there have been in horror films over the years. The film started strong and was positively creepy and eerie throughout, the plot felt a bit outlandish at times like when Annie was meeting an old highschool friend who was rumored to be able to speak to the dead, things like that just felt incredibly convenient and a bit far fetched in the grand scheme of the film. The film is generally focused on the paranormal activity of the house which could be truly terrifying at times but once it begins to explore the serial killer aspect of the film, it feels like a bit of an odd change in direction and the ultimate confrontation between Annie and Judas is quite convenient yet again for Annie. The characters aren't incredible by any means but are still generally enjoyable, we don't see much of the secondary characters so there wasn't much to work with when killing them off, I feel like Bill could've done better with more screen time specifically. There was a possibility for a future between Bill and Annie due to his backstory and likeness to Annie aswell as his willingness to help her, if their relationship was explored more maybe his death could've been more impactful, but I'm not a writer so that's probably a terrible idea. Overall, the horror was fulfilling throughout and could be incredibly creepy and terrifying at times, however the plot can feel convenient and outlandish at times and there's not a whole lot of exploration into the characters.

There's not a whole lot to this short film but it's pretty interesting anyways. A man meets his ex in a cafe to discuss a sentient <i>box </i>that has knowledge a human could only think of. The story is kinda confusing tbh, it's just an alien box that he wanted to give to her, the drawing of him kissing her suggests that the box might've told him to do this so he could get back with her, maybe it's conscious after all and it is working for him or maybe fate will return them to each other if she recieves the box. Overall it's not bad but doesn't really accomplish anything, it feels like a test run for an idea and even then relies on being ominous than complex.

I don't know what level I was expecting when I began this film but it exceeded those expectations anyways. As a horror film it performs well, unlike most modern day horrors it doesn't rely on jump scares and instead creates a thrilling story coupled with a truly creepy and at times terrifying antagonist. <i>Kathy Bates </i>delivers a sensational performance as <i>Annie Wilks </i>and when coupled with<i> James Cann's </i>performance only enhances the characters to such a point that i became worried for what would happen to <i>Paul </i>next. Annie's outbursts were truly terrifying, the glimpse into her psyche and thoughts was creepy and yet again Kathy's incredible acting made these scenes so much more impactful and frightening. The plot was usually quite interesting and I was invested into it, always wondering what was in store for Paul and how Annie would react to certain events, but sadly the film doesn't hold this level of engagement throughout. Overall the film is creepy and engaging throughout but doesn't excel in many aspects and was not overwhelming in it's story even though it was still enjoyable.

<i>"what happens in Vegas stays in Vegas"</i> I found this film to be really enjoyable tbh, the story can get repetitive at times sure but it still remains fun and enjoyable. The film can be a bit ridiculous at times and just dumb with what's happening but the overall enjoyment of the film overshadows this. The characters aren't anything special and Mike Tyson's cameo felt really awkward. The soundtrack is cool I suppose, it felt fitting for the film. Overall the film is fun and enjoyable but can feel repetitive and doesn't exactly excel in many aspects.

Truly phenomenal and understandably iconic. It's hard to put into words the excellence of the movie and how amazing it was but I'll try. The story is unique and proposes many questions to racism, morality and the judicial system as it was/is. It's engaging and entertaining throughout and held it's grasp on me for the whole duration of the film, each point is critiqued to such an extent that it is unable to not place doubt into the juror but also the viewer's mind. There's no points that are opened up but not explored further which is fantastic considering how many aspects of the case the jury critique. The flow of the conversation felt basically perfect, it never felt abrupt like the conversation just completely shifted without reason. The acting is excellent from all involved and each character is unique which leads to interesting discussions that include opinions from all different backgrounds which never leads to a sense of repetitiveness. The final juror's switch felt very sudden and abrupt but in hindsight I understand it more now, after one of his many outbursts in which he furiously scrutinizes the jury of being <i>soft </i>and the accused of undoubtedly commiting the crime, he targets his youthfulness of the accused for his horrific actions. He then tears the photo of his son up and finally realizes that all his anger that he was hurling at the accused was really just him deflecting the anger but also grief he felt for his son and how he was frustrated with his son for leaving and not contacting him. This revelation from him but also the noticeably racist juror 10 who exclaims about the <i>accused's</i> <i>kind </i>and their history, his neglect to facts and blind prejudice is reacted to by almost all of the other jurors with them neglecting his blind hatred and turning their backs to him, which led to his similar revelation. This sequence of events was truly fascinating and deeply impactful much like the rest of the film. The cinematography also stands out considering the age of the film, the way <i>Lumet </i>manages to convey each vote in a different way is phenomenal and the shots of juror 8 as another juror pleads not guilty is a beautiful image but also mesmerizing in it's ability to connect convey that sense of triumph in real time even though we are unaware if he's correct. Overall, the film stands out in every aspect and manages to create a compelling story with engrossing characters but also propose profound questions about morality, prejudice and the judicial system as it stood/stands.

When I first watched this film, I enjoyed it but wasn't in love with it and it felt ridiculous and cringe worthy at times. However, after a rewatch all of that has changed. I am really struggling with putting my love for this film into words but I'll try. Just when you think you've seen enough spiderman origin stories, <i>Spider-Man: Into The Spider-Verse </i>completely reinvents the sub-genre and brings a brand new thrill with it. While still holding the flair and comedy of a children's movie, the story is compelling and complex while tackling the themes of adolescence and the idea that anybody can be a hero. The story is engaging throughout and brings some truly fantastic characters to screen and improves upon previously known ones, <i>Miles' </i>character progression was phenomenal and was done magnificently from a film standpoint. There were so many impactful scenes that it was hard to not fall in love with his character, the <i>"Scared of the Dark" </i>scene was spectacular, MJ's speech about how we all have powers and anyone can be a hero coupled with the beginning of Miles' transformation was truly heartbreaking and deeply impactful. <i>Uncle Aaron's </i>reveal was brilliant and his death was even more impactful, Miles first of all had to come to the realization that his idol was hunting and trying to kill him and then had to watch him die directly in front of him from the same man who had previously killed spiderman in front of him, all while only still being a kid. If you're taking about amazing scenes there's no way you can forget the <i>Leap of Faith </i>scene, it was truly spectacular, it marked the climax of Miles just being a normal kid, he finally accepts what has happened to him and what this really means, and is provoked into this through a truly heartbreaking yet also heartwarming speech from his own father, and the music was phenomenal for the scene. The soundtrack was truly sensational and was fitting for each scene, of course maybe not every scene, don't know about that JuiceWrld one. The dialogue can be at times a bit cringy, and the humour is usually quite enjoyable but some people may find it repetitive. Overall, <i>Spider-Man: Into The Spider-Verse </i>is an action packed and humourous Spider-Man origin story, while also having an extremely compelling storyline and engrossing characters development throughout which presents some truly exceptional scenes.

Pretty enjoyable. It's tense from the start and is enjoyable throughout. I'm not sure if we're meant to sympathize with the main character or not but if we were then the film doesn't quite cut it. I can understand why plenty of people would dislike <i>Stu </i>but I just didn't really care for him , he's not exactly a cheater and in comparison to <i>the caller's </i>previous victims he is levels below, his confession was pretty cool though. The story isn't bad but I still feel like Stu was just a bit unlucky, like out of everyone in NY, a person who thought about cheating (which I'm sure there are loads of in NY) is condemned to death by a guy who wants to play God. I was hoping that he would come out with the <i>ultimate secret </i>or something whenever he made his big confession, you know something that would make it justifiable why Stu was chosen, but sadly that never happened. Apart from that it was pretty enjoyable, there was always a tense atmosphere and the interactions with the police were decent, although it felt like at times there was no progression at all with the caller and that it was sort of convenient Stu didn't die in the end when there was plenty of time to shoot him, maybe I'm overestimating how much time the caller had but when Stu gave him a heads up as soon as the police found out where he was it felt like he could've just done it straight away and played it safe(r). The ending was pretty cool in terms of the caller surviving though. Overall, it's tense and enjoyable throughout but nothing fantastic in terms of story or characters.

Is it repetitive? Yes Is it just a complete replica of the first film? Yes Is it still extremely fun and enjoyable? Yes Although, the film is just a copy of the first film it still manages to be entertaining for the most part. There are times where the similarities are just irritating and you can't handle this much repetitiveness but for the most part it's ok. There were also times the film could just be simply irritating or not enjoyable, the monastery bit where Stu is a retard for example. Alan was pretty funny in the first one, however in this film he's just fucking annoying and rarely makes good jokes, his dumbness is just annoying in this instead of funny. There's not really any expansion on any of the characters either. Out of all the dumb and improbable things that happened in this movie, Stu pulling Lauren might just be the most shocking. Overall, the film is just a replica of it's predecessor but still manages to be enjoyable for the most part, however, it's repetitiveness also manages to catch up to it.

I hope this is the kind of film you have to see twice to see the details and excellence of it because if not then it was a bit underwhelming. The story is actually pretty good and enjoyable, it's creepy from the start with the hitchhiker and his abnormal activity. Then when they ask about the old Franklin's place, there's a clear sense of discomfort around the place when the man at the gas station (later told to be <i>The Cook</i>) warns them not to go there. It starts out pretty strong in terms of story and continues with the creepy house and the room of skulls, this horrifically creepy house and it's maniac of an inhabitant is generally thrilling, but the characters are the film's downfall for me. I didn't really care about any of them, the girls were hot but apart from that they weren't all that compelling. I dunno what it was about them, maybe this is a 'me problem' but none of them were really explored that much apart from Sally and her brother who even then weren't explored. Franklin was plain annoying tbh, his small rant to himself about how they left him downstairs in the house and his selfish behavior was just irritating. Then he won't fucking shut up about the hitchhiker who I thought he was being overly dramatic about but I seen a comment someone made about how that fear of the hitchhiker led to his death due to his fear of being left alone out there, cool aspect but he was still extremely fucking annoying throughout. The second part of the film was a lot scarier and creepier than the start due to the expansion of the story and how everything began to make sense, but Sally's screaming gets repetitive after a while when it's happening every fucking scene. Apart from that the soundtrack was pretty cool aswell and the vocal sounds that Leatherface made were good. Overall the film is decent and can be really creepy at times but I was never truly hooked into the story and a lack of investment into the film or the characters ultimately damaged my experience.

When I got recommended this film, they referred to it as <i>'possibly the best noir film ever made'</i>, and I haven't seen any other noir films but this certainly sets a high standard. I wasn't completely hooked into the film from the start but as it progressed I gradually became more engrossed by everything that was happening and became quite grateful for the slow buildup. However, as good of a buildup as it was, I never quite connected with the story at least not as much as I would've liked. I was engaged with it fully past the first 40 minutes and I found it to be intriguing but that's the extent of it, maybe this will change after a rewatch though. The characters were fantastic and each one was quite interesting in their own way, with a complex backstory surrounding every main character and the film as a whole. The acting is excellent aswell, I mean how can you go wrong if <i>Jack Nicholson </i>is in the cast, but <i>Faye Dunaway </i>also delivers a stunning performance which helps create some truly emotional scenes. The ending is brilliant, after all that has happened and everything that has been unravelled, <i>Noah Cross</i> continues to win and the final scene of him dragging away his grand-daughter after the truth was revealed was frightening in it's foreshadowing. Aswell as this <i>J.J Gittes' </i>final scene was brilliant too, after all he has done to uncover the truth and protect <i>Evelyn</i>, she dies and he walks away unable to do anything about it. Overall the film is brilliant in story, characters and basically every aspect, but my overall <i>connection?</i> to the story limited my enjoyment.

An unnecessary sequel but it's still generally enjoyable. The story differentiates from it's predecessors which was a good decision but it also moves so far away that there's no actual hangover. Apart from that, the story is decent but nothing even great, the comedy is lacking and is carried by <i>Chow </i>and whenever<i> Alan </i>isn't an irritable cunt, he can actually be pretty funny but overall the comedy has visibly declined from the previous two for me. The new characters fall into the same category as the story for me, decent but not great. Overall, I still enjoyed the film but there's nothing memorable about it and is quite lackluster in most aspects.

I wasn't too sure if <i>Trainspotting </i>actually needed a sequel but I'm glad that it got one. Although it doesn't quite reach the heights that the first one did, I still thoroughly enjoyed the film, I expected the film to serve as a climax for each character and it done that brilliantly. There's a constant sense of unease when <i>Renton </i>initially visits his old friends and it works well, their reactions to his return all felt generally realistic aswell. <i>Spud </i>and him always shared a friendship that wasn't deeper but more humane as such, <i>Simon</i> was quick to actually befriend him again, obviously for his own benefits but it still felt like the idea of betrayal came very quick to him. <i>Begbie </i>had the most realistic reaction I think, he was always quite a hothead and even before Renton's betrayal he didn't have that deep of a friendship with him. The story in itself was quite enjoyable, I felt engrossed in it throughout and the constant sense of unease that was evident at the beginning remained captivating, the idea of betrayal and a sort of deja vu made the unknown future for the characters extremely compelling. The expansion of each character was a thrill to watch, <i>Spud </i>finally overcoming his drug addiction after being trapped in it's grasp for so long. <i>Simon </i>and <i>Mark's </i>friendship being reignited, even though it never felt the same and there was a clear sense of discomfort at times, it was still fun to relive. However, <i>Begbie's </i>development was particularly impactful, we finally see a very humane and loving side to him as he reunites with his son and attempts to raise him as he was raised, but later realizes that this isn't what he wants or what's best for him. Begbie's dad being revealed felt a bit sudden and abrupt but it ends up playing a key role in his conclusion. On a technical basis it was good, the soundtrack was evocative and reminiscent, I thought that the shots that kept freezing during Simon and Mark's fight and at other times were a bit useless and didn't serve a point. Otherwise the cinematography was good and the nostalgic scene of Spud leaving the gym and reminiscing on old memories was brilliant. The ending was quite similar to it's predecessor but in a positive way, it didn't feel boring or repetitive but fitting in a way that it concluded each character's story yet felt satisfactory in doing so. (bad way to describe it ^) Overall I found the film to be engaging and entertaining throughout, it was an unexpected but very compelling sequel that expands on the story and characters of the previous film but doesn't tarnish them and still remains an enjoyable watch while not quite living up to the brilliance of the first film. <i><b>"First, there is an opportunity. And then, there is a betrayal" </b></i>

Jackie Chan with superhuman powers. The story is meh tbh, it's not compelling and nothing really clicked with me, it could feel boring at times but as a whole I wouldn't say it was bad. The acting is shit, <i>Chan's </i>charismatic nature is still there but there's little chemistry between any of the actors while <i>Lee Evans </i>and <i>Claire Forlani </i>both deliver mediocre performances at best. The comedy is not great, I think i might've laughed once or twice but I don't even remember what it was I laughed at. The CGI and visual effects are bad but they're so bad that it's actually funny, although maybe the film just hasn't aged well in that regard. The action sequences are dumb but can still be fun like the final fight between Eddie and Snakehead, however there's an overuse of wires and the fights can feel clunky and exaggerated. The soundtrack was pretty cool at times but that's the extent of it. Overall a mediocre film at best but can still be quite enjoyable at times

We're about to watch this in school as it's a part of the course so I thought I'd watch it in advance so I could have an engaging first watch, and to say the least it didn't disappoint. The film is honestly brilliant and presents a beautiful representation of a person coming of age and trying to figure out what they want to do and where they want to go in life all while dealing with various relationship struggles and the hardships of adulthood. The story was unexpectedly compelling and evocative, there's times when the film seems perfect and can produce some truly mesmerizing scenes but it also manages to stay lighthearted and humourous through it's brilliant comedy and captivating chemistry between the actors. The performances were brilliant all around but <i>Laurie Metcalf </i>delivered a particularly compelling performance and captured the despairs of parenthood effectively while her character struggled to find a way to satisfy her daughter even though she was persistent in her attempts. The soundtrack was heartwarming yet could also be heartbreaking when it needed to be which helped create some exceptional scenes. Overall, the film is deeply evocative and powerful in it's portrayal of a person coming of age and produces some truly sensational scenes.

I don't even know what to say, I'm just so distorted after watching that masterpiece. Emotional, breathtaking and truly dazzling in it's excellence. I'm just so lost, I feel changed, I feel like I've been <i>damaged </i>but I'm glad that I have been. The story is emotional and compelling all the way throughout, it's just so beautifully crafted that I can't not love it. The characters are well-written and complex, each playing a key role in the story and none of them feel lacking. The acting is sensational, brilliant performances all around but <i>Casey Affleck </i>and <i>Michelle Williams </i>are the stars of the film for me, they both<i> </i>deliver some truly stunning performances that ends up producing some mesmerizing scenes. The story in itself is just fantastic, this portrayal of depression is powerful and has a lasting impression on the viewer. It shows the life span of depression and how quickly it can arrive yet can take so long, if ever, for it to leave. <i>Lee</i> is a fascinating character, primarily due to his struggles with depression and the hardships of life that he has been burdened with, this captivating story is evocative and breathtaking throughout. Something that I did not expect to be that good, was the soundtrack, I was blown away by it's brilliancy, every scene felt enhanced and at times perfect. The scene where Lee finds out that he is meant to take care of Patrick now and he reflects on his past children was evocative and damaging in it's brilliancy and storytelling but also it's dramatic soundtrack that only propelled this already phenomenal scene forward. Even though I'm left awe-struck and positively damaged in it's brilliancy, I'm still so stuck on a rating. This feels like everything that it should be, it delivered more than I expected and blew me away but I just don't know, maybe I just need to sit on it for a while. I definitely need to rewatch it, I'm not sure if this level of gratitude will stay after a rewatch and maybe this is a very reactionary response but this was truly sensational.

Considering I loved <i>The Seventh Seal</i>, I'm quite dissatisfied with how this film turned out. From what I've seen the general consensus of the film is that no one has a clue what actually happened, and I fit perfectly into that category. There's plenty of interpretations out there but I honestly just didn't really connect with the story enough to actually care about what happened. It feels sort of all over the place and dysfunctional, it's heavily dialogue driven which isn't bad but there are times when the film feels dull. There are some very peculiar scenes, particularly towards the end which sparked my attention and I was engaged with the film, but this didn't really happen enough and the film didn't stay consistent enough to hold my attention from start to finish. The cinematography is odd and very unique, it clearly serves a purpose of sorts and it was intriguing but it's also just a bit dysfunctional again and made me question what is actually happening. The acting is actually pretty good and stands strong after so long which was a pleasant surprise. I don't think the film is bad by any means but it just wasn't engaging enough for me and I felt very disconnected from the story and what was actually happening, maybe my perspective will change after a rewatch though. Overall, I don't think the film is bad and the story can be quite intriguing and compelling at times but it can't continuously hold this flair and can feel very dull at times which caused me to struggle to actually connect with the story and the characters.

Maybe I just wasn't in the right mood or something for this film cause it just wasn't that enjoyable for me. I think the film has a good premise and this could've turned out brilliantly but the execution felt poor. The characters were shallow and none of them interested me, apart from Amelia but that was really just the story that was interesting. The story wasn't bad and this comes back to the premise of the film, it was generally interesting and could be positively mysterious at times but I was never actually hooked into the story enough (if at all) to really care about what would happen next. The film felt generally vibrant and light hearted which was enjoyable but none of the comedy ever landed for me, I rarely laughed if it all but I don't think the comedy was actually bad I just felt neutral about it usually. Overall, <i>The Nice Guys </i>aren't very nice and they fail to create a compelling film that personally felt like it was always lacking something.

Mad. Kinda sad I didn't like this film more, a psychological 'horror' that showcases the grotesque rivalry in Hollywood but also between sisters. The film starts excellently, showcasing the early lives of these sisters and the environment each of them inhabited, how their lives changed so dramatically yet hastily and how their rivalry began, all of which creates a fantastic foundation for the rest of the film. The storyline is consistently tense and engaging throughout as the sister's rivalry is further explored and so too is the psyche of <i>Baby Jane. </i>Baby Jane is an interesring and compelling antagonist who is fueled by envy and hatred, she feels as though her sister has stolen the limelight from her and in turn intentionally destroyed her career at every chance she got. This dynamic between the siblings was a thrill to watch unravel and is only improved by the exceptional performances that <i>Bette Davis </i>and <i>Joan Crawford</i> deliver. The acting is superb and the real life rivalry that the two leads had behind the camera propelled the film forward and created some exceptional interactions as each actress continuously tried to outdo each other. The soundtrack was eerie and used well but it felt limited in the way that I had already heard each tune before and either there wasn't much to work with or they chose repetition. There are times when the film felt slow and the <i>torture </i>that Jane punishes <i>Blanche </i>with can feel very slow, especially the psychological aspect. The psychological torture is creepy and effective in creating a tense build up but ultimately it can feel slow at times. The twist was superb and Jane's final scene of her losing touch with reality and reclining into her childhood was beautifully done but the pacing felt a bit off. Overall the film presents some compelling themes of childhood stardom and Hollywood rivalry and when coupled with these compelling characters and performances creates a great movie, but ultimately falls short due to pacing for me which held the film back immensely.

Sensational. A meticulously crafted coming of age story that redefines the genre and presents some captivating themes in the process. There's no doubt the film is fantastic but something wasn't quite there for me. I had high expectations going in and the first act fulfilled those and went beyond but the first act was also my favorite act and so led to a downwards slope for the rest of the film. None of the acts are bad in any way and there isn't a huge amount of difference between them but it's still noticeable. The first act shows a young timid boy who is constantly bullied and neglected by his mother when he needs her most, it's captivating and powerful throughout as this child has to struggle with the position he has been placed in but also with finding himself and his own identity at such a young age. It's a heartbreaking story and sets the tone of the film brilliantly, <i>Juan's </i>role as a father was compelling and beautifully acted aswell, it would've been nice for him to have more screen time but his death was also a pivotal moment in the film and Chiron's life. The following act is great aswell, the division between <i>Chiron </i>and his mother expands and so does his own struggles with bullies but there's also a relieving sense of incoming clarity as he further explores his sexuality. The ending of this act was brilliant and showed how effortlessly the film was able to continuously rebuild but destroy Chiron's character. The final act was imo the weakest act, the jump felt that large that Chiron had already been able to established his life and identity. The reunion with <i>Kevin</i> created a great love story but also the complete disregard to what had previously happened felt unusual, I mean sure he said "sorry", but come on I'd at least hope for an explanation from him himself than us to just understand that 'he didn't want to do it'. The acting is great all around and there's not much to fault, but I did see a comment that the difficulty of the performances gradually declined and I agree. The music was unbelievable, it was just so evocative that I felt connected to some scenes purely through the soundtrack. Of course the beauty of the film can't go unmentioned it did win '<i>Best Picture' </i>after all, the cinematography was sensational and each scene was shot so elegantly that it was impossible to not feel in love with some scenes. The story was amazing but it felt hard for me to actually connect with it on a deeper level, I'm not a gay black man who is struggling with his sexuality like, if I was I'm sure I'd be in love with the film but I'm not. Overall the film is a beautifully crafted coming of age story that performs well in all aspects but gradually declines throughout and loses me due to an inability for me to connect on a deeper level with the film.

There's no tension there at all for me and the generic horror tropes of slow reaction times and dropping your keys is just bland. The <i>Moonlight Man </i>is nothing crazy, I suppose he's kinda cool in hindsight but he wasn't scary at all during my watch and felt like a generic stalker that's been seen a hundred times before. The sound wasn't of great quality either and the ending is nothing special.

I enjoyed it more than the first one for sure but it's still nothing extraordinary. The <i>Moonlight Man </i>wasn't as prominent in this one in like his physical form, there was just a sense of something unknown being in the car park which I think worked better. The ending was better aswell, it was more frightening. In terms of production the sound quality and acting also improved. There was an actual story aswell which didn't hurt, but for a horror short protagonist he wasn't very likeable. Overall an improvement from the first but still not even great.

Maybe my liking of this film is heavily nostalgia based cause I thought this film was the shit back in the day but my god it's still the shit. Is it incredibly dumb? Yes But, early on in the film I took a moment and thought about this. If I'm going to watch a film about Abraham Lincoln killing vampires them I shouldn't hope for realism, and that made the rest of the film such a thrill to watch. The pacing felt a bit off, especially at the beginning of the film but it could've been a lot worse. <i>Benjamin Walker </i>didn't feel like a great casting decision if I'm being honest and throughout the film his character ages significantly more than his wife <i>Mary Todd</i> which was quite odd. The actual <i>vampire hunting </i>aspect of the film was great I thought, the action scenes were dumb sure but they were just really fun, a bunch of axe spinning, invisible vampires and chopped off heads. I also thought the story was pretty decent, it didn't completely disregard Abe's legacy and spent a good bit of the film exploring his political growth after an exit from his nighttime hobby but also managed to round it back up at the end and presented an enjoyable finale. The ending's foreshadowing was kinda cool, but prior to that how the fuck did <i>Mary Todd </i>kill <i>Gabrielle </i>she was a an absolute badass vampire who was evidently more intelligent and skilled than most of the other vampires but she decides to just sprint directly at her and not even go invisible, ugh. Acting wasn't particularly great or bad, but I thought <i>Dominic Cooper </i>delivered a good performance and Abe's voice acting was pretty good. Overall I really enjoyed the film and it presented some great action scenes that were evidently stupid but brilliant nonetheless, and every other aspect remained pretty good throughout aswell.

I really liked this short film. The animation style that was chosen was fantastic and I adored it, voice acting was great, story was tense and engaging while expanding upon the already built movie universe of <i>Abraham Lincoln: The Vampire Hunter. </i>The historical reveal and backstory to the vampires' arrival in America was fantastic aswell, kinda inspired me to buy the book.

It's an Adam Sandler film so I naturally had low standards going into the film but it wasn't terrible. I kinda realized I might've overhated Sandler during this film and should give him view more of his films before writing him off but this isn't because of a stunning performances but rather in hopes of joy. I had quite a few laughs during the film but sadly too few, the story was a bit boring and I was never properly hooked into the film, there were times it felt some what entertaining but the film never held it's grasp on me. The characters weren't interesting, <i>Carlos'</i> language barrier was actually quite funny aswell as <i>The Maharajah's </i>general personality but no one else has any redeeming qualities, Audrey could be really annoying at times aswell for a protagonist. The ending wasn't necessarily bad but it just felt a bit bland, maybe this is a genre issue in the sense it's been used to it's ultimate extent and there's no creativity in this subgenre any more. Overall, the film produces quite a few chuckles but lacks in every other department and could never hold it's grasp on me for long enough.

I really enjoyed the first <i>Pact </i>and it surprised me with the low ratings and I had similar hopes for this film but the ratings are significantly more justified for this film. The first half of the film was quite entertaining, semi suspenseful and it felt like a good build up, but somehow it all went tumbling down and I think this started with June saying, <i>"what if he (Judas) has somehow returned". </i>I had initially thought that since Judas was obviously dead, her visions of him were representing the copycat, but as his involvement continued to grow and it just felt odd. As a paranormally based horror, ghosts shouldn't be unexpected but Judas' role was lackluster and felt like it existed just so there was some sort of story even if it was complete shit, a copycat would've made so much more sense and could've actually created an interesting detective story. The acting wasn't superb by any means and generally felt like basic horror performances shrouded in mediocrity. The characters were dull throughout, June was a significantly worse protagonist than Annie, she felt just a bit meh most of the time while Camilla Luddington's weak performance didn't help, Officer Meyer was an extremely boring character and his conclusion felt a bit bland like the kind of stuff you would see in some shitty cop show, the detective was kinda decent, I appreciated his passive aggressiveness in his constant search for answers. There's a repetition of slamming doors, flickering lights and jump scares and this would work well at times but could also get predictable. Overall, a suspenseful first half but falls down heavily in it's execution due to mediocre performances and characters who are only hindered by the criminally poor storyline.

Not bad. Hads a horrific murder scene that's quite frightening which is probably the best part. There's never a dull moment, maybe due to the ominous setting and characters or just the workout video and it's hyper soundtrack that is constantly playing. Cool characters that are quite eerie

Extremely engaging throughout and presents a pretty good revenge story. Characters are good and acting is generally good aswell, nothing extraordinary in either aspect though. The twist was actually really good and was built up incredibly well and was also quite frightening in a sense. Action scenes were fun and well done in terms of choreography and camera work. Overall a really engaging sci-fi film with great action and a compelling story.

I don't care I found this fun and enjoyable although not as much as I had previously enjoyed it, not sure if there's much rewatch potential. A constant spectacle that can of course be a bit outlandish in it's aspirations but still extremely enjoyable. On a technical basis there's not many redeeming factors, mediocre acting with bland characters that's backed up by a not so great script but still really fun throughout. A simple easy watch film that's fun due to it's flashy tricks and entertaining progression but remains mediocre in most other aspects.

Pretty fun watch, not an incredible first or second act but stand extremely strong in it's third. The animation style was beautiful and aswell as the soundtrack were my favorite parts of the film, the story was decent and<i> Rango's </i>search for identity was fun to watch and led to some fantastic scenes like when he meets <i>The Spirit of The West.</i> Apart from Rango the other characters weren't anything special, as a collective they were enjoyable though and that's what was necessary I suppose. The story was decent as a whole, I wasn't that invested into the first half of the film but it picks itself up well in the end. Overall an enjoyable watch but takes it's time to show what it actually has to offer.

A fantastic story that can be held back at times with pacing issues but still stands strong. A 2hr 20 minute runtime allowed the film to really paint a picture and show <i>Uxbal's </i>character but it's stagnant pace can at times feel slow and not engaging, it allows for moments of brilliancy in the film but feels dull at times aswell. Apart from that the story is decent, the sub-plot was at times exceptional but generally can seem unimportant and unnecessary, although it sufficiently helps expand <i>Uxbal's </i>character still. The other characters were good aswell but none were incredibly strong and could feel replaceable in a sense but they each contributed something to the film and of course<i> </i>Uxbal and often highlighted the constant theme of extortion and how Uxbal has to find ways to feed his family and make money even if it's unethical or illegal. The soundtrack was magnificent aswell. However, the stand out aspect of the film is Javier Bardem's performance and it really propels the story forward. It's easily the best part of the film and most memorable but sadly this can't be the only factor in a good film. Overall a gut-wrenching and mostly enjoyable film but struggles with an overly long run time and a lack of strong side characters that unfortunately makes the film generally forgettable.

I actually went into this with a smile on my face because I knew it would be bad but I was hoping for so bad it's good but it's not even at that level. I was actually hopeful in the beginning and didn't think it was terrible, it was by no means good but it was kinda suspenseful and interesting. However, this quickly fades, obviously realism isn't going to be your number 1 priority in a film like this but I was hoping for some base level of logic, waves just seem to appear magically at times which was underwhelming and there's quite a lot to say about the film's logic (or lack of) but you just have to accept it really. There's a few moments to say the least where it's like "wtf is going on" and the film is just so far gone at that point that it's laughable. The acting is unbelievably bad and also laughable, the fucking horrific characters didn't help there was nothing there for me to actually appreciate, especially with Finley's irritable obsession of being a hero and his fucking intolerable family that just wouldn't get over themselves for one minute to focus on their own fucking survival. A lot of deaths were just meh and overlooked basically instantly by other characters but maybe empathy is a foreign emotion in this world aswell. The script is actually abysmal, it's just 80 minutes of suffering in that regard. There's always some shitty cheesy one liner after something happens and cringe worthy dialogue throughout especially by the whole fucking cast but particularly Finley's terrible family. I'm still not sure if this was made to be a "so bad that it's good film" or not because even if it was it still failed. Overall an expected disaster of a film that fails in every aspect but also produces some hysterical moments due to it's astonishingly bad nature.

No doubt a great film but I wish I liked it more. I was hesitant about the animation at the very start but it grew on me quite quickly and I was honestly in love with it by the end. The score is also phenomenal, it was just so beautiful throughout and captured each moment perfectly. In terms of story, I never really connected with the story or the characters, Remy's rise to greatness and fame was enjoyable but that was the extent of it, his lofty ambitions never quite hooked me in. I thought <i>Ego </i>was a great antagonist and he definitely should've been focused on more, I loved the critiquing aspect of the story more than the in-restauraunt conflict and found it to be a lot more interesting. If the film had a wider approach to the restaurant and Remy himself, I feel like the revival of <i>Gusteau's Restaurant</i> would've been a lot more impactful but this is a take that probably isn't shared by many. I didn't enjoy <i>Skinner</i> and found him to be unappealing, his dislike towards <i>Linguini </i>was baseless and evident before he even found out about the will, maybe this is just a take on what head chefs are like in restaurants or something but to me it felt unprovoked and just existent for the sake of existing. I never quite connected to the themes of the film or even grasped them that well at all, there's a search for identity in terms of Remy while he explores this talent of his and decides to leave his colony to further chase his dreams but I didn't connect to this or any others. Overall, an incredibly enjoyable film throughout but a lack of connection to characters or story drops it off for me.

Just overwhelmingly mediocre. There's not a single redeeming factor about this film tbh, the story is boring and predictable. The characters are okay at best, the Maharajah can get repetitive and the other characters were bland. The music was decent and one of the better aspects. The humour was extremely bad, there were a few times when it was actually funny but overall it was boring and repetitive like look at this Adam Sandler missed every shot for the 20th time. Overall a very meh film and doesn't offer much at all but there are still little moments of joy in the film.

Vroom Vroom. An extremely enjoyable film, the street racing is great and the CGI and effects obviously aren't great but they could've definitely aged worse. There was a good level of action for the film that it never felt like too much or too little while still being entertaining itself. The plot was pretty good and although the outcome was obvious the way it unravelled was great storytelling. The script is a bit of a mess, it has some memorable quotes and a lot of funny lines but it's also a bit dysfunctional and can feel blunt and even abrupt at times. I would say <i>Paul Walker</i> delivers the best performance here but there's not much competition, there's a lot of raised voices throughout and just over the top screaming which is never heartfelt and is kinda laughable, the cast is generally decent though. The soundtrack radiates early 2000s vibes but it's quite fitting for the movie as a whole. Overall an enjoyable watch from start to finish but nothing spectacular in any regard.

Vroom Vroom X2. Inferior to the first but not by a crazy amount. The races are still extremely enjoyable especially the ones in the opening scene and the finale while the action is taken down a level which doesn't hurt. The story isn't as compelling, the film presented some background to <i>Bryan's </i>character and introduced <i>Roman </i>who was pretty cool but the plot is lacking and generic while <i>Verone </i>wasn't interesting at all and felt pretty mediocre. The other new characters were decent but nothing incredible. The visual effects aren't bad and have aged well also. Overall a downgrade from the first but still an enjoyable watch.

There's a lot of potential in this movie and to plenty of people it hit those spots but for me it didn't quite. At it's core it's a children's horror animation and I feel like that's all it can be, the story is eerie and kinda interesting but the characters are lacking anything on a deeper level. The animation is the clear highlight of the film and it's deserving of the high praise it recieves, it's stunning throughout and creates a true set of immersion into the world that's created. The soundtrack was also quite good and enhancing. The voice acting is well done and I particularly liked the cat's actor and the script can be quite good at times for a kids movie - <i>"you probably think this world is a dream come true, but you're wrong". </i> I feel like a lot of the extremely negative and positive reviews are due to a viewing they had as a child which is understandable, if I had seen this film when I was younger I'm sure I'd have a stronger connection aswell but to me it's a missed opportunity just. Overall, an eerie and creepy children's horror animation that is sure to reach it's target audience well but for me it wasn't quite there but still really enjoyable throughout.

An underrated masterpiece. Going into the film I had high hopes, I watched it when I was younger and I loved it, now I absolutely love it. Everything from the emotional story with it's brilliant lore and backstory to the enchanting world design and animation is a complete spectacle and never felt dull. The characters were extremely likeable and Mérida (who many dislike), I adored. Her continuous efforts to escape the normality and traditional life of royalty in order to pursue her own lifestyle and freedom was fantastic to watch. She was outgoing and fearless in conveying her strong opinions to her mother who idealized the traditions that they had undergone for many years, she was everything a princess shouldn't be in the eyes of her mother which created an interesting dynamic between the two in the film and made the story's and their own relationship's progression ever so more impactful. The Queen and Mérida's character development was beautiful, at the beginning of the film they are basically opposites who can not agree on anything and if you didn't know they were related you wouldn't have guessed so. However, when Mérida realizes what she has unintentionally done to her mother we see her true colours and how deeply she actually cares for her. The adventure that this leads to is both heartwarming and entertaining and allows the two to bond and repair their relationship. As the story progressed, I felt more and more engaged with it. The medieval setting of the story coupled with the enchanting background of it's world and the repetition of history was incredibly interesting to me and just hit all the spots it needed to. There was moments that annoyed me in the film like when the Queen became a bear and was doing everything she was told not to do, but this didn't happen often. As well as all of this, the animation was brilliant and brought a sense of vitality to each scene, while the soundtrack brought it all together to create some deeply impactful scenes. Overall, an animation that I have truly enjoyed over the years and will no doubt only grow on me more

An interesting watch. There's an eerie sense from the beginning as Lili retreats into her sister's room backwards and trips, this unsettling theme continues while they attempt to leave the house. The remaining time is spent introducing the 'mother', who is unusual to say the least. She's frightening but primarily in a jump scare fashion but she still possesses a discomforting appearance. Overall, a suspenseful and frightening watch which conveys an interesting story in it's minute runtime.

Going into the film I had low expectations for no particular reason really, I thought I had seen the beginning of the film a couple months back and decided it wasn't for me but I must be completely mistaken because this is brand new to me. However, the film delightfully surprised me, it wasn't a deeply chilling and hair raising experience but it was an enjoyable mystery that could be incredibly unnerving at times. The intro was really good and set the mood of the film instantly with it's ominous foreshadowing and by instilling the idea that a disaster is just waiting to happen, I think this was so effective due to the scene's unusual editing of floating heads but also the strong performances delivered by Vincent Price and Elisha Cook Jr. The film continues with it's mysterious tone but it's also quite light-hearted and laid back while it introduces us to the characters which works well, this is primarily due to the script which is generally good but can frequently feel predictable and lacking as well. The cast as a whole deliver well rounded performances but in the times of horror they can feel lacking, these scenes are typically supported by unjustified and over the top screaming from the female actresses and afterwards, almost instantly they are calm again. I noticed this when Nora Manning after seeing Mrs. Slydes in the cellar for the 2nd time, ran out screaming hysterically after her but then just completely calmed down before all of sudden going crazy again at Lance, this moment was frightening due to it's jump scare origins but lacked in the character's unnecessary reaction. The reveal of Annabelle's survival was decent and it became guessable that there was foul play when there was a mist of uncertainty surrounding who actually attacked Nora. I also really enjoyed the finale and the reveal of Frederick's survival and how he was aware of the plot to kill him all along (I think he was at least). Overall, a deeply enjoyable horror that carries a light hearted atmosphere while still producing a brilliantly mysterious storyline that only struggles through it's weak performances and lackluster script.

Wow, the 3.0 average rating does not do this film justice at all. A tense and frightening horror surrounding a couple and their unwanted guests. The first half of the film was honestly amazing, there was a tense atmosphere even before 'the strangers' appeared and was only amplified when they did arrive with their unsettling loud bangs at the door. The creepiness was unbelievable and when she returned to the door saying the exact same lines only minutes after, it was just discomforting. The next 30 minutes were fantastic in conveying the fear of the unknown of what's outside lurking in the dark but also inside as there is repeated instances where a 'stranger' is hovering in the back of the shot or something has been tampered with inside the home. These moments are extremely frightening but can be held back by dumb character choices, it's a cliché for the characters in a horror movie to make unwise decisions in order to progress the plot, speed up the movie or provoke a jump scare, etc, and as frightening as these jump scares were (and trust me, they scared the shit out of me countless times) the lead up to them was agitating at times and became more and more predictable as the movie continued. During the second half of the movie, the film gradually became as I said more predictable which led to less terrifying jump scares, but the rest of the horror aspect was still creepy and unnerving, especially with those masks that the 'strangers' were wearing. It could become partially repetitive cause there wasn't a clear motive for the strangers and the couple's odd decisions would lead to expected outcomes but the short runtime allowed this to not be a big problem. Throughout the film I thought the acting was pretty good, the 'strangers' didn't have much to do apart from creepy movement but Liv Tyler delivered a great performance which is possibly another reason to finally watch the LOTR franchise while Scott Speedman didn't quite perform as well, he was by no means bad. The soundtrack was decent throughout, I never quite noticed it bar a few scenes but when I did it was for good reason. Of course, the similarities that this film has to Jordan Peele's US will always bring a smile to my face. Overall, a creepy and frightening horror that well exceeded my expectations but could become repetitive later on and followed one too many horror cliches.

At first I thought this might just be a mediocre cash grab and a direct copy of the first but Psycho II manages to bring new found creativity into the franchise while still keeping some of it's old flair. The first half of the film was nothing superb as we watch Norman adjust to his new lifestyle and the locals' mixed opinions abut him while also battling with his overlapping personas. However, it built up the story decently and allowed for the new characters to be introduced strongly while still carrying that eerie sense of horror as Norman is tormented by his past actions. The build up can feel slow and is certainly not incredibly compelling but rarely ever boring or disengaging. As the film progresses and secrets are revealed, the story takes an interesting turn and scopes out from Norman himself which is where that creativity appears. There's now a whole other side to what has been occurring and allows for a logical response to be made and shows the levels to which people will go for revenge. Originally, Norman was simply struggling with his sanity and there was no proof of anything he said ever happening, now everything has changed and the way the film manages to come back round to this in its final scenes is quite fantastic. The story develops and there's some critical moments that occur like the hotel lobby scene between Lila and Mary which are important but not as vital as we know yet. I was a bit shocked when Lila had no clue about the events happening in the house but I overlooked it at the time. The next 30 minutes is when everything becomes clear and in a very engaging manner. The discovery of the bodies in the swamp was predictable but I thought Lila had framed Norman especially since she was the one that told the sheriff to check the swamp. However, when she died I was a bit confused and wasn't sure of the truth anymore. Norman's continued disconnection to sanity was really enjoyable to witness and created a brilliant confrontation scene as Mary is unintentionally perfectly framed. The final scene where Mrs. Spool reveals her true relation to Norman and how she has been the killer all along was decent but ultimately nothing fantastic and felt a bit lazy. Throughout the film, the soundtrack is very prominent and eerie but never quite instilled that horror into me that the first film had, the film had more of a thriller feeling as well and was never incredibly frightening, just creepy in an enjoyable way. The acting was relatively strong but never superb, Perkins clearly delivers the best performance but Meg Tilly performs decently as well and at times great, especially in those final scenes. Overall, a decent sequel that is slow at the start but picks up well as the film progresses and even manages to produce one or two incredible scenes but can not hold that same flair for its entire duration.

Maybe I'm in the minority but this batman film is nothing to write home about. The film has some great aspects, like the dark and gritty atmosphere that fantastically represents the Gotham City that we all know and love and the soundtrack is powerful and iconic due to it's strong theme tune and clever composition but these are easily the best factors for me. Nicholson's performance is another highlight and he really brings the Joker role to life with his balanced blend of insanity and sanity which creates some of my favourite scenes like the mime sequence outside city hall and his final dance with Vicki in the church. As far as other performances, no one else quite done it for me, Keaton wasn't bad but some of his line deliveries felt off and wooden which was a frequent problem with other characters as well like some of the news reporters. I feel like this was a mix between a weak script and just bad acting from the minor characters. Keaton's movement as Batman felt clunky at times as well, especially in the earlier scenes like the one in Axel Chemicals. Kim Basinger delivers a good performance but nothing spectacular. The film could also just be dumb at times, yes, I'm aware this is a superhero film focused on a man who dresses up as a bat at night and wanders the city beating up criminals. However, that's not my problem, it's really just the little things that annoy me like how the Joker was electrocuting a guy to death but the dude just showed no emotion, not even an "ouch!" or anything. Also, when Vicki checked to see if the psychotic murderer Joker was okay after he cowered away in the museum, it was just a bit odd but each to their own. Additionally, I was never totally invested into the film, it could feel clunky at times where things could happen just for convenience for a later seen and the early scenes portraying Wayne felt bland from Keaton but he manages to do better in his later scenes. The camera work was slow and very reflective of the era in which it was produced, it never seemed to reach it's full potential. Overall, an atmospheric Batman film with a rich soundtrack and strong antagonist but in other aspects it struggles and is unable to retain that same quality.

(SPOILERS!) Slash Slash Slash. A delightful surprise, exceeded my expectations and by quite a bit to be honest. Although the film lacks much of the character development that Psycho II gave us it still produces a fun story that deviates from the previous 2 installments while still carrying a few call backs to the original in order to keep some of that iconic flair. Perkins places a larger emphasis on the slasher nature of the franchise in this installment by upping the gore and erotic nature while abandoning the mist of secrecy that was surrounding Norman's sanity previously. This works well in my opinion, there is only so many sequels you can do that place Norman's sanity under review while still being some what refreshing and new, the choice to diverge from this aspect gave the franchise a chance to breathe fresh air but this was also a pretty narrow tube. While the film manages to retain some of the renowned atmosphere of the first Psycho due to it's repeated call backs, the film can become overwhelmed with this due to it's simplistic story and unoriginal nature, there isn't much to work with in the franchise and you can feel the creativity being sucked out it movie by movie. The lack of originality is expected but can still be detaching at times. As a stand alone slasher, I think it performs quite well with an enjoyable story and vivid murder scenes that is coupled with a nosey reporter and her persistent efforts. None of these are executed exceptionally but they still manage to create a fun and enjoyable movie when paired together. On a technical basis, there's a few scenes that are poorly executed and have disappointing visual effects but that stuff rarely ages well. Perkins still performs well but this is easily his worst performance in the franchise so far while the rest of the cast are generally decent with a bit of movement in either direction. The soundtrack is strong and positively dramatic at times, especially as Norman ventures to cabin 12 in search of his mother. Overall, what would be a strong stand alone film is hindered by it's unimaginative nature but where it can it ignites a fresh spark into the story.

I'm disappointed tbh, I had high hopes for a Penguin centered batman movie but this just didn't work for me. The film spends so much time focusing on the Penguin and Catwoman that we barely see Batman and when we do it just makes me realize how much better Keaton works as a seclusive billionaire than a caped crusader. His Batman performance never hooked me in and felt so lackluster compared to how we see him portray Bruce Wayne. DeVito plays an interesting Penguin and delivers well with what he is given but his character is just overly creepy which feeds into the film's over sexualisation problem. There is just no benefit to this constant theme, it plays no role in the story or within character relationships and just feels out of place and odd, Catwoman plays even more into this role and yet again to no reasoning. Michelle Pfeifer gave a shocking performance as Selina Kyle before her 'breakdown' (or whatever shit that scene was meant to be) but afterwards she's not terrible. Her Catwoman was just heavily sexualised and honestly very disappointing, her role in the story was basic, predictable and very disengaging. I never cared about this Catwoman, this is some what due to the stupidity of her character (revived by fucking cats?, and also apparently fucking invincible). There's still a rich atmosphere and an extremely strong soundtrack which are yet again the film's highlights for me. Ultimately, Burton struggles terribly with finding the balance between his own bizarre take on the franchise and the traditional batman story that we could've had.

I'm just so lost for words. There's a plethora of words that can be used to describe this and none of them are coming to me, at it's core it's simply the epitome of happiness. ------------------------------------------------------------------------------------------------- A substance of pure ecstasy that can still be emotional and heart-breaking. Between the immersive score and the captivating animation, there's a stellar story that is able to evoke the feelings of both the highest joys and deepest despairs. This is my attempt at a review but I'm just so awestruck even hours after watching it and I think that says it all.

Ethan Hawke! Although the film starts relatively strong, it quickly shows it's true colours with irritating characters and acting performances that leave a lot to be desired. The story is underwhelming, it has good potential but the frustrating characters and the lacking performances supporting them ruin the whole thing for me. The film also follows one too many horror niches, repeated idiotic decisions for film progression rarely works well and the predictable jump scares were disappointing. This feeds into the horror aspect of the film as well which could be strong at times but was never quite there for me, I didn't care about any of the characters' survival (least of all fucking charlie) apart from James so why should I be scared for their lives (fuck you charlie). Additionally, the script was poor, it felt basic and unfulfilling with it's lack of creativity, Ultimately, a disappointing horror flick that leaves much to be desired due to it's vexing characters, dissatisfying performances and underwhelming horror.

Look, the film delivers on it's promise and provides a somewhat entertaining origin story for Norman but it doesn't do much else. As the series continued with new installments, the lack of creativity was continuously diminishing and nothing changes here, the radio call aspect of the story was solid but the whole "it's happening again" idea can feel bland and boring. The mixture of prequel and sequel in this film was neat and provided a decent climax for Norman's story but maybe it wasn't the best ending he could've had. In terms of the flashbacks, I actually enjoyed them a lot, Olivia Hussey's acting can feel pretty hit or miss and her more psychotic portrayals can certainly feel weak at times. The script could also feel lacking at times, especially towards the final scenes. The soundtrack is very prominent yet again and still carries that strong horror/ thriller atmosphere. Ultimately, a relatively enjoyable climax to Norman's story but could feel bland and unnecessary at times.

I can see why this show didn't pick up, my expectations were naturally low when I knew it was a 90 minute pilot episode for a tv show that never kicked off but it wasn't completely terrible. The story is subpar and not very interesting, the idea of a haunted motel seemed dumb and the fact it was supposedly Norma Bates haunting it made even less sense. The characters are bland and while Alex was okay, Willie was just annoying and the comedic flair she brought with her never worked for me, the rest aren't anything special but Henry was still probably my favourite character. The acting is unappealing to say the least, Moses Gunn delivers the best performance and by quite a margin I would say, the rest of the cast deliver a mediocre performance at best but at times it's not even that good. The highlight of the film would probably be the atmosphere for me, it's this kinda fun 80s vibe that doesn't take itself too seriously (which is made very clear in it's final scenes) and that's the direction you would of had to take this already colourless storyline just so it might have some redeeming quality, Overall, a dull and colourless spin off rom the Psycho franchise that has few redeeming qualities apart from it's energetic atmosphere.

"Have a potato!" Not a ground-breaking horror by any means but still an enjoyable story driven forward by it's charming characters and it's powerful atmosphere. The film relies on both it's endearing and fascinating characters in order to propel the film forward and spends much of it's runtime getting to know the characters and building an eerie atmosphere surrounding the house. I can understand any dislike for this portion of the movie as it may seem slow at times but I honestly loved finding more out about the characters and the Femm's unsettling discussions about Morgan and their family's history. I expected more from the horror aspect of the film and it only really manifests in the final moments of the film which isn't necessarily bad but it wasn't built up well enough for those short few scenes to fulfil my horrific desires. Overall, the film as a whole was really enjoyable and quite interesting thanks to it's charismatic characters and it's balanced mix of light-hearted fun and eerie horror.

I was always a fan of this trilogy but I did not remember the first film being so good, I remembered this as the weakest for some reason which it may still be but it sets a high standard for that to be the case. From the spine-chilling confrontations to the silent reflective moments, Rise of the Planet of the Apes delivers it all. Posing as an origin story for the critically acclaimed Caesar, the film creates an impactful story that transforms this orphaned ape into a strong commanding leader. Character progression was always going to play a big role in the film and it was executed damn near flawlessly, there is never a moment in which something affects Caesar and he disregards it, he is continuously learning and adapting to his surroundings. He understands what he needs to do in order to free his species whether that is gaining the respect of the other primates or something as simple as taking alternate paths over the bridge, which was an unexpected yet basic level of intelligence that Caesar displayed. The continuous advancement of Caesar's intelligence was fascinating to watch, the thought of witnessing evolution right in front of your eyes is both spectacular and alarming. When Caesar first speaks, it sends chills down your spine and from behind the screen it evokes a sense of disbelief and a sort of pride that Caesar is now able to produce speech and makes you wonder what is next, but to be in that room with him in that moment would be terrifying. Hence, the setting for the rest of the movie and the continuous movies, the battle between the humans and the apes. The apes fighting on the bridge was honestly some of the best CGI and action scenes that I have seen in a while, it was intense and entertaining while posing as another example of the apes' heightened intelligence levels,. The tactics displayed by Caesar and the timing of the execution was brilliant while simultaneously creating some outstanding action sequences. Of course, how can I not mention Andy Serkis' exceptional performance as Caesar and how he was able to bring such a level of vitality and emotion to this character. Undoubtedly, the film remains at such a high quality because of Serkis' outstanding performance. The other cast members weren't anything incredible, James Franco has never really proved to be anything apart from at times above average and I was never much of a fan of Tom Felton's acting either but he performs decently here, the rest of the cast deliver generally above average performances as well. In other aspects, the score was extremely strong and unexpectedly so, Often times a score can go unnoticed but I felt it stood it's ground well here and proved to be quite captivating at times. The CGI was amazing and yet again stood high with the films other poignant aspects. Overall, a powerful origin story coupled with some impressive technical features that is sure to make this an entertaining watch for even the least likely of viewers.

Humanity, Survival, Mankind, War. A powerful film that yet again pushes the boundaries of modern CGI and storytelling. From the outset of the film, the brilliance of the film's visual effects is outstanding as we witness Caesar lead a large shrewdness of apes further into the forest in order to hunt a herd of deer. This scene is a firm testament to the quality of the CGI that this film has and by using this in the first few minutes it sets a strong tone for how the rest of the movie will astound viewers visually. The story is compelling and powerful not only because of it's intense action sequences and renowned character progression but also the profound themes it presents. While Koba represents the more vicious side of humanity and portrays a side focused on dominance and removing a threat before it exists, Caesar is more benevolent and strives for peace, choosing to seek a safer future and avoid the losses that war will bring to his nation. The beauty of the story is that both sides can be justified in their actions, as Caesar said Koba only learnt hate from humans while Caesar was adopted by a human brought up in a loving home. Koba can be extreme in his methods but ultimately he seeks the survival of his species with his thirst for power overcoming that at a point. This can be seen as a testament to humanity's history and their continuous violence, also in the film's final moments we can see Caesar state that the war has already begun and that "human will not forgive", highlighting the cycle of violence that humanity continuously participates in with only a focus on the past and not the future. In other aspects, the score is powerful and captivating while Serkis delivers yet another ground-breaking performance and Kebbell steps up to take on the role of Koba where he flourishes. The other actors remained at a high quality as well but you can see the talents of Gary Oldman being wasted for such a minor role in the franchise. The action scenes are remarkable and a thrill to watch, Koba is maybe remorseless but also a strong and capable warrior when he needs to be and to be honest produces some of the best action scenes that the franchise has to offer. The human aspect of the film is where I feel the film struggles, there's no strong human characters and none of them are really fleshed out anywhere near as much as they could've been. It still presents an interesting storyline but there's nothing special about it. Overall, a deeply impactful story that excels in it's storytelling and character progression capabilities while also producing an enchanting score with fantastic visuals but struggles minorly in other aspects which leads to it just falling short off the 5 stars.

A spectacle extravaganza at the surface while simultaneously conveying an intricate plot at it's core. Understandably a very divisive and polarizing film that I didn't find to have a difficult to understand story but rather I found it to be intentionally conveyed in a (at times annoyingly) convoluted manner. First of all, lets tick off what's good about the film. The score is strong and immersive throughout particularly due to it's main theme but it performs well in a plethora of other scenes as well. The film is visually stunning, the cinematography is brilliant and led to the film winning an Oscar for it while the CGI is continuously pushing the boundaries and manages to create some incredibly captivating scenes. The story is entertaining and enjoyable to be simply put, it's a blockbuster that was always going to be a box office hit with it's strong cast, a renowned composer and a prestigious director. However, while intense and thought-provoking it can also feel lazy, it's a complex film sure and Nolan spent an incredible amount of time working out the story and writing it but it's not quite perfect. I don't have too many issues with the plot and there seems to be a relatively logical reasoning to a lot of the supposed plot holes in this movie but it can still at times feel unnecessarily convoluted. I wasn't always completely invested into the story but this was primarily due to the dull characters that left a lot to be desired for such a critically acclaimed film. Progressing further down the spectrum, for a 2 and a half hour film I was surprised at how much it struggled with pacing. There were times when the film managed to explain a plot point immensely and that would work well (Cobb's history with Mal) , while other times it was simply skimmed over and disregarded (Saito's injuries decreasing as they progressed through the levels). The mixture of deeply examined scenes and then transforming into a short skimmed over topic felt a bit lazy and just a reason to feed Nolan's need for a convoluted plot by simply presenting ideas and letting them float about. The action is not of the same quality but I still found it to be a lot better than I expected, primarily due to the previous factors but it was entertaining nonetheless. It noticeably diminished in quality during the film's final act and could feel a bit choppy at times. The characters are far from extraordinary or even amazing, apart from Cobb and possibly Mal, the rest are bland and one dimensional. Ariadne is almost entirely used as a exposition machine but the film needs a lot of exposition so this can be justified while every other character has no backstory and just fit into any tropes that a heist movie would need. The dialogue in the film has been widely acclaimed as weak and I can't disagree, I often found myself replaying a clip to understand what had just been said, yet again another example of a plot point being weakly explained (often intentionally). Exposition takes up a lot of the dialogue as well and there would be a strong argument for it taking up too much time but I can understand it's necessity. The ending is yet another controversial aspect of the film but I thought it was brilliant, it places the entire movie under review and presents the question that has continuously tormented many of the film's characters throughout the movie, "what is real?", into the viewers mind like this was a massive inception by Christopher Nolan from the start. Understandably, this ending like many of Nolan's other endings may not be for everyone, it can be seen as uncreative or awe-striking, bizarre or phenomenal, disappointing or fulfilling, either way it will often present mixed opinions but I appreciated it like many of Nolan's other conclusions. Ultimately, a critically acclaimed film that I did not give enough credit to on my first watch but has proven to be a strong testament to Nolan's ambition even if he struggles with conveying it sensibly at times.

Surprisingly not bad. It has a strong atmosphere that felt eerily creepy while the story resonates with the rest of Nolan's filmography quite positively. The acting was sort of mixed, which for a 3 minute film was odd, when he attacked the bug it felt over dramatic and forced but his responses afterwards were more compelling. In other aspects, intelligent camerawork and an obscure setting bring the film together.

Unsettling images and discomforting audio. That's it, there's not a whole lot to this film and it gives off the vibe of an amateur filmmaker beginning to find his way. While it features Nolan in some make-up that very much resembles the joker (intentional or not), there's little else to it. Otherwise, it still offers much of that Nolan flair and carries an ominous atmosphere like much of Nolan's filmography. All in all, I thought it was quite boring and somewhat dull but maybe I'll rewatch this at some point and change my mind.

An atmospheric thriller/horror surrounding the art of grave robbing and it's toll on people. Honestly, it was better than I expected and a really thrilling experience, fuelled by compelling characters, moral ambiguities and striking performances. The story is fixated on Dr. MacFarlane, his protégé Fettes and their moral struggles. While MacFarlane is convinced that in order to progress in the medical field, sacrifices have to be made, Fettes struggles to come to terms with this and faces an internal moral battle. It is explained by MacFarlane's wife that she does not approve of this and that she doesn't wish to see another good boy made miserable by these night-time activities like MacFarlane has been. While Gray 'torments' his old colleague MacFarlane through unwanted pestering, he also unintentionally fuels Fettes' battle between right and wrong as he commits heinous acts in order to deliver the cadavers that MacFarlane needs which causes Fettes to question his values. The character dynamics are what ultimately bring this film together, between Gray and MacFarlane and their intense history to Fettes and MacFarlane's opposing beliefs, the film relies on character relationships in order to convey the dramatic points and deeper layers of its story. Although Gray is presented as more of an antagonist, his actions can easily be justified, he is simply fueled by a grudge and a sense that he was betrayed by MacFarlane who escaped punishment because of Gray's confession. The unravelling of Gray and MacFarlane's relationship was entertaining to watch and the history of Burke and Hare, although only playing a very minor role it was still very intriguing to hear about and see how this had impacted them and the cycle it initiated. Fettes' moral struggle is less focused on but it still expertly shows the effects that grave robbing had on the outside community and the conflicting emotions between the grieving civilians and the determined doctors. The lack of empathy displayed by Gray and MacFarlane is what ultimately emphasises this point, while others mourn for the deceased and recollect old memories, Gray and MacFarlane see an opportunity, while Gray fixates on money, MacFarlane seeks to advance his medical knowledge and that of society. The line between right and wrong is so expertly portrayed that there are arguments in favour of each side that would be equally compelling which is partially why the moral ambiguities surrounding the film are so engrossing to observe. Although, this is only my second film starring Boris Karloff, I can see why he was so highly remarked during his time. The other film I have seen starring him was 'The Old Dark House', where he plays a speechless brute (which I can only assume is similar to his most renowned role as the monster in 'Frankenstein' which I have yet to see), unlike his character there, he is quite charming, mischievous and even mysterious to an extent. His character is complex and intriguing and only enhanced by Karloff's convincing performance, from his sharp line deliveries to his unsettling facial expressions, Karloff really embraces this character to the full and immensely propels the film forward. In other aspects, the soundtrack was strong in some important scenes but it wasn't prominent enough elsewhere while visually, there were some scenes like MacFarlane and Gray's final interaction showcased by the shadow that were particularly compelling. At other times the movie could be boring or disengaging but this was primarily early on and as the film progressed so too did it's grip on me. Ultimately, a well crafted film that at times felt dull but was generally an exciting experience with some captivating themes at play.

Spooky Scary Skeletons. An energetic short that captures the Halloween atmosphere effortlessly while bestowing a lively atmosphere into something so stale and 'dead' as skeletons through their spirited dance and alluring animations. The animations are marvellous while fitting to the tone of the short much like the music which is vibrant and spooky simultaneously. There's a clear sense of repetition in the animations and sound affects which can get tedious and is my only fault with the short but it's a big fault. The preceding events to the skeletons' joyful dance were very fun to watch even if they did only last mere seconds. An encapsulation of Halloween into a short 5 minute video which is effortlessly joyful and vibrant while also carrying that spooky vibe, that unfortunately felt repetitive at times. However, I'm sure I'll see this again and something gives me the idea I'll be more in that Halloween mood for it.

It's not bad but it's not great, there's an atmosphere for sure but it was never incredibly engaging, tense maybe but scary? No. A heavy amount of obscure, up-close shots that swiftly move from one another makes the short feel very much like someone just playing around with a camera and seeing what kind of shots they can make work. There's some effort in creating an anxious atmosphere and while it is somewhat tense throughout, it never hooked me in and the ultimate payoff was unfulfilling and partially disappointing. The finale was set to be quite good with the unexpected news report that finished it off quite nicely but then this unenthusiastic final piece of shock value springs up out of nowhere and sort of kills the moment. Ultimately, not a bad 3 minute short but was rarely incredibly strong and when it was it ended up self destructing.

From it's irritating characters and discouraging performances to an overly dramatic soundtrack and a frightened crow, this short has very little to offer. Not a terrible premise but it's execution is riddled with flaws, the characters are somehow extremely dislikeable even only after seeing them for mere minutes. The actors aren't exactly future Hollywood stars (especially the father) and are honestly just very bad. The soundtrack is very prominent and delivers a sense of tension and eeriness but overdoes itself and subsequently can become a bit dull and even annoying due to its repetition. The animation was hilarious to look at. intentional or not, and brought a bit of joy to me unexpectedly. Overall, a disappointing short that offers very little in horror but still delivers a short lived eerie atmosphere with amusing animations.

Eerie, Creepy and Incredibly Atmospheric. A chilling tale surrounding a young girl and her mysterious disappearance that left a young man scarred. The story was positively creepy but it was never frightening and for all it's suspense, the ending can feel quite anticlimactic and a bit disappointing. It plays into the eerie atmosphere pervading the short but I felt like it needed something more, nonetheless a decent ending that I'm sure amazed others. The narration has got mixed reviews but I quite enjoyed the narrator's line deliveries and his consistently quiet tone which added to the eerie sense surrounding the short, the campfire story atmosphere was clearly very fitting to the setting and made the short ever so more mysterious. In other aspects, the soundtrack was immersive and strong, it improved some already unsettling and tense moments dramatically and made the short a lot more engaging. The animation wasn't exactly incredible but it wasn't bad, it dropped right into that 'okay' for me. Overall, an enjoyable short supported by a strong soundtrack and its engaging atmosphere.

If 'disappointing' was a film, safe to say with this being regarded as "one of the best horrors of all time" that I had high hopes and from my rating it's evident they didn't quite reach those expectations. To be blunt, I just found it boring and insufferable, From start to finish the characters are irritating, the story is dull and there's a lot of repetition for a brief 80 minute runtime. The opening 20 minutes were just boring and lacked any sort of conviction at all, it intends to set up some tension surrounding the forest but it fails to make itself memorable or even enjoyable in the moment, each interview is lifeless and monotonous with no entertainment value at all. The only part I did care about was when they mentioned the children facing towards the corner since it was repeated multiple times but at least it was something that piqued my interest during the first 20 minutes. Elsewhere during that time, we sit with the 3 protagonists of this film Heather, Mike and Josh as they make awkward conversation since they barely know each other (or at least not Mike) and show how one-dimensional their characters are. The next 40 minutes consists of them wandering into a forest, getting lost, constant bickering amongst each other and creepy rock and stick formations combined with scary noises. Although, this doesn't sound abysmal, it quickly becomes intolerable once the characters begin to speak, Each conversation consists of either Heather being an entitled bitch, Mike being a complete dickhead or Josh losing his mind and if we're lucky we'll get all of them. The actually story isn't terrible but the characters surrounding it are anything but likeable and struggled to hook me into the film immensely. Throughout the movie, there are a few creepy moments but never anything actually engaging or even frightening for me. However, in the final 10 minutes this changes significantly, once the iconic close of shot of Heather begins, I felt a change in tone and the horror all of a sudden became so much more intense and real which is severely due to Rel Hance's superb acting in this scene. The next 5 minutes remain eerie and still engaging but clearly down a level, the house was creepy along with the blood-curling screams but it was evident how this would play out and Mike's constant running off just felt like generic horror characters making dumb decisions. The ending was sort of cool, the 'facing the corner' thing came back as expected but I probably wouldn't of even noticed if it didn't. As a found footage film, this is by a clear margin the most iconic and popular one of its kind and so far it stands as the third one I have seen, unfortunately, I didn't like any of them. It's not primarily due to the nature of these films and it has previously came down to the story and characters which I disliked but there is also something there that just doesn't work for me. Maybe it's something as simple as the grainy footage and its visual appearance but it also just feels lazy and ineffective in actually conveying an entire horror. I rarely feel submersed into the horror when it is a found footage film, it feels like an outside perspective all the way through and is often predictable with its shaky cam movements and camera drops, the story behind them is less malleable as well because often it is obvious why we're viewing this through a cam recorder. The acting is generally quite strong, especially from Hance and they did portray their characters well, it's just a pity they were all so fucking annoying. Cinematically, there is the iconic close up shot of Heather which was exceptional but otherwise it is just some simple found footage. Overall, a horror that was severely disappointing due to its unbearable characters and a bleak story that gained my interest far too late into the film.

A charming coming of age story that lacks much of the magic and imagination of Miyazaki's other films. No doubt a good story with a few endearing characters and a sensational climax but it feels a bit lackluster compared to some of Miyazaki's other films. I wasn't all that interested into the film until around the 40 min mark, where it gradually started picking up for me and led to a brilliant finale which was easily my favourite scene but the first 40 minutes were a bit dull and nothing spectacular. In terms of the score and animation, I feel like they take a step down in quality as well, the animation is still good but it doesn't push any boundaries and feels a lot less creative and simpler compared with his other masterpieces, while the score just feels a lot less prominent and far less evocative than expected. The script is one of the stronger points of the film and is quite compelling in the correct scenes where Kiki's growth is truly demonstrated. The characters are charming and to be blunt, just very sweet, there is no characters who I disliked and everyone was uplifting and kind while they tried to support Kiki in her toughest times. Maybe I would've enjoyed this a lot more not having seen some of Miyazaki's other works but either way I'm sure I'll rewatch this at some point and hopefully have a lot more positive reaction. Overall, a delightful coming of age story that has some strong moments but felt generally lackluster for a good portion of the film.

<b>86<b> The beginning of one of the most renowned action franchises in the world starts off with its best foot forward. A tense, thrilling and ambiguous action film from start to finish with some incredible action scenes and a thoroughly engaging storyline. Whether it be <i>Tom Cruise's<i> charismatic nature or the films plethora of anxiety inducing scenes, there is virtually always something to keep your attention throughout. The story is an epic spy thriller that has some great moments of revelation, while also bearing some spectacular action scenes and has rightfully earned it's place alongside the best that this genre has to offer. At times it can feel bizarre or outlandish but that's also why it is so highly reviewed, it manages to push the boundaries of modern day action films while also holding itself back and keeping the film relatively plausible. Understandably, some scenes like the finale might be too much for some people and they may find it utterly ridiculous but for me it was an exciting conclusion for the film and hopefully stands as a testament to what the franchise is all about. In other positive aspects, the cinematography is extremely strong and very engaging, it is able to capture these intense scenes through various different angles and present the importance of these moments exceptionally while still not going overboard with dramatics. The theme song is one of the most iconic theme songs of all time and understandably so, it epitomizes an action scene filled to the brim with energy and it's daring story. However, that is sadly all the film has to offer in terms of its soundtrack, there is very little else to the score which can be quite underwhelming considering the sensational theme tune. In terms of negatives about the film, I'm not sure what I dislike, there was a period within the film that was slightly before the halfway mark where I wasn't interested and found it a bit boring but apart from that, I thought it was generally quite entertaining. Elsewhere, aspects like the visual effects that were not that bad considering the age of the film could still be a bit underwhelming at times. There is a strong appeal to <i>Tom Cruise's<i> character in this film and that may partially be due to his daring personal and jazzy magic tricks but I think <i>Tom Cruise's<i> performance is what ultimately seals the deal for me. He is charming and compassionate yet also fierce and determined in his role which many of the other actors/actresses lack, they are overshadowed naturally since they're side characters but even then their performances are above average at best while the characters themselves aren't extraordinary, although I did quite enjoy <i>Jon Voight's<i> double agent. Overall, an esteemed action film that exceeded my expectations immensely which hopefully the following installments in the franchise will continue to do.

<b>58<b> This series definitely did not need a directorial change to say the least, from what I've seen this is often regarded as the worst in the franchise and I now understand why. It is in every aspect a downgrade from its predecessor, what <i>Brian De Palma<i> excels at in creating an intense spy thriller, <i>John Woo<i> struggles to reciprocate and evidently decides to up the ante a bit and adds his own flair to the franchise. To say I even disliked this film is harsh because I actually found it to be quite entertaining for a good portion of the film, it has high stakes, an antagonist relating to Hunt's past and an exciting infiltration mission, what's not to love you may ask? <i>Woo's flair.<i> This is my first John Woo film and while it may not be my last, I'm in no rush to see what else he has to offer. The excessive slow-motion scenes and over the top action scenes are seemingly something of a trademark of his and while it may have worked for others, I don't quite have that same level of enthusiasm for his works, it carries a sense of comedic relief that maybe the film was lacking but it also continuously proposes the question, <i>what the fuck am I watching?<i>. I previously said that 'bizarre' was good for this franchise but that was when it was contained and in check, I wasn't quite thinking motorcycle jousting. While there is a comical sense that this can bring to the film, it can often be tedious and very disengaging, especially in the film's later scenes. Otherwise, the film was decent and quite enjoyable for the first hour and a half, a generally interesting story with simple action scenes and some exciting and secretive interactions, nothing flashy in both a positive and negative way. However, the characters are a bit of a let down, Ethan is less prominent and doesn't quite have that charm from the first film while his adversary Ambrose was nothing spectacular to say the least but he definitely could've been worse. The whole romance subplot was a bit dull and questionable considering they had known each other for about a day or two yet they were still willing to die for each other, maybe love at first sight does exist. Zimmer injects a lively personality into the film that I felt might've been lacking from the first M:I, so in that aspect there actually is an improvement, However, in order to cope with Woo's personal ideas, the cinematography becomes a lot more flashy which I'm still not sure if this turned out bad or not, there are some obviously painfully dumb scenes like the final fight where the camera work was less than admirable but at the same time it was fitting to the film that Woo was aiming to make. Ultimately, a strong decrease in quality from the first M:I due to its ostentatious action scenes and less engaging storyline. However, it still manages to be entertaining and enjoyable action film for much of its runtime when it doesn't carry that 'Bollywood' atmosphere of its later scenes.

<b>80<b> In what its predecessor failed to do in transitioning this franchise from a spy orientated thriller to an intense action extravaganza, <i>JJ Abrams<i> excels at with flashy action sequences, a compelling antagonist and a much more fleshed out Ethan Hunt. From the outset of the film, we get a taste of the passion that <i>Philip Seymour Hoffman<i> has given to his role in this strong opening scene that manages to give us a peep at what much of this film will lead to but still leaves a sense of mystery and creates a pre-existing sense of suspense once we enter the film. Hoffman is much of the reason this film works so well, his embodiment of Mr. Davian was strong and he presented a person who was both an eccentric businessman and a determined antagonist that would always keep his word no matter how menacing it was. Moreover, this installment allows for Hunt to be explored in a much more detailed fashion and shows us his private life and the costs of trying to mix business with pleasure in his career. This romance is a lot more compelling compared to <i>M:I 2's<i> sporadic fling, it has a strong foundation and the continuous discussions about Hunt's upcoming matrimony makes the story so much more impactful and genuine. Other new characters in the film like Hunt's new team members are simple yet effective, they play a role in the film and fit any necessary action tropes but they lack any character integrity and are quite shallow. This franchise needs a team that Hunt can be a part of and lead into these perilous missions like <i>Ving Rhames'<i> Luther, the introduction of <i>Simon Pegg's<i> character is a delight to see however and the path the franchise takes from here in creating more consistent characters is a pleasure to see. Although we don't get to see <i>Hans Zimmer<i> back in the composer seat for this film,<i>Michael Giacchino<i> is more than capable to take the reins for this film. With his impressive resume that has much expanded since he took on this film, Giacchino performs exceptionally and produces some intense scenes and even takes a breather with more relaxed moments like when 'We Are Family' plays for a short period. The story is quite good and a significant improvement from MI:2, it has an intriguing plot, a high-risk setting and some incredible heist scenes (I'm looking at that Vatican scene). When combined they stand high but certain aspects feel rushed and lackluster, such as when Ethan steals the <i>'Rabbit's Foot<i>, a sought after item which has been the underlying focus of the entire movie. The mission was hyped up to be, you guessed it, <i>Impossible<i>, but we don't even get to see it, we see the start of his adventure and its climax but that's all. Maybe, they didn't want to over extend the runtime or that we didn't need another heist scene and that might've been the best decision to leave this out but I still would've liked to see that intense sequence. The finale was also quite anticlimactic, for such an engrossing villain that was persistently coming out on top and posed as an actual threat to Hunt personally, his death was quite disappointing. It had somewhat of a comedic flair but felt a bit lazy and of much less quality than was expected, this can sort of sum up that entire sequence in the hospital, not incredible but still good. Collectively, the film is still incredibly entertaining and is a clear improvement from its predecessor with the franchise's best antagonist yet but struggles in some of its more critical moments.

<b>81<b> Objectively, this film is much superior to the previous installments in this franchise with its more enticing action scenes and balanced mix of light-hearted humour with an intense atmosphere, and while these were particularly compelling I just can't say I was totally invested into the story. The movie lacks any strong central villain, it attempts to present two separate antagonists who both lack any strong character traits. <i>Hendricks<i> has an intriguing past but it is only skimmed over in order to illustrate his motives briefly, he could've been a strong antagonist but the decision to display multiple antagonists and have <i>Hunt<i> play a cat and mouse game with <i>Vladimir Mashkov's<i> detective ultimately diminished his screen time and opportunity for exploration. However, this is not to say that Hunt's cat and mouse game is unenjoyable, it just lacks any strong incentive. It plays into the storyline of IMF being disavowed and continuously highlights the gravity of this situation but it fails to do anything that we haven't seen before between an evasive protagonist and their opposing detective, ultimately it accentuates the simplicity of the story and its lackluster villains more than anything else. In terms of the action scenes that come with this installment, this may be the best that the franchise has shown yet with that entire Dubai sequence. It pushes the boundaries once again and while being extremely absurd and causing me to question what I am actually watching, it still remains extremely enjoyable throughout due to a mixture of different challenges that Hunt and his team continuously have to endure. Atmospherically, there is a clearer focus on humour in this entry as the film continues to drift away from that serious ambience of the first installment and instead indulge in the wackiness of a spy film filled with a plethora of intricate gadgets that while futuristic are still simple and easily understood with their own key faults as well. Although this could produce an abundance of funny moments, there were also a selection of times in which the comedic flair of this movie didn't quite work for me and could instead feel quite bland. Although the side characters within this film are an improvement compared to some of the previous installments in this franchise, there is still much left to be desired. <i>Jeremy Renner's<i> William Brandt is possibly the most explored side character that we have seen in this franchise yet and proved to be an intriguing character who paved the way for an underlying aspect of this storyline to be revealed while also offering a heavy amount of comedic flair. <i>Simon Pegg's<i> character continues to be both a valuable team member and a comical genius here which is pleasant but ultimately just fits into a trope with little complexity, but maybe this isn't a bad thing. <i>Ving Rhames'<i> Luther is sadly missed in this entry and we are introduced with <i>Paula Pattons'<i> Jane Carter who plays the simple role of an IMF agent who will join Hunts' team for this installment and will then never be seen again afterwards but she is still enjoyable throughout. Ethan Hunt is also altered here and much like the rest of the movie, shifts away from the solemn yet charming man we have previously seen him to be and instead plays into the more comical atmosphere of the movie which proves to be quite a delightful treat. <i>Michael Giacchino<i> also returns for this movie and presents a stellar score much like he had previously which begs the question why there was a new composer in the seat for the next entry. Overall, an entertaining action flick with an incredibly balanced and engaging atmosphere that falls victim to previously established errors within the franchise and its lackluster antagonists.

<b>88<b> A film that possesses a virtually impeccable balance between it's lighthearted and humorous tone and its deeper, more emotional storytelling. It's a thrill throughout and although it starts off somewhat monotonous, it picks itself up incredibly quickly and manages to produce both a heartfelt portrayal of guilt and a comedic take on the 'hitman' business. There's rarely a dull moment in the film which is much thanks to the remarkable chemistry between <I>Colin Farrell<i> and <I>Brendan Gleeson<I>, their continuous bickering amongst each other that often creates some hilarious interactions is always a joy to watch. Much of the dialogue in this film is outstanding and the pace at which the tone of a conversation can shift without feeling abrupt is spectacular. There is always a purpose to the dialogue, whether it be as simple as a moment of comedic relief expressed by a dwarf or another insight into Ray's failure to reconcile with himself. Themes of moral ambiguity, depression and guilt are often strong on their own but Martin McDonagh combines them to create an incredible story shrouded in uncertainty. When there isn't witty remarks and comical insults being expressed but instead powerful dialogue about principles and the afterlife, the film is able to convey an emotional story that is both engrossing and eye-opening. Bruges, a setting that while despised by Ray, presents a tranquil and peaceful atmosphere that much of the film revels in. The setting of the film often amplifies the feelings of sorrow and guilt that Ray has been overwhelmed by with it's quiet <I>alcoves<I> and peaceful streets, there's a sense of loneliness in the air that is both melancholic yet serene, suggesting a sense of redemption awaits Ray. Carter Burwell produces a stellar score that complements the atmosphere and tone of the film immensely but at times certain scenes can feel lacking when there is no soundtrack to support them as if that scene could've improved severely had there been a supporting piece of music. Overall, a captivating film throughout that manages to find the ideal balance between dark humour and evocative storytelling due to it's impressive script and compelling themes.

<B>66<B> It started brilliantly with an interesting premise that was guessable due to the title but nonetheless entertaining to watch for the first 30 minutes with an enjoyable introduction to our trio of protagonists. However, it feels very hit or miss at times, there will be a segment of thrilling sci-fi exploration mixed with some comedic dialogue that didn't always land for me but would still be entertaining, then soon after the film can feel a lot more stale when there's a step taken back and the plot decides to relax a little, which often led to a decrease in comedic thrills as well. Of course, there were more enjoyable portions of the film than those that felt dull and unenthusiastic but these disappointing scenes or sequences still existed. Although, when there is these intense conspiracy unravelling sequences, the film is extremely enjoyable which is much thanks to the striking chemistry between the 3 leads and the trio's mixture of conveying a solemn yet hysterical atmosphere throughout the film. The climax could feel a little lazy and while they brought it around to hold a personal value to Fontaine, it still felt somewhat unsatisfactory but it was still enjoyable. Otherwise, the film stands strong technically due to the impressive cinematography throughout which is most noticeable in the <I>'wakening'<I> scenes and the fulfilling score which radiates a retro 80s vibe. Ultimately, an entertaining sci-fi thriller that certainly has some rough patches but can still be immensely enjoyable and engaging when it needs to be.

<B>74<B> Much of the film's allure comes down to the wacky nature of the film and it's comical approach to the sci-fi genre, it never takes itself too seriously and consistently produces some hilarious moments which are heavily supported by Will Smith's natural charisma and great chemistry with Tommy Lee Jones, but this is unfortunately not everything that a film needs. Undoubtedly, I thoroughly enjoyed this film but there was consistently something lacking with the story. It was by no means bad but it definitely felt incomplete and just above average for a comedy. There were some fascinating scenes surrounding the <I>Arquillians<I> and their ambiguous fear of <I>The Bug<I>, but this is never really explored and is just skimmed over the surface level of which is quite disappointing and seems like a massive piece of untouched potential. The Bug, as an antagonist, is creepy, menacing and somewhat comedic which is much thanks to Vincent D'Onofrio's peculiar movements and amusing line deliveries, and while this is all great and fitting to the film's atmosphere, there is still something left to be desired. Motive, sure TLJ describes how <I>"bugs thrive off carnage"<I> but there is very little else there, just a determined agent of chaos that while entertaining to watch has few compelling characteristics. The CGI and visual effects are honestly superb and have aged pretty well I thought, they aren't exactly <I>Inception<I> level but they are still entertaining throughout with some humorous alien designs. Overall, a delightful sci-fi comedy that thrives off of its engaging visuals, lighthearted tone and spectacular chemistry but struggles with its weaker writing and scarce storyline. <blockquote><I><B> "A person is smart. People are dumb"

<B>60<B> Certainly a downgrade from the first film but it isn't all that bad. Initially I was really enjoying the film, it had another eerie opening similar to the first film and for the first 30 minutes, there was an intriguing premise with some brilliant comedic moments which are yet again heavily supported by Will Smith's lively deliveries. However, as the story unfolds and Kay goes through a bleak reunion with Jay, which is oddly fast paced, and there becomes a larger focus on <I>The Light of Zartha<I>, the film becomes a lot more stale and unimpressive which is much thanks to Serleena and her lackluster crew. Serleena is actually quite similar to <I>The Bug<I> from MIB:I, she wanders around in human skin and possesses an unexplained hatred of another alien civilisation, that's it, in case you weren't aware there is no depth to any of these villains but even The Bug was menacing and entertaining to watch due to Vincent D'Onofrio's spirited performance. Lara Flynn Boyle just feels so much less enthusiastic and seems like a hollow shell of what could've been, her crew are just mindless thugs whose only memorable trait are their unique and often unappealing appearance, Scrad/Charlie can be hilarious in the right moments but is often just incredibly irritating. This isn't to say I disliked the film though, the film is still incredibly enjoyable and has a plethora of hysterical moments, much thanks to a talking dog, but you can see it gradually declining due to what is a mediocre plot at best. TLJ and Will Smith still have that chemistry but TLJ is absent for much of the runtime and when he is there, he is often very solemn and disheartened which just isn't fun to watch. Logically, working off the ending of the previous film was always going to be a tricky affair if you planned to reunite Jay and Kay back together and it proposes a few questions about the logistics off the <I>Neuralyzer<I> and how it actually works. Something like a <i>De-Neuralyzer<I> existing is understandable but as the film progresses and Kay gradually remembers things without the help of the De-Neuralyzer, it makes the Neuralyzer seem somewhat vain and flawed for something so fundamental to the franchise. The CGI has clearly took a step down which was quite shocking considering the budget was increased for this film and there were obviously greater capabilities for the CGI when this was produced compared to the first film. Elsewhere visually, the costume design and the alien's appearances became more absurd here which can at times be comical, but it can also feel forced and just bizarre for the sake of being bizarre, <I>"Kay ,he's a Ballchinian"<I> for example. Ultimately, a joyful experience for much of its runtime but struggles with its yet again weak storytelling and an incredibly forgettable antagonist.

<B>78<B> <blockquote><B><I>“I will look for you, I will find you, and I will kill you.”<blockquote> This is by no means a profound, genre redefining piece of cinema but it's still an incredibly entertaining action film. Fuelled by an unwavering love for his daughter and his overprotective nature, Bryan Mills is constantly trying to connect with his daughter as she heads abroad on vacation, once her and her friend are kidnapped by an infamous human trafficking network, it is up to Mills to rescue his daughter before it is too late. For what it is it's quite enjoyable, there's nothing exceptional about it and I could easily talk about its flaws for longer than I could target it's achievements but it's impossible for me to truthfully say that this was unenjoyable or boring. It's heavily supported by Liam Neeson's performance which itself can be quite bleak at times, and some spine-chilling moments which are incredibly memorable but much of the rest of the film is just above average. The side characters are generally quite enjoyable and even in their short screen time are still intriguing and entertaining to watch for the most part, maybe there is a guilt shaming ex who seems like a bit of a bitch but apart from her, the rest are pleasant to watch. However, the cast are mediocre at best, Liam Neeson is the big shot here and he delivers well but the rest of the cast give average performances at best while some do even worse. There are some fabulous confrontations and possibly one of the most quoted phone calls from the 2000s, that are fuelled by engaging dialogue and in these moment a strong script but it struggles to keep that consistency and can often feel generic and lacking of any creativity. The score is possibly the worst aspect of this film, while it is prominent in a few scenes, it is often mistimed and absent in many action scenes which leads to the creation of some virtually silent fight scenes that leave much to be desired. In terms of the film's action sequences, they are nothing spectacular but still extremely energetic and entertaining, they are often convenient for Mills like many shootout scenes but this is to be expected. The acting can be visibly poor in many scenes though, there were very few scenes involving someone being killed or knocked out that was in any way compelling, I understand they can be hard to pull off convincingly but really, that was the best you could do. Overall, an action packed thriller that despite its numerous flaws still proves to be an extremely energetic movie with some truly exhilarating scenes.

<b>68<b> <blockquote><B><I>"The man who took our loved ones from us, the man who has brought us such pain and sorrow, we will find him. We will bring him here. We will not rest until his blood flows into this very ground. We will have our revenge.”<blockquote> At its forefront, a tense thriller that attempts to piggyback off its predecessors success and create an action franchise out of what was a simple sleeper hit. Honestly, I liked this quite a lot, from a film making and technical perspective it is a logical mess but it is also an intense action film grappling with themes of revenge and moral ambiguities that proved to create a somewhat compelling storyline. The story behind the film continues off mere weeks after the first <I>Taken<I> and focuses on a father in despair after Mills murdered his son during his rampage to get his daughter back. Much of the film can feel like a rehash of the first Taken with just a few positions switched about but it is nonetheless an entertaining experience with some strong qualities. Liam Neeson yet again plays a pivotal role to the film's appeal, of course you would hope so given he does play the protagonist of the movie but due to what is lacking in other areas of the film, Neeson is now considered a highlight and rightfully so. His solemn mood and bold expressions are pleasantly displayed but his line deliveries can often feel over dramatic or rather emotionless. Of course some of this comes down to the deficient script which is painfully generic and unimaginative but Neeson isn't exactly at his best here either. I assumed there was a child behind the director's seat whenever there was a fight scene or car chase because undoubtedly they were almost every time just an unnecessary mix of split second camera switches showcasing every possible angle they can within 30 seconds. This, apart from repetitive, just feels messy and very excessive for what is actually happening. The action scenes that didn't involve some extravagant cinematography were actually quite enjoyable with some well choreographed fights, although this was frequently due to the impressive score supporting the film. In what <I>Taken 1<I> struggled with audibly, <I>Taken 2<I> improves at immensely. Even though <I>Nathaniel Méchaly<I> is still in the composer seat for this entry, everything just feels so much more coherent and unified. The music is well timed and evocative which its predecessor severely lacked and while it can feel excessive at times, it is still an incredible improvement from the first entry in this trilogy. In terms of the general performances and characters, there is little praise to give. Kim can be incredibly irritating while <I>Maggie Grace's<I> acting is nothing to write home about, Lenore still plays a very backseat role but there is less of her vexing guilt piling and instead she plays primarily as a love interest which creates a generally enjoyable atmosphere in that regard. There are low expectations for the other side characters but when they are present they often deliver well, while <I>Rade Šerbedžija<I> plays a somewhat absent antagonist but is still an antagonist with some strong motives that presents intriguing themes. Throughout the film, Mills and his family are continuously followed and hunted by Murad Krasniqi, a ring leader of the trafficking system that previously attempted to kidnap Mills' daughter Kim. Although, Krasniqi is presented as a villain and rightfully so, at the end of day he is fuelled by a love for his son which is the same principle that drove Mills to kill Marco. This arouses ethical questions about where the line is drawn between unrighteous murder and justified retribution, is one person above another due to their actions, often the answer would be yes, but at what point does taking another person's life become fair, who is allowed to play God and what happens if they make a contentious decision. Ultimately, a film with a plethora of mediocre factors and some obvious logical discrepancies but is still a predominately entertaining action thriller with so

<B>44<B> Wes Anderson, a highly acclaimed director primarily due to the unique appearance of his films and their often enchanting atmosphere, and while Anderson's flair is yet again seen throughout this film with much of the film being delightfully displayed and supported by an elegant soundtrack, without these somewhat magical aspects, there would unfortunately not be much else to praise. Much of my dislike towards the film comes down to the story which rarely sparked much interest from me and the incoherent atmosphere of the film that attempts to convey this somber and bleak tone through a vibrant picturesque town. The solemn and tranquil tone of the play can be calming and peaceful but when mixed with an odd alien appearance, it just feels weird and not in a positive manner. I'm sure there is some deeper meaning to the alien's appearance and his uncanny behaviour but I honestly just don't care, the rest of the story is quite boring and at a certain point feels meaningless. The grieving father aspect of the film and his incapability to deal with his grief is often intriguing and can be entertaining but it is rarely acknowledged while the focus on the <I>Junior Stargazer Competition<I> seems to occupy most of the runtime to little ? , the prospering romances are enjoyable but the characters falling in love are frequently seen in a depressing mood which is no thrill to watch. The rotation between the play and the outside world could be at times comical but was often just <I>existent<I> without many compelling factors, I have little interest in how these actors were chosen by the play's passionate writer if I'm being honest but it was enjoyable to see Bryan Cranston again. The fast paced dialogue scenes which can be seen throughout Anderson's filmography are often entertaining due to the strong characters and storyline behind them but many of the characters here are uninteresting and often their primary trait is that they happen to be smart, of course apart from the kids, the most enjoyable characters were Schwartzman's <I>Augie Steenbeck<I> and Johansson's <I>Mitch Campbell<I>, who had an interesting relationship and ultimately carry much of the story on their back. The other side characters are bland and very detaching even though they had strong actors supporting them, there feels like a heavy amount of side characters that ultimately have very little importance to the film and are just there for proof of a strong cast. In terms of the film's qualities, there are a few, Anderson's signature symmetrical shots and steady panning of the camera are present here again and manage to convey that serene ambience of <I>Asteroid City<I> quite pleasantly due to their slow pacing and simplicity. While, the score supporting the film is incredibly pleasurable due to it's well crafted nature and enchanting tone that when present is often a highlight of the scene. The ending is one of the best aspects of the film for me due to its optimistic nature and positive undertone which much of the film felt lacking of for such a mixed association of a lively town and its marvellous events with a despairing father and his internal grief. Overall, a bleak tale of a grieving father that has a strong conclusion but is ultimately incredibly dull for much of its runtime and without Anderson's captivating visuals and appealing soundtrack would be a gloom and unappealing watch.

<B>80<B> <blockquote><B><I>“Cat and mouse, cat and mouse! But who is the cat and who is the mouse?”<blockquote> An engrossing tale of philosophy, morals, perfectionism and greed. I honestly thought that apart from the opening scene that felt a bit sudden and forced onto you, the first 20 minutes or so were astounding and posed as a captivating introduction to the characters and the film as a whole. It presents the characters in such a unique fashion that we are acquainted with their ideologies and surreal motives almost instantaneously but not in a detaching manner that feels rushed but rather in an engaging and fascinating way that gives us an immersive representation of some infamous philosophies with some captivating themes. However, as the story progresses and the party flourishes (or doesn't), the film can hit some weaker patches and even though there is still some active taunting and some noticeable imperfections displayed by Brandon that are quickly picked up by Rupert, the plot can feel lacking at times and doesn't quite keep that same flair of the initial 20 minutes. Otherwise though, there is some exceptional dialogue scenes and while much of the glory of the film lies within the riveting characters and the stellar performances behind them, the spectacular script is what holds it all together and ultimately propels the film into new heights. There is always something purposeful being conveyed while the script explores some mesmerizing themes and questions some already renowned philosophies such as <I>Nietzsche's Superman<I> which there is a particularly powerful dialogue scene revolving around. Much of the delight that the script yields is thanks to the strong performances that they derive from, particularly <I>James Stewart<I> and <I>John Dall<I> who both give incredible performances and display 2 men whose identical belief system and principles all come under critique as reality comes closer and closer to home . <I>Farley Granger<I> is also strong throughout and shows the more emotional and incapable side to this crime, and how not every man that deems themself <I>"above normality"<I> is able to commit such a heinous act and be as cold and detached from reality as Brandon. Philip could become irritating at times and his lack of survival instinct was especially vexing but his character was still engaging and enjoyable to watch even though his more respectable traits could be overshadowed by those that were less than admirable. While the film possessed many intriguing themes and some enthralling characters, my enjoyment of the film was primarily just intrigue. As I write this review I am thinking about how marvellous the film and its story are but during my watch I was not this continuously engaged with the material. I found it engaging and entertaining but there are some weaker portions within the film that diminished my viewing and led to the extent of a certain amount of my enjoyment of the film being purely intrigue and not much else. This is heavily known as an experimental film due to Hitchcock's attempt at conveying this 80 minute story in the fashion that it would be one continuous take in order to amplify the tension of the film and immerse the viewer into the storyline and I believe it excels at doing so. The long takes that could last up to 10 minutes at a time were so engrossing that it felt like was attending the party as well, there was an immersive and tension filled environment at each turn that was heavily supported by these long and compelling scenes. The cuts are clear and noticeable which isn't to be unexpected given the era of production for the film, apparently this led to some viewers feeling disconnected from the film and that the cuts hurt their viewings more than Hitchcock's experiment improved theirs, but I didn't find them to be distracting by any means, obvious? sure, but it swiftly moved on and never waited around too long so that my viewing felt interrupted or disturbed. Ultimately, an engrossing film that relishes in it's stellar performances and impressive script but hit

An action-packed Batman short with some glamorous stylistic features is always a thrill to watch and when coupled with the late Kevin Conroy's terrific voice acting, it proves to be a memorable commemoration of the iconic Caped Crusader. A simple fault for me would be the script which can be quite generic and while reminiscent of Batman's notoriety and admirable legacy, it does so in a fashion that we have seen a hundred times over. Otherwise, an entertaining short that is filled to the brim with alluring visuals and renowned characters that manage to produce a simplistic representation of Batman in all his glory.

<B>53<B> An unnecessary to sequel to what should never have become a franchise in the first place, but nonetheless not a terrible installment or conclusion for the series. I haven't seen these films in ages so I decided to watch the trailer before this film and honestly it blew me away, it appeared to be a tense action, mystery thriller with Liam Neeson in the centre of it all but in reality it was significantly less compelling than it appeared. Much of the franchise's fundamental problems are yet again evident here and also expanded on, the action scenes are sometimes enjoyable but they're frequently a complete mess and are just a cluster of irritating camera switches that were shockingly approved for the final cut. The infamous <I>fence<I> scene is a prime example of this, where there is no coherent display of what is happening and the camera switches become more distracting and vexing than anything else. <I>Maggie Grace<I> has been a frequent topic in my reviews of these films because I just don't think she's a great actress, she is above average at best and maybe she has been able to prove her skills elsewhere in her career but here she is often just this over-dramatic unconvincing and even annoying actress. The supporting cast are often good though and it was enjoyable to see Mills' friends play a more important role here rather than being on the sidelines as previously seen. There are a plethora of <I>shaky<I> death scenes though where I wouldn't exactly be handing out Oscars, but these are often found in the vast realm of mediocre action movies. In terms of the film's greater aspects, the score is strong and particularly well done, it manages to amplify what are disastrous action scenes and give them some sort of merit. It may be a bit generic especially in it's later scenes but it was still enjoyable and one of the better aspects that this film had to offer. Ultimately, an expansion to an already deteriorating franchise that probably should never have got this far but still a semi-enjoyable action thriller that has its moments. worse, similar problems, liam alright/good.

<B>95<B> <blockquote><I><B>"I know I made a promise, but I didn't see this coming. I didn't count on being happy."<blockquote> From it's emphatic atmosphere to its astounding soundtrack, <I>Batman: Mask of the Phantasm<I> is possibly the greatest depiction of the famed Caped Crusader that has ever come to our screens. In just a mere 76 minutes, we are able to witness the rise and fall of Bruce Wayne, the costs of being Batman and that insatiable desire to not be alone in such a cruel and unforgiving world. His struggle to find the balance between work and pleasure is amplified so much more given the circumstances, while the plethora of heartfelt and perfectly crafted scenes that the film delivers showing pivotal moments in Bruce's life is so incredibly paced that not a single moment felt rushed or lackluster. All while the film presents this captivating portrayal of Batman at his core, there is still an incredible noir mystery ongoing simultaneously that is fuelled by some incredible performances and a fascinating collection of characters which leads to an impressive blend of character progression with a thrilling Batman story. To support what is already an exceptional story, there is continuously a rich and striking atmosphere that never fails to hook the viewer in or feel even slightly incoherent. Timm and Radomski manage to convey this poignant and immersive Gotham that is remarkably captivating and delightful to witness for the entire runtime which never feels underwhelming or lacking in the slightest. Aswell as this, the fantastic visuals throughout are stunning to watch and even deliver a sense of nostalgia when watching it nowadays which only manages to heighten the experience. This wouldn't be a strong Batman film without an impressive score and Shirley Walker truly manages to deliver one of the best crafted scores I have ever seen, every scene feels magical, engrossing and utterly breathtaking. There is just a certain enchantment to her score that catapults the film over and above any imaginary ceiling that there may have been previously established. Kevin Conroy and Mark Hamill have always been an impeccable duo and while Hamill's Joker may be less prominent here compared to his other renditions, he still proves to every bit as mesmerizing. The Joker plays a relatively minimal role here, posing as a secondary antagonist with an elevated part in the film and Batman's backstory rather than being a huge figure in modern day Gotham. However, he is still this eccentric, psychotic and incredibly compelling villain that is always a pleasure to see on the big screen, especially when Hamill is the one portraying the infamous <I>Clown Prince of Crime<I>. Conroy has always been praised for his portrayal of Batman and he yet again shows us why here as he manages to both convey a deeply emotional and broken Bruce Wayne and this solemn yet struggling Batman in such a heartfelt manner that is truly stunning to watch play out. There are a plethora of interesting side characters here that often go unacknowledged in other DC projects so it is a pleasure to see some <I>new<I> and refreshing characters coming to the big screen, of course the mob side of Gotham will always pique my interest no matter the novelty of the characters. A few nitpicks of mine would be based around the early portion of the film which doesn't quite live up to the same level as the rest of the film. The script is marvellous throughout and produces some truly outstanding quotes that are as impactful and insightful as they can get but early on there were a few lines that felt ever so lacking and a bit underwhelming possibly in terms of deliveries but this was a rare occurrence. There are also some noticeable conveniences for Batman throughout when it's just like <I>"oh, he's pretty lucky that happened"<i> but these are often very minor discrepancies that can be easily overlooked. Ultimately, an almost flawless representation of Batman at his core that manages to be both thrilling and emotionally compelling, which is all thanks to the film's meti

<B>81<B> <blockquote><B><I>“That might sound boring, but I think the boring stuff is the stuff I remember the most.”<blockquote> A playful yet heartwarming story that is sure to leave an impactful impression on any watcher. Pete Docter sets the tone of the film very early on as he introduces us to the protagonist of the film, <I>Carl Fredricksen<I>, through an immersive timelapse of his life that paints a compelling picture of the kind of a man that Carl is. This timelapse manages to convey Carl in a very sympathetic manner and also set the storyline into motion in such an engrossing fashion that many films struggle to do in their opening scenes. The story in itself is quite bizarre but that is also the beauty of it, it manages to embrace its childish nature while still portraying an impactful and enjoyable story that is alluring to both adults and children. This delightful blend of emotional storytelling with the appealing tone of a children's movie is a frequently presented premise throughout cinema and is generally quite entertaining given the right director and yet again Pete Docter proves to be the man for the job effortlessly with his vibrant colours, compelling characters and some pleasant animation. The film is very much character driven and while this is generally a delightful treat, when the film veers away from our protagonists it can at times feel lacking and much less engaging. There are quite a few well crafted scenes between Russell and Carl but at other times I found the story to be quite detaching. <I>F. Muntz<I> is an intriguing individual and I enjoyed the whole <I>"never meet your idols"<I> subtext but the outlandish nature of his lifestyle and his army of dogs tend to be somewhat dull and although I don't think it was bad, I do believe it was far from perfect. While much of the film's appeal derives from its charming characters and poignant story, the lively animation and elegant soundtrack are also key factors to the film's success. There is a certain beauty to Up and Pixar's animation as a whole that makes it so enjoyable to watch and never off-putting, it feels so energetic and full of life which manages to be an engaging watch in that regard. Michael Giacchino is a composer who I have rated highly previously and he yet again shows us why, his graceful and now renowned theme song is just a slice of the pie when it comes to Up's soundtrack and Giacchino's capabilities. There is typically a sense of joy and delight being conveyed throughout Carl and Russell's adventure as they roam Paradise Falls but when necessary this is able to change in mere seconds and often flawlessly into something more dramatic and suiting which continuously keeps the viewer engaged and often entertained. With many kid's movies, there is often a lacking comedic tone where jokes either don't land or never even take off, unfortunately, Up falls into this very same pit. Although there are a few pleasurable comedic moments, there are far too few and those that do actually connect tend to be quite <I>run of the mill<I> and barely satisfactory. Overall, an exciting and touching story that is fuelled by its heartwarming characters, a poignant soundtrack and some spirited animation but struggles in presenting an impressive subplot or a consistent comedic tone.

<B>76<B> <blockquote><B><I>"You'll simply never understand the true nature of sacrifice."<blockquote> A cult horror that is at times excellent but when it veers away from what made it so compelling and transforms into a simple folk horror, it can feel quite underwhelming and even lackluster. Throughout Howie's investigation, there's continuously an unsettling and disturbing atmosphere surrounding the island, which I enjoyed but it was never truly horrifying or as frightening as I feel it could've been. There are still quite a few scenes that are deeply unnerving and positively creepy but in many of these, the most compelling factor tends to be the powerful soundtrack supporting them and the locals' disconcerting renditions of them. This musical aspect of the film and the scenes it provides are excellently portrayed and deliver an uneasy sense of horror throughout but there aren't many of them and for Robin Hardy to veer away from something that made the film so excellent just feels incorrect and quite defeating considering the often less engaging nature of Howie's investigation during the rest of the film. I just feel like keeping that same musical atmosphere could've truly made the film an excellent and incredibly unsettling horror, I'm sure it would've been hard to execute correctly and finding the right balance would've been difficult but given the proper execution I think this could've been a marvellous display of folk horror. Edward Woodward portrays a particularly intriguing and compelling puritan police officer here and while for much of the runtime I think he does extremely well, some lines can feel slightly overdramatic and forced. Religion is extremely important to his character and while Woodward conveys this strongly, at other times it can feel like overcompensation, maybe this is just me struggling to properly gauge the importance of religion in his life but I felt like there was often some excessive shouting that never quite impacted me as intended and instead felt distracting. The supporting cast performed quite well though, Christopher Lee presents an interesting antagonist here as Lord Summerisle whose unconventional beliefs stir a feud between himself and Howie. The villagers are often quite disturbing with their creepy facial expression and ominous behaviours, which is quite consistent for the entire runtime with everyone involved delivering strong performances. The story in itself can run off track sometimes and as previously said doesn't keep that same consistency throughout but it is still an entertaining and at times excellent horror. The conclusion of the film was actually quite shocking to me but in a very compelling manner, it sets a feeling of horror and uncertainty into the viewers mind as it closes and is quite a satisfactory and fitting ending for the film. Ultimately, a strong folk horror than can be at times brilliant but is generally less consistent, yet still an effective and gripping portrayal of cultism fuelled by an exciting soundtrack with some strong performances.

<B>93<B> <blockquote><B><I>"If you wake up at a different time in a different place, could you wake up as a different person?"<blockquote> Been meaning to knock this off the watchlist for a while now and even though I knew the twist prior to watching it, it was still a brilliant watch and definitely lived up to the hype surrounding it. Knowing the twist certainly altered my experience but not necessarily in a negative manner, it gave me a new lens to watch the film through which many would only look through on their second or third watch, and while I'll never experience the shock or amazement that many might've felt watching this for the first time I still thoroughly enjoyed my time watching it. When you watch it aware of the ending, you notice so many small details and understand the film a whole lot better, obviously, but in this manner as a first watch, it was quite fascinating to see each interaction and the narrators' reactions to everything while still being unaware of how many relationships will continue. All of the characters serve a purpose and are impressively entertaining to watch for the entire runtime which of course is only amplified by the stellar performances supporting them. This is one of the few films in which I can truly think of no flaws, it has some fascinating characters who were always entertaining to watch, there are some intriguing themes at play throughout, the editing is sublime, the performances are engrossing, there's an impeccable script that is continuously active and never underwhelming. The only reason that I have this on the lower end of 5 stars is due to the weaker impact it had on me compared to other films, this was undoubtedly incredibly entertaining and impressively consistent for the entire runtime but it was missing that personal impact factor. Had I watched this without knowing the twist maybe I would've been as blown away and destroyed as intended but sadly not and instead I sit here settling for being immensely entertained for 2 hours and 20 minutes. Collectively, one of the most enjoyable viewing experiences I have had in recent times but it was still missing that little something which was unfortunately stolen from me, however, hopefully once I rewatch this it will prove to be an even more impressive feat in filmmaking.

<B>87<B> <blockquote><I><B>"Long Live The King"<blockquote> A joyous ride from start to end filled with strong characters, an emphatic soundtrack, some stunning animation and a beautiful colour palette. I was debating giving this film 5 stars but I veered away from that for a few reasons and while I can understand the heavy support for this film and it's adored status among the heights of animated films, ultimately my experience felt lacking at times. The opening 30 minutes are quite astonishing to be honest, they introduce us to the exciting characters that are at play here and present each of them in their own distinct and fitting fashion. The tone of the film is displayed instantly, while the atmosphere becomes incredibly engrossing in as short of a time. The progression of the story is also quite well paced, for a mere 90 minute runtime the storyline is conveyed effectively, without a sense of it being rushed and certainly not dragged out. The characters are well written and collectively sublime but there are times when they are just a bit annoying, this is primarily just Timon whose upbeat yet odd personality could be vexing given the right situation, and Simba in his early years whose disruptive nature is somewhat understandable considering he was still a young, ambitious cub but it was nonetheless quite irritating at times. And for what was such an insightful and rather complex script, there were a few lines that felt quite blunt and completely lacking of any flow, like they were just said so a certain aspect was acknowledged. These few lines all originated from Simba though so maybe this was just a mixture of some poor line deliveries from Matthew Broderick who was strong throughout. On a higher note however, similar to many of Disney's older animation The Lion King is yet another visual spectacle throughout. There is consistently an appealing nature to the world around us while some moments such as those of Simba and Mufasa together are particularly marvellous. Something that rarely stands out to me is the colour palette of a film which The Lion King is an exception to, the blend is so spectacular and was just so brilliant to watch in some scenes to the point where I was in awe by its excellence, particularly in Scar's final scene which was quite mesmerizing. Zimmer is continuously regarded as one of the greatest composers within the film industry and this is just one of the many testaments in his career that support that. The score is both emphatic and relaxed, dramatic yet refreshing, lively yet solemn, there is never a dull moments audibly while each moment feels perfected as the film relishes in its musical outbursts, sublime fight scenes and pivotal revelations. Ultimately, a film that is well deserved off its praise and firmly stands as one of the greatest animated films of all time but does have some minor faults which lets it fall slightly beneath the 5 stars for me.

<B>74<B> Probably my favourite Scooby-Doo to date, an exciting story revisiting Fred's past that feels like Scooby-Doo at its pinnacle. From the alluring animation to the thrilling mystery, I see few faults, every character feels improved and fleshed out due to the authentic relationships that are formed with the side characters. The side characters are often imitations of the gang in one way or another also which proves to be a delightful treat considering how poorly that could've been executed. The villains are menacing and relentless with their diverse forms and fantastic action scenes, there is an actual surreal threat and while from an outside perspective it is obvious no harm will come to the gang, the fear and realism of the situation is terrifically displayed in a traditional Scooby-Doo nature. The actual story is ominous and gripping, a classic camp rivalry mixed with an exciting underwater city that has an illustrious past, what can go wrong. This eerie setting coupled with a spirited soundtrack is just so brilliantly executed, every spook and every chase feels so surreal and entertaining. The cast is strong in its own regard and each performance feels so genuine and heartfelt while Hamill presents yet another stellar performance for his resume. Maybe this is a nostalgia overwhelmed review and probably so but nonetheless an exciting Scooby-Doo experience that may just be the epitome of Scooby-Doo.

<B>85<B> <blockquote><B><I>"I find your lack of faith disturbing"<blockquote> I knew this was regarded as one of the best Star Wars films but I did not remember it being this strong. It presents a compelling origin story for Luke who is one of my favourite characters so far even though I am not necessarily in love with him, and showcases some other unique characters who are generally enjoyable, but for Leia, C-3PO and even Han at times, this was unfortunately not the case. sure, they all have their moments, especially Han but they were just so irritating and woefully disengaging for the film, C-3PO is somewhat understandably annoying given his programming and purpose but Leia was just an entitled bitch, to be blunt, Han was usually quite entertaining but at times his overconfident and selfish attitude could be brutally vexing. The story in itself is compelling throughout with a promising origin story for Luke being displayed while his counterpart Vader is presented menacingly from his very first entrance. There is a strong dynamic at play between both the Rebellion and The Emperor whose ominous nature is fantastically portrayed while the sci-fi nature of the story is well done and immensely enjoyable for much of the film's runtime. In terms of iconic antagonists, Vader always comes up and understandably so, even though this is not his most thrilling or menacing representation, he is still incredibly engaging throughout and has one of the best introductions arguably of all time. The world building is magnificent and while many of the characters and locations struggle due to the VFX of the time which could be underwhelming to say the least, they were still quite entertaining visually due to the costume and set design that was oddly amusing. A huge part of the film's success comes down to John William's powerful score, from the iconic theme tune to the simple moments of reflection displayed by Luke, there is a strong consistency throughout the film where each pivotal moment can feel both surreal and magically crafted. Ultimately, a terrific introduction to the franchise that sets a strong tone for the rest of the series going forward.

<B>89<B> <blockquote><B><i>"Do or Do not. There is no try"<blockquote> A New Hope was an unfamiliar yet friendly addition to the sci-fi genre and while it stunned viewers with its strong world building, astounding score and some impressive characters, it was not without it flaws. Unfortunately Irvin Keshner also plays into some of the flaws that I felt were too prominent in the first one but nonetheless <I>The Empire Strikes Back<I> manages to capitalize on everything that A New Hope created and subsequently create what is possibly one of the best sequels of all time. In terms of repeated faults, I still struggled with Leia and C3PO here, Leia is incredibly entitled and vexingly so, her royal upbringing is evident and maybe she still suffers some heartache from the destruction of Alderaan and this is just an outburst of emotion but she can still be incredibly annoying at times. C3PO is somewhat understandable as well given he is a droid with programming against everything he participates in, but he clearly has a personality so his constant bickering tends to just be irritating, he has a strong purpose throughout the film though so I have more sympathy for him than Leia. The other characters are incredibly strong though, Yoda is introduced here and while he may have an odd entrance, it is also somewhat fitting, I probably didn't enjoy him as much as many did but he was still an intriguing character. Han is his usual self here whether that his positive or negative, he carries a strong sense of comedic relief and is generally quite entertaining but he has his moments of irritation. Vader is dominant here and wonderfully so, his aura of fear, power and incredible strength is a delight to watch, this is dare I say, one of the most compelling displays of an antagonist that cinema has ever seen. Luke further embraces the force through his time with Yoda and progresses spectacularly as both a character and protagonist, proving his strength as a Jedi and resilience as a simple man. Much of my critiques with this film come down to the characters, primarily because that is where I think the film both flourishes and falters, every other aspect is either just as consistent as its predecessor or a subtle improvement. The world building is still spectacular and probably the best that the sci-fi genre has ever seen, the VFX does improve here as you would hope so but it isn't exactly awe-striking, while the score remains stellar and meticulously crafted. In hindsight, the performances may be another flaw for me, I don't see any of the cast as groundbreaking actors and especially not Carrie Fisher who is probably be the weakest out of the main cast, of course the performances encapsulate the characters well and are certainly not weak but they are also not as renowned as the film's other aspects. Undoubtedly, a truly spectacular piece of cinema and an entry into the sci-fi genre that will be remember for decades to come. leia is an entitled bitch, c3po is still irritating, han can be too, strong display of vader, yoda was a bit weird, enjoyed luke, much the same as the first but generally improved

<B>88<B> <blockquote><B><I>"So, you’re my uncle Joey. Better get used to these bars, kid."<blockquote> sheer entertainment, phenomenal third act but sadly not as strong throughout, as simple as that, loveable characters with an enjoyable story, script is iconic but at times lacking flow,

<B>73<B> <I>Back To The Future<I> was an innovative and enchanting entry to the sci-fi franchise, it was a film that managed to not only appeal to viewers all around the world but find a path right into the hearts of many viewers and while <I>Back To The Future II<I> captures that essence through repeated call-backs it fails to replicate it in any meaningful manner. My perspective may be tainted given the fact that I watched this directly after the original and with no more than an hour in between them, so there is certainly an argument to be made that my experience was hindered but even so I think the flaws are still quite prominent. Much like the first, the story is still quite energetic throughout and carries a good level of consistency for its runtime but it also contains an overwhelming amount of similarities and with its predecessor. The call-backs are pleasant when restrained and controlled but here they are just so commanding that the film begins to feel incredibly repetitive, dull and even predictable to a point. Maybe I feel this way because of how short the break I took between them was but until I rewatch this again, these discrepancies will remain at the summit of my critiques for this film. Elsewhere, Thomas F. Wilson retains his spot in the antagonistic seat of the franchise which I have pretty mixed thoughts about. I did enjoy the Older Biff and his devious personality but his other <I>younger<I> personalities weren't quite to my liking. Griff in his short runtime was far from memorable and honestly just quite strange and bland given the potential of his character, the same can also be said about the Younger Biff(s) who are frequently unnerving an an unexpected manner. These traits serve well in terms of painting the villain unfavourably but they do so in an manner that is also unappealing to watch. There's more variance in the eras explored here which adds a certain vibrancy to the film that it desperately needed. Looking into the future from this perspective was exciting and full of potential but it was easily the least compelling era that was produced. An altered 85' did manage to give the film a refreshing atmosphere filled to the brim with creativity but it didn't compete with the dreamy atmosphere of 1955 that delivered an unseen sense of nostalgia and warmth. I previously critiqued the script of the original and I don't think it improves here either, it is similarly blunt and forced upon you while they also take it a bit overboard with the amount of <I>Great Scott's<I> that they filled the script with. The comedic nature of the series continues here as you would expect but it is just another factor that also manages to deteriorate in comparison with the original. There's a lot of conveniences and irritating moments of idiocy displayed throughout in order to benefit Marty or produce some sort of comedy but they often just felt unnecessarily dumb and overdone. Collectively, this is still a strong film that I did enjoy quite a lot even if my review doesn't manage to reflect that but is also one that carries an extreme amount of flaws considering the surreal status of its predecessor which it was always going to struggle to live up to.

<B>81<B> <blockquote><B><I>"Twilight is upon me, and soon night must fall"<blockquote> han funnier but more annoying, others are less annoying, script can be too blunt and cringe/predictable, cast are good but nothing spectacular especially Carrie Fisher, strong score, flourished in third act and scenes showcasing vader or the emperor, wasn't as consistently entertaining as previous installments, vfx struggles

<B>62<B> <blockquote><B><I>"Sharks are born swimming, sir."<blockquote> The <I>Heist<I> subgenre is one that can often feel overlooked in the wider scale of cinema, it repeatedly produces classics such as <I>Heat, Rififi, or Thief<I>, all of which I have unfortunately not been granted the pleasure of seeing but I am still well aware of their esteemed status within the subgenre. However, it also manages to veer away from that tense, crime thriller atmosphere and stray into a much more comedic style through certain films such as <i>Home Alone, Army of Thieves, or the one and only Tower Heist<I>, most of which receive much more conflicting reviews from critics and the audience alike. Of course, comedy films do tend to be more ambivalent in the grander scale of cinema anyways and Tower Heist certainly doesn't do much to reinvent the genre but it still displays a heartwarming sense of hopefulness for it. Throughout the film its clear that the actors present have experience within the genre and while they can at times produce gold, it's more than often silver. Not to downplay any of the actors' capabilities but the film rarely reaches that continuous state of repeated laughter and while there are a few big comedic names here such as <I>Ben Stiller and Eddie Murphy<I>, I found <I>Gabourey Sidibe<I> to be the standout for me. With much less runtime than those previously stated, she is less likely to disappoint but also less likely to be the star, her sharp deliveries and playful attitude make her a strong contender for the throne while her level of consistency that many of the others lacked manages to finalize it for me. Many comedy films avoid lengthy runtimes and Tower Heist is no exception to this, with its fast pacing and energetic atmosphere little can be flawed in terms of its runtime. Ok, maybe that's an exaggeration but I did find the film's pacing to be one of its more fulfilling features, with each character built upon a strong foundation (even if they are lacking anything past the surface level) and the story being conveyed simply yet joyfully from start to finish with little to be seen in terms of wasted minutes. Additionally, the film's atmosphere tended to be quite spirited and lively, yet correctly melancholic in the right moments which was an unexpected treat considering the often absent emotional factors throughout many comedies. Of course it's not all sunshine and rainbows for Ratner following this exhibit, in my eyes he crafts a generally exciting and blissful comedy but but in reality, that's all it is. For all I've said and complimented, you may feel a higher rating is necessary and possibly so but truthfully this is far from excellent, I found it enjoyable and entertaining but shallow characters and inconsistent comedy is what drags this down tremendously. There's also an argument to be made that it is forgettable and dull in terms of its storyline but for me if I ever hear the term <I>Tower Heist<I>, this will easily spring to the top of my mind but at the same time not for it's incredibly powerful story. Fast paced, fun energetic experience, much of the comedy was just alright while odessa was the highlight for me, a fun heist film at its core that is nothing revolutionary but generally fun nonetheless, characters are fittingly shallow, i enjoyed the story's pacing

<B>83<B> What was once an unscathed novel held together solely by the fibres of its fragile spine has now been transformed into this vibrant crime thriller pieced together through hypnotic visuals and an emotionally resonant story teeming with both delight and sorrow. From the opening moments of the film which are already shrouded in mystery, there is an intense feeling of wrongfulness conveyed through Driver's solemn tone and stringent attitude that not only allow us to gain an immediate insight into his reserved yet commanding personality but also the severity of his lifestyle. Driver is by no means displayed as a compassionate or heartwarming individual in these early moments which is predominantly the reason why Nicolas Winding Refn's unravelling approach works so well throughout the film. Presented as a cold, apathetic and immensely distant individual allows the exploration of his inner psyche and vast emotions to create an insatiable compulsion to the right viewer which unfortunately wasn't quite me. As much as I enjoyed his later more expressive moments which showcase his core values and admirable qualities, the intentionally awkward nature of his character that takes up an uneasy amount of screen time during the earlier sections of the film can be quite insufferable to watch. Sure, it does contribute towards the more emotionally poignant aspects of the story by presenting his character in different fashions and allowing a more explosive finale but not without some dips in quality during the build-up. Many films attempt to produce their own aesthetic that reflects the film's atmosphere accurately but few have done it so distinctively as <I>Drive<I>. Refn not only relishes in the neon glow of Hollywood's nightlife through diverse visuals and stunning audio composition but he also discretely intensifies the relationship between the viewer and the protagonist through his intimate cinematography which harbours an unseen sense of realism within itself. Refn's use of music within the film is a very prominent detail that has since gained wide popularity throughout social media and primarily <I>TikTok<I>, where I believe my perception of the film has been tainted. Undoubtedly, there are certain scenes which are only enhanced through Cliff Martinez's spirited score, but at times there is an active sense of peculiarity surrounding the score and it can feel unfitting. I reference TikTok because I believe that the trended use of Drive's music has ultimately diminished my enjoyability of the soundtrack before I had even seen the film which is an unfortunate reality. Although Ryan Gosling may always be seen as the star here, Bryan Cranston is something an unsung hero, his unwavering performance not only manages to build yet another heartfelt relationship within the story but also amplify the calamity of Driver's unfavourable position. Apart from Drive's emotive storytelling which is the underlying significance of its crime orientated story, the thriller aspect is far from neglected. Throughout the film, there is this impassioned compulsion continuously exhibited through the relationships that Driver values but of course these would be nothing without a sense of fear repeatedly overshadowing them which is masterfully executed through the ominous nature of a drug deal gone wrong with an unknown antagonistic nature. Collectively, Drive is both an entertaining and touching film that not only contains some evocative storytelling but also some commendable technical traits which work wonders when they cooperate effectively. impressive audio and cinematography, thrilling mystery plot, strong performances particularly from cranston, protagonist is intentionally weird and awkward but this could be an unpleasant watch at times compared to his later more expressive moments, some of the music felt weird and unfitting-tiktok plays a part,<B>83<B>

<B>84<B> Cat and mouse games have long been prominent within the thriller genre but one key aspect that they had been lacking until now was <I>Rutger Hauer<I>. To say his performance is haunting is nothing short of the truth, emitting tense mysticism and eerie horror from his very first appearance, he located himself on our screens with an aspiration to supply chills and deliver an unsettling performance that would strike fear into even the most blackened of hearts. Hauer is everything that you could have asked for from the antagonist of an 80's thriller, his devilish attitude repeatedly mysticises viewers through his solemn expressions and ambiguous dialogue which never overstays its welcome. While the menacing aura that follows him through every crevice and crack always manages to leave a distinguishable impression on the current and succeeding scenes. Naturally, as Hauer bathes in the limelight here it is only reasonable that the other cast members don't quite achieve those same levels of infatuation which unfortunately, some struggle with more than others. C. Thomas Howell has been widely received as a relatively conflicting casting decision, with many arguing that he just doesn't quite feel right here and I certainly don't disagree. He can come across rather offensively strong at times, like a mammoth suffocating me with a crushing amount of emotion instead of its colossal feet, all while his character continues to make various odd and questionable decisions that only manage to dwindle my already depleting opinion of him. Nevertheless, an impassioned antagonistic performance isn't the extent of <I>The Hitcher's<I> vast thrills. Its stellar cinematography and infectious score are both just as pivotal to the horrifying atmosphere that Robert Harmon's imagination has put on display. Their distinct ambience and murky dominion manages to exact an inconspicuous sense of terror onto the viewer throughout the film and even though they may not be as captivating as Hauer's gripping portrayal, their extensive grasp on the viewer is just as palpable. Undoubtedly, the film flourishes within its ghastly cat and mouse game but its altruistic offspring of Jennifer Jason Leigh and her accompanying romantic endeavours are far from a forgettable affair. Nash isn't exactly an intricate and complex character, she is actually rather plain and dare I say tasteless but her role within the film does manage to further emphasise the already growing sense of fear and horror that envelops this foreboding and sinister highway that they have found themselves confined to. Collectively, this may just fall into that expansive list of hidden gems throughout cinema immensely due to its consistently menacing atmosphere, commendable technical traits and an antagonistic performance for the ages. 27.08.23 protagonists acting was off at times, so was the girls, some decisions were weird and felt dumb, strong antagonist, thrilling film with some incredible scenes, a strong final shot protagonists acting was off at times, so was the girls, some decisions were weird and felt dumb, strong antagonist, thrilling film with some incredible scenes, a strong final shot

<B>77<b> To craft something so cryptic and daunting as <I>Eraserhead<I> isn't an incredible feat on its own but to do so and still carry an engrossing atmosphere that retains the viewers attention throughout is. This is one of those films where I look back at it and struggle to understand why I enjoyed it as much as I did. It's unfathomably strange and unhinged to a point where I would generally become disengaged with the subject material but there's just something so occult about Lynch's surreal imagination that not only compels viewers to witness this absurd world but also confine them to it. I think the reason that Eraserhead does manage to work so well comes down to the strong horror aspect at play here which is amplified heavily by the plethora of incoherent and confounding moments throughout the film. While they may seem tiring or tedious to some viewers, they almost always contribute to the disturbing atmosphere and continuous sense of eeriness that is at play which frequently unnerves viewers to a point of complete engagement. The utterly unsettling nature of Henry's life is dramatically frightening and while I won't even try to dissect the themes at play here <I>(if any)<I>, it's clear that his troublesome lifestyle and relationships are distinctly convincing when presented in the fashion that they were. Whether it be the intricate set design, perplexing visuals or immaculately distorting sound composition, Eraserhead is shrouded with convincing technical feats that don't only enhance the subject material but elevate it to the spectacular heights amongst the pinnacles of film production. All in all, Eraserhead is an enigmatic and ominous horror that can be boldly puzzling at times but also dramatically engaging through its foreboding atmosphere, relentless score and some captivating visuals. 28.08.23 weird af but pretty cool, didn't understand a lot but was still entertained, re7 vibes from that dinner, a continuous sense of eeriness and creepiness, some cool sounds and just really fucking cool, idk

<B>57<B> <blockquote><B><I>"Toto, I've a feeling we're not in Kansas anymore"<blockquote> To say <I>The Wizard of Oz<I> is regarded highly would be quite unfair and maybe even belittling given its esteemed status amongst the heights of cinema and while there is an enchanting and wondrous world on display here, that is seemingly all it has to offer. I am well aware that I am in the majority when I say that this film isn't quite as riveting as I had expected and although I can admire the brilliance of its sophisticated production, vibrant imagery and ecstatic musical composition, there is a distinct inconsistency within the film's expressive story that severely struggled to retain my attention. Honestly I found the story to be quite dull, tedious and overwhelmingly stale for such an intricately crafted film, the delight that is emitted from the whimsical scenery and spirited score is nowhere to be found when the actual storytelling becomes the focal point of the film. After the first eventful journey that leads us down <I>the yellow brick road<I>, there may be a sense of optimism floating about but it is quickly made clear that even though the rest of the film is teeming with creativity and joy, the same can't be said in the writing department. Dorothy's journeys swiftly become rather tiresome due to their monotonous nature and the bland characters that materialize from them. All of whom merely possess one distinct factor to avoid complete repetition of each other which is an unfortunate circumstance given the evident ingenuity that can be found elsewhere throughout the film. Although they do contribute immensely to the various messages that Victor Fleming attempts to convey here, I still struggled desperately to find any sort of redeeming qualities for them that could produce some sort of entertainment value, and more often than not the characters could even be more irritating than pleasing. Since this is commonly regarded to as <I>the greatest musical ever made<I> (or at least something along those lines), hopes were high for a fulfilling score that would produce some magical moments and ultimately, it delivered. There are some powerful and evocative songs on display here that encapsulate the magical world of Oz pleasantly while carrying an impressive aura of blissfulness, and on the more instrumental side of things I found Miss Gulch's theme tune to be promisingly convincing but elsewhere, some musically orientated scenes dragged a little longer than necessary. The Munchkins are a prime example of this, they get immense screentime for such little contribution to the picture and even during their screentime they can be very incoherent due to their altered voices which quickly become overly distracting rather than entertaining. Ultimately, this is still one of the most influential and acclaimed films of the 20th century but also one that I found little merit within apart from its distinctive production and renowned visual wizardry. 29.08.23 great set design and production in general, performances are decent, some strong songs and i liked the witches theme tune but the munchkins were incoherent at times due to edited voices, munchkins part felt dragged out, an exciting world but the story was a bit boring and the characters were ok, sure there's some lessons to be learned but meh, reflective off its era but also a stand out for it,

<B>56<B> I'm going to keep this one short and sweet because of no fault to the film but when I watched this I was just overwhelmingly tired and was unnecessarily determined to finish the film instead of return to it a later date which led to me often just half sleeping through it. However, when I was actually paying attention there was some evident merit to be found both visually and audibly for <I>The Double<I> with some powerful cinematography on display blended with a <i>(from what I seen)<I> relatively entertaining and unique story. Of course, it did seem far from perfect and maybe this is a personal flaw but it was also somewhat dull at times, although that may just be because it required a little more brain power than none. There's little else I can contribute to this review with conviction but I'm sure I will rewatch this at some point where I hopefully won't be already falling asleep before pressing play. Looked semi cool though! 1.09.23 pretty cool but was half asleep when i watched it and didn't pay attention whenever i wasn't, visually and audibly strong with some cool cinematography, the story was unique and entertaining somewhat , but i don't know much about what happened, cool anyways though from wat i did see

<B>56<B> 2.09.23 Lighthearted, Spirited & Tedious. Simplicity is key here and while this is atmospheric and <I>happy<I>, it is also a tad boring and although it is intentionally childish, the childish nature is unfortunately walking a fine line between delightful and dull. Geri feels rejuvenated in those innocent moments which is pleasant to watch but the conclusion afterwards just didn't hit me like it did with others and instead felt rather dumb and somewhat drab. A satisfactory watch initially but also one that felt lacking in its later moments

<B>66<B> <I>Night at the Museum<I> is one of those films that promises little but delivers masterfully on what it does offer. Expectations were never going to be high for something that looked like just another Hollywood comedy flick fuelled by a hefty budget and some bright names on the casting sheet, but what Shawn Levy produces is more than satisfactory for the comedic and adventurous family film that this is. Much of the joy that is derived from Night at the Museum is from its spirited characters and the enthusiastic performances supporting them. A cast with Robin Williams, Ben Stiller, Owen Wilson and Ricky Gervais is one that could be looked back on as a hidden gem nowadays, its a collection of talented and comedic actors that certainly all have better exhibitions of their skills yet are still quite wondrous here and often emit a heartwarming sense of conviction with their playful attitudes and exciting chemistry between each other. Of course, I can't overlook the true stars of the show with <I>the three old codgers<I> as I like to call them, their constantly commanding comedic undertone blended with their eccentric personalities is as persistently compelling as it is joyous. Excluding their masterfully executed performances, the comedy is far from perfect, but it is elegantly crafted and pleasantly consistent throughout. There are a few distinctly vexing and idiotic scenes which may have a delightful impact on some viewers given this is a family orientated film but they ultimately just killed the buzz for me and quite dramatically so. I am aware that there is a trilogy of these, which I will eventually get around to seeing, and while I do see the potential with an abundance of historical treats that could be brought to our screens, which would be filled with unwavering comedy and a heartwarming story. That is just not going to happen and although this was an entertaining watch, it's certainly not a franchise that I have much hope for going forward. 04.09.23 full of lovely and entertaining characters, strong comedy throughout although there are also some irritatingly dumb scenes, lighthearted and fun and picks up well after the first 30 minutes which felt just decent, really enjoyed the variety of the characters and the old codgers were very entertaining, loved gus, owen wilson, roman and ricky gervais had his few moments which were decent, could be a cool franchise but i don't have immense expectations

<b>77<b> Few stories aim to, yet alone accurately execute the troublesome blend of Halloween and Christmas as well as Tim Burton's enchantingly crafted <I>The Nightmare Before Christmas<I> and although he may not be in the director seat here, his influence is made irrecusably clear. In <I>Henry Selick's<i> feature length debut, the storytelling is in full motion as Tim Burton's prestigious poem is finally brought to life through lively animation and gripping worldbuilding, painting the full picture of Jack's esteemed yet melancholic life. From his initial entrance Jack is unveiled in a glorious light as he is showered with affection from the citizens of Halloween but his gloomy reality is swiftly revealed as he exits the limelight and discloses his most sorrowful existence and exhibits his unhappiness with his current lifestyle and his idealistic aspirations. Jack's lofty ambitions soon dictate his decisions however as he discovers <I>Christmas<I> which is in his eyes an enchanting new opportunity. Filled with bright lights, a vivacious atmosphere and an assortment of alluring delicacies, Jack begins to wonder if this is exactly what he had been searching for. He soon becomes overshadowed by a crushing sense of loneliness and resorts to more severe and powerful methods to achieve his desires which ultimately results in a disastrous Christmas for everybody. Soon Jack is lost within his own utopia, oblivious to the calamities occurring right around the corner and instead relishing in his newly found paradise and all its marvels. As Jack's utopia begins to crumble and reality settles in, it is no longer only Jack who is suffering from the onslaught of his actions. Ultimately, Jack's misfortunate downfall can only be blamed on his own greed, while his persistency in searching for a release from Halloween's grasp was admirable, his recklessness in regards to his surroundings was far from respectable. That same negligence is what collided with his paradise and allowed it to self destruct so swiftly after such a short lived inauguration. Elsewhere, in order to establish that all so important emotional basis for Jack's character, some compelling companions (or antagonists) were necessary. One of whom is Sally who is the only character mindful of Jack's situation and presents a sense of sorrow and pity as she aims to step between his selfish actions but she struggles to convey her beliefs to the people of Halloween which leaves her isolated similarly to Jack at the beginning of the story. Oogie Boogie is another character who highlights the severity of Jack's actions effectively through posing as an actual threat towards Halloween by selfishly seeking the throne from beneath Jack, which is only made capable due to Jack's misguided plans and irreverent attitude towards Halloween. Naturally, what good is an impressive storyline without the correct exhibition which Selick executes terrifically. Selick crafts what is quite simply a bewitching demonstration of his directorial skills, his delightful worldbuilding that has been since replicated in Coraline is illustrated here exquisitely and with that same poignant atmosphere but also in much less glory and lacking that crucial depth. Danny Elfman's emphatic scores have always been a pleasant treat and it is no different here, he produces an audibly captivating soundtrack that never fails to elevate the current atmosphere and while there may be some prominent lines that are lacking of any flow, they pose much less of a hindrance than you may imagine. The rhythmic repetition and joyous tones of many of his songs capture the spooky elegance of the film masterfully while also retaining that energetic and enticing atmosphere that plays such a pivotal role in the film's success. Since this animation is now over 20 years old, there may be some scepticism regarding how well the animation has actually aged but for the most part, it thrives. Undoubtedly, there are times when it can feel dated and obsolete but it also offers a frequently overlooked sense of nostalgia, allowing a much wi

<B>73<B> Teeming with energy and enthusiasm, <I>The Boxtrolls<I> is an animated feature that not only excels in presenting compelling characters and a beautifully animated world but also some poignant commentary that when combined with the whimsical story at play, creates an engrossing dynamic for Stacchi and Annable to run free with. The joyous yet somber life of <I>Eggs<I> is quite an appealing story when presented in the lighthearted yet impassioned fashion that it is. Eggs is accompanied by a set of <I>generally<I> enjoyable characters that continuously envelop the story in a playfully comedic tone while also nurturing our protagonist in a touching manner. However, certain characters such as the Lord and even Winnie at times can be frustratingly obnoxious even if it is intentionally so, in order to illustrate the society that Eggs <I>(and maybe even us)<i> exist within. Laika's wondrous animation returns here and is as ever so magical as it is vivid, carrying such detail and emotion into each and every scene that never leaves a moment dull or disheartening visually. Although, there isn't quite as much merit to be found within the film's soundtrack. <I>Dario Marianelli<I> certainly doesn't have a bad track record and even secured an Academy Award and Golden Globe Award for his score in Atonement. However, here his score can feel rather unenthusiastic and even absent at times which just left an uneasy atmosphere and an unfortunate sense of minute disappointment. Opposing Eggs, <I>Archibald Snatcher<I> is quite an intricate and impressively engaging antagonist, his persistency in achieving a seat amongst the vile and dismissive <I>elites<I> highlights humanity's false idols and the idiocy of common and ancient royals to an extent. While on a more simplistic basis, his persistency in exterminating the Boxtrolls allows for an exciting back and forth between himself and Eggs, unveiling new truths along the way. The film does just scrape beneath a hundred minutes and accurately so given the pleasant pacing present, which is especially well done for the first 45 minutes or so. Providing a blissfully endearing sense of engagement for that time frame as the film builds its foundation and sets the story into motion. Ultimately, a heartwarming tale of an orphaned boy and his valiant quest to save his unorthodox family from the devilish grasps of an everchanging society. energetic, enjoyable characters for the most part, the lord and even his daughter were intentionally obnoxious but irritatingly so, cool antagonist, entertaining story that felt very well paced -especially for the first 45 minutes, stop motion animation that was well done and delightful throughout, soundtrack could be less enthusiastic and absent, some cool messages being conveyed

09.09.23 Watched this rather than played just to see more of <I>Jan Pinkava's<I> work following <I>Geri's Game<I> and while it was a short and neat <I>film<I>, I can't accurately give a defined rating. The music was quite enthusiastic but could get repetitive after some time, while the animation was also quite wonky at times, for lack of a better word. The story in itself was tidy and reasonably joyful for what this is, one part did feel dragged out a bit but probably due to the player's fault. There's not a whole lot there in the story but at the same time there isn't meant to be watched rather than played so not going to give a rating, cool music but can get repetitive, one part felt drawn out but that was probably the players' fault, cool at times but there's not a whole lot here, animation can also seem quite wonky at times three stars though

<B>71<B> I may be in the small portion of people who actually preferred this to the original, the novelty and creativity of the first is clearly nowhere to be seen here but this does feel more varied with some extra personality in terms of the animation. The fact that this short is in colour is often the focal point of any good reception it gets and understandably so as it does emphasise that emotion and macabre feel of the short. Whatever spooky story that <I>Iwerks<I> is conveying here can certainly feel rather dull at times given its 2 minutes longer runtime compared to the original but it is still a generally enjoyable short. 1929's <I>The Skeleton Dance<I> had an intense and prominent accompaniment of music to support that ghastly atmospheric tone which was remarkably effective given the era it was produced, and while hopes may have been high for an enthusiastic replica, they weren't met. Unfortunately, in hindsight I don't think this imitation quite manages to replicate that poignant musical tone of its predecessor, it definitely doesn't faulter terribly and maybe not even by much at all, but that charismatic and emphatic musical accompaniment of the first certainly wasn't eclipsed. 09.09.23 skeleton dance ii, feels more varied and with some extra personality in terms of the animation but about to rewatch first to clarify on this, can be somewhat dull but generally quite enjoyable, the story if there is one is a bit less entertaining however and the music is still strong but in hindsight maybe not as strong as the first, colours were well done as well when prominent

09.09.23 <B>72<B> <blockquote><b><I>"Yes, but that was different because we couldn't. It's easy to promise the impossible"<blockquote> Following up on <I>The Nightmare Before Christmas<I> and retaining that ghoulish aura, <I>Frankenweenie<I> is yet another kid's film that delights viewers charmingly and embarks us on a marvellously playful story filled with spooky characters and entrancing visuals. However, even though <I>Tim Burton's<I> fanciful direction is as poignant as ever, the oversaturation of childish traits that he implements aren't quite as joyous as they once were. <I>Frankenweenie<I> was always one of those Halloween movies that stuck with me as a child, from its diversely chilling character selection to the supporting voice actors' evocative performances. That simple gothic black and white style which worked wondrously when accompanied by the intricately divine stop-motion animation. The gripping story originally constructed by Burton that invokes Mary Shelley's renowned <I>Frankenstein<I> with a more lighthearted and exuberant tone which was able to pierce right through me as a child. There is an abundance of delightful treats to be found within <I>Frankenweenie<I> and any assortment of these may have been what captivated me as a child and commenced my early fascination with Burton's eccentric direction. Of course this is not exclusively a nostalgic review of <I>Frankenweenie<I>. While I certainly enjoyed my recent viewing of it, without that childish enthusiasm for spooky animations, there is a distinct gap between this and perfection despite much of the film still holding up tremendously. Firstly, it's hard to excuse the absurdity that envelops the story once it enters it's second half, Tim Burton is a director whose known for his distinctly <I>imaginative<I> films but the path that was taken here just felt excessively <I>out of the box<I>. Sure, it suffices for a kids film and I believe that's the reason Burton utilised his expansive freedom but even to that extent, it feels quite bizarre and comical with little merit actually being derived from it. Similarly to much of Burton's filmography, there is an empowered and magical atmosphere pervading this feature which is fuelled heavily by Elfman's accompanying score. United, there is a heartfelt and prominent Halloween ambience that many of Burton's films resonate with, which is terrifically complimented by the jubilant tone of the film that Burton masterfully conveys. The youthful nature of the film is a pleasant treat when you're a child but as you grow older, the myriad of childish traits become questionably large. This is still a film that is teeming with nostalgia and is a joy to return to when you're older but maybe it just hasn't aged as well as I had hoped. Undoubtedly, <I>Frankenweenie<I> is a whimsical and captivating kids film, filled with compelling characters, bewitching visuals and an enthusiastic score. However, I'm just not entirely certain that it holds up as well as I had anticipated. loved the stop motion animation yet again, the gothic black and white style was great, the story was solid at the start but at that half way mark it took such a weird turn, i enjoyed all the characters, music was solid, it is a kids film and i did enjoy this as a child but not enough to overlook the prominence of those traits, carries a strong and spooky halloween ambience that many of tim burton's films resonate with

10.09.23 <B>58<B> There seems to be a mediocre remake of an established classic every other week nowadays, and while some people may have held out their optimistic hopes about this rendition of <I>The Addams Family<I>, there was a lot left to be desired. Many remakes often make the transition between live-action to animation, and vice versa, in order to inject new found vitality into the subject material and while it certainly supplies an energetic flair to the film, it tends to leave a sour taste behind as well. Much of the animation is delightful and pleasantly engaging with it's immersive setting and pleasurable world design but that also tends to be the only merit to be found within the animation. Undoubtedly, what causes the animation to plummet is the lackluster character design which for such an enticing atmosphere pervading the characters and the world they inhabit, is woefully disappointing. Some viewers may feel that the entirety of <i>The Addams Family<I> is visually bland and tasteless but I would have to disagree. There is a certain charm to that world design that felt at the very least passable, and compared to the horrid character design, a miracle. A pivotal aspect of the original <I>Addams Family<I> was it's authentic and infectious score that pierced viewers with it's remarkably felicitous nature. It is what allowed the film to become such a staple within that ghoulish subgenre of comedy, and while it's successor begins on the same note, it swiftly reveals its true colours. <I>Mychael Danna and Jeff Danna<i> both have admirable records with <I>Danna<I> being the clear standout between the two but on this occasion, they both seem to fall quite flat. The score is far from abysmal and it may have worked wonders in another film but here, it intends to integrate a modern and unsuitable atmosphere for such a macabre and positively dark film. It doesn't entirely relinquish that ghastly atmosphere but rather than embracing it, it seems to search for an escape and invent something new where it is entirely unnecessary. However, not every aspect seeks novelty and instead some aim to retain that spooky aura of the illustrious original. The cast is frequently referred to as the pinnacle of <I>The Addams Family's<I> offerings and it is evident why. They all encapsulate their characters pleasantly despite their lacking scripts, with <I>Isaac and Theron<I> being the distinct standouts. However, I wasn't particularly infatuated by Moretz's <I>Wednesday<i> and she often seemed the most disheartening of the fundamental characters. I haven't seen <I>Christina Ricci's<I> version in quite some time, so that may be an influence and maybe Moretz is as accurate as one could wish for but ultimately she wasn't exactly sublime from my perspective. There is a relatively enjoyable storyline at play here that relishes in the Addams Family's unique nature in a more modern setting but that enticing atmosphere also begins to drift off as the story progresses. The opening moments were enchanting and delivered lofty ambitions for an energetic and grisly animation of The Addams Family in all their glory. These ambitions were even sufficed for a considerable amount of time but not quite as long as you would have hoped for an 86 minute feature. Once <I>Pugsly<I> and <I>Margaux<I> begin to bathe in the limelight, the entertainment value swiftly depletes and the film feels quite dull for such a promising feature. Similarly, the comedy also diminishes as the storyline advances which is an unfortunate but evident reality. Like many kid's films, there is a refreshing and charming message being conveyed here but without an engaging and compelling story to support it, it somewhat falls flat. The message is still there and it is relatively prominent, especially in those final minutes but it just feels so stale and traditional with little to separate it from other kid's movies. Ultimately, Vernon and Tiernan fail to emit that same sense of macabre joy as it's illustrious predecessor succeeded with and struggle desperately to positively dist

12.09.23 Not much of a documentary, just some BTS supported by a running Aronofsky commentary but that's not to degrade it. It was fun to see the production design and how some more <I>creative<I> scenes were filmed and getting to see some of the crew behind closed doors. There was a real thrill to seeing the film come together in so many different ways that just makes the final product ever so more entertaining once you know and understand how it was crafted.

<B>48<B> Like many people that had seen Vernon's initial illustration of The Addams, I wasn't quite left with high hopes for a sequel but I was still willing to give it a chance. Unfortunately, the prominent flaws of the first are only replicated instead of evaded, resulting in yet another disheartening depiction of The Addams Family. For a sequel teeming with potential, the storyline is incredibly wearisome. It fails to invent anything new for itself, and instead feels rather dull and repetitive for much of it's minute runtime. It's predecessor certainly wasn't brimming with creativity but it had something going for it in terms of an energetic and relatively engaging story. This just feels like a cheap remake of anything that the original executed proficiently blended with the tasteless traits of modern day kids movies. To add insult to injury, for what was an already bleak storyline, it seems to throw away any logical reasoning and submit itself to complete childhood idiocy as the story progresses. Sure, maybe there is some imaginative qualities exhibited but also just complete lunacy. However, at the end of the day this is a film striving for the enjoyment of children and maybe it excelled at that, but for me, it just felt quite bizarre at that point. Similarly to 2019's adaptation, the soundtrack is far from subtle and aims to incorporate a more <I>hip<I> ambience into what was meant to be a rather ghastly fable. It does succeed in injecting an enticing sense of vitality into the film, something that it was desperately in necessity of. However, in doing so it diverges from that ghoulish atmosphere of it's subject material which some may see as a devastating decision. Undoubtedly, this is a far from precise portrayal of The Addams Family that <I>Charles Addams<I> created all the way back in 1938 but that is something that we were aware of when we chose to watch it. I certainly don't love the path that was taken with this marvellously macabre tale, but the addition of this <I>lively<I> soundtrack was to be expected. It manages to add some spirit to what was a stale and dreary story which was all that it intended to do. Visually, there are some alluring settings that are pleasantly animated but yet again the character designs are sorrowfully constructed. Lacking of enthusiasm and conviction, they seem to be bland illustrations of what could've been divinely portrayed characters. This isn't a complete shock by any means, but I didn't expect them to dip much lower than the previously established bar. Yet again, there is another charming yet arid message being conveyed from Vernon and Tiernan. Much like their initial film, it is bluntly expressed and feels forced upon you. Instead of an exciting story filled with instructional moral lessons, this feels like a monotonous and drab lecture taught by that one teacher who would always put you to sleep. A tiresome feature for a film to have but maybe there's some leniency given to it cause of it's childish nature. Overall, it certainly has its moments and the comedy is pushed effectively at times, However, for such an exciting potential, it is crushingly bland and generally mediocre. the messages are kinda cool but feel rather bluntly expressed but for a kids film thats understandable, music is generally enjoyable and brings some sort of life to what can be at times an incredibly dull story, there are definitely some enjoyable scenes however, visually the setting of some scenes are beautiful and i did enjoy the animation here yet again but some characters still felt poorly animated, comedy is pushed but not to an admirable level, story is weird throughout and feels very focused on presenting a message rather than doing so entertainingly, it also takes a bizarre turn later on that feels very odd

<B>75<B> <blockquote><B><I>"We were like strangers who knew each other very well"<blockquote> Lacking of that dark and gritty atmosphere that pervades much of Burton's filmography, <I>Big Fish<I> instead constructs a heartwarming and poignant ambience that allows Burton to relish in a different light than his usual murky glow. Unaware of the immense fantasy driven elements that Big Fish carried, it was certainly a shock to see secret towns, cars in trees and disheartened giants. However, after my realization, this became much more than a touching drama, but a whimsical recollection of memories. Edward Bloom sits at the centre of this story with a playful past that invites mystery and creativity. HIs unusual life blended with the tremendously evocative story of a son yearning for reconnection, allows Burton to conjure an enticing full-scale picture from what was simply words on pages. Edward's mysterious history is what forms the core of this story. Through various times of his life, we are presented with the odyssey of a man who travelled between the intricacies of life, experiencing what one could only dream of. While Edward's adventures are rarely impeccably compelling, they do carry a vibrant and touching atmosphere which still retains the viewer's attention throughout. Although often without any further impact on myself, there is certainly room for others to be captivated by Edward's potent past. Aswell as the alluring protagonist of Edward Bloom, we are met with a tantalizing collection of characters who always provide an enjoyable viewing. Whether it be a member of the Bloom's family tree, a unique circus performer, or a mystical witch, there is always a spur of creativity stemming from the film's diverse personalities. The transition from each distinct setting always carries an appealing atmosphere of enchantment and delight that binds Burton's picture from corner to corner. There is no lack of identity from the film's ambience, it is vitalized with ingenuity and a poignancy that relishes in its storyline of a sparse father and son bond. A bond that is exemplified endearingly in the film's final moments. Burton crafts a sentimental finale that clamps this story together through sheer warmth and affection. He attempts to make one final impact upon the viewer's heart and does so masterfully through an impassioned farewell to our admired protagonist that simultaneously concludes Will Bloom's search for a forgotten past. Filled with emotion and excitement, this is a distinctively vivid and moving finale which will certainly remain in some viewer's hearts for years to come. Burton has always been a very creative director and one of great aptitudes for a respectable level of production. However, as the cameras roll and lights flicker, there is something left to be desired from Burton's crew. Particularly early on, certain camera angles can feel stale and unimpressive, disconnecting the viewer from what becomes a dramatically moving story. Maybe this is a false memory or a worthless search for defects, but much of the film can feel dated at times and vacant of admirable production qualities. Ultimately, an unusual yet refreshing fantasy of a longing son and his puzzling father, that is conveyed effectively through the film's vibrant atmosphere and touching personas. first 30, very unusual watch so far and is pretty weird but also has a fun and enjoyable atmosphere going for it, feels a lot older than it actually is and can also seem outdated in terms of the camera angles that are generally pretty basic in a not so positive manner, production can also feel poor but high hopes all around heartwarming finale, enjoyable story, went into film unaware of it being a fantasy which was quite a shock, after i was adapted to the nature of the film i found it quite fun and delightful, visually pleasant with some fun characters, can be unusual but it's a very refreshing fantasy that feels very vibrant yet touching.

<B>65<B> Working down the line of Tim Burton's more highly acclaimed films, we have Beetlejuice, a creatively macabre and amusing story that flourishes through it's ingenuity but fails to present many admirable traits elsewhere. I'm as much of a fan as the next guy of gloomy pictures revolving around an undead Michael Keaton's strive for reincarnation. However, as optimistic as I was, even if only moderately so, I was unfortunately left far from satisfied. Undoubtedly, <I>Beetlejuice<I> is a film that is sprawling with energy and creativity from every corner. It's a picture renowned for it's novelty and disturbingly comical nature. A comical nature that I could never relish in the same way that many viewers had. The abundant moments of comedy expressed rarely ever amused me and repeatedly left a wearisome or dull impression behind, instead of one filled with laughter. Unfortunately, only a few sequences provided any sort of appealing comedic flair for me, and often the others felt impeded by their frequently disheartening courier. Keaton's undead <I>creep<I> is far from admirable and often rarely even compelling. Keaton's depiction is easily the most respectable aspect of the antagonist, he gives a flavourful and poignant performance which feels hindered merely by the persona he portrays. Beetlejuice as a character was incredibly unnerving and discouraging for the majority of his screen time. He shines in the last 20 or so minutes, once the film begins to close its curtains and reach a climax, but this is simply not enough for him to suddenly be redeemed for his previously disappointing screentime. Of course to combat Keaton's crude antagonist, we need a similarly undead protagonist or in this case, a couple of undead protagonists. Hence, enter Mr and Mrs Maitland, a newlywed couple who have regrettably reached an untimely demise. This couple unfortunately offers very little that deserves high merit, but they do allow Burton to present a lighthearted and gothic atmosphere, which as we already know, he revels in. This grisly ambience that Burton conjures is where the majority of Beetlejuice's thrills surface, it's dark and dismal yet supported by a comedic and enticing tone of dark humour, which when combined, provides an interesting balance. I have already shared my dismay with the comical tone of the film as a single entity, but when coupled with the film's macabre story, there is certainly merit to be found. Both worlds are blended carefully and effectively by Burton, creating a pleasantly compelling aura for him to distribute endearingly. In order to support this charmful tone, an enticing physical embodiment was essential. Filled with the imagination of Burton's mind and accompanied by the right tools to execute these rich ideas, the afterlife was depicted miraculously. Burton's illustration of the mundanity of the afterlife is incredibly engrossing and enjoyable to watch. It's fuelled by a simple superstition, blended with an intriguing interpretation. The afterlife is monotonous and disconcerting and takes up much of the screentime occurring outside the living world. However, in the minute runtime that evades a tiresome reality and the unknown afterlife, we are presented with an entertaining and extremely fascinating purgatory. I wasn't expecting such an interesting purgatory from a film as comedic and simple as Beetlejuice, but there was a certain <i>charm<I>, if that is the right word, which made this purgatory so captivating. Elsewhere, Winona Ryder proved to be a delightful treat, carrying a distinctly joyful atmosphere from a viewing standpoint, and one that identified heavily with the gothic Halloween style that pervaded much of the film. On a less positive note, the pacing is far from superb throughout and evidently suffers heavily before the Maitland's departure. The film just felt quite rushed and abrupt early on, with no clear necessity or reasoning for being so blunt. It improves following the Maitland's passing but maybe a few more minutes fleshing out the newlyweds would've been beneficial.

<B>67<B> Ending my Tim Burton run for the time being, is the whimsical reiteration of the famed <I>Willy Wonka and the Chocolate Factory<I>. Burton presents an objectively less appealing portrayal of Roald Dahl's striking novel, with at times disheartening CGI and obnoxious characters, but this is far to say his adaptation is without its own thrills. Burton's depiction treads similarly to Mel Stuart's impassioned fantasy-musical, both carrying an impressive musical tone, and a delightfully entertaining atmosphere with a high regard for the core messages of the novel. However, where Burton's interpretation falters is the lackluster execution of these divine aspects and some less than charismatic characters. The <I>unique<I> personalities of the youthful contestants attending Wonka's factory is far from a new representation as their deterring personas have always been a pivotal aspect of Dahl's innovative story. However, their appearances here are certainly the most infuriating that I have seen. I can't recall much of the fine details from Mel Stuart's film but I have little doubt that his contestants were at least relatively more tolerable. Their defining traits are intentionally unadmirable and accurately so but I just struggled to hold any sort of interest in the film once they opened their mouths. The accuracy to the books is respectable but ultimately they just became extremely annoying after a while. Burton's portrayal like many modern-day remakes also involves itself heavily with enhanced visual effects and CGI used in immense proportions, which unfortunately doesn't always bode well for the famed director. CGI is a powerful tool when used delicately and within the boundaries between entertaining and immersive to messy and dejecting. I certainly don't believe it provides a completely disconnecting experience and it still remains very passable but the scenes that incorporate too much or lazy editing just feel disappointing. When the physical sets are constructed and displayed, the magical atmosphere of the story becomes so much more engrossing and authentic compared to that of the lackluster VFX. I have already labelled the childish characters as often irritating and intolerable but this is primarily due to the enthusiastic performances that support them. The young performers consistently deliver vitalized portrayals or average performances at a minimum, which is something that I had anticipated prior to my viewing. I wasn't expecting Oscar nominations to surface following this movie but there are moments of glamour and some energetic portrayals to be found in the film, but generally you deal with mediocrity or an inch either way. Burton's own interpretation of the story was quite refreshing and joyful, it felt new and distinct from it's predecessor but not vacant of the same ideas or completely out of tune with the novel. It felt invigorated with its own sense of direction and not afraid of crossing new borders, of course it is clear that it hasn't exactly become a massive success or box-office hit but for what it is, it's entertaining. Similar to Wilder's rendition, this depiction also carries some strong and appealing musical qualities. The songs are spirited and infectious in the moment withs some admirable rhythmic features. I don't think they hold much over the original but at the end of the day, comparison is the thief of joy. Ultimately, Burton's illustration is an adaptation that is not without its own faults but still one that remains quite refreshing for its delightful and energetic atmosphere. cgi can be unappealing but it is still very passable, characters especially the kids are defined by one trait that is intentionally unadmirable but it reaches a point where they are just extremely annoying, enjoyable story however that has some neat set design when it isnt just vfx, some enthusiastic performances but generally decent, musical aspect was great, story was still very creative, refreshing and fun while my perspective isn't tainted by the original due to it being so long since i seen

<B>87<B> Standing as a late testament to the silent era and soon to be a sign of a time gone by, <I>The Circus<I> is a roadshow filled with joy and laughter, never struggling to evoke a moment of delight. While also portraying a poignant and compassionate romantic flick that strives the narrative forward at every turn, leaving little to disappoint the viewer. There are certain films that once you watch and experience them, the gravity of the score becomes ever so apparent and the most impactful aspect to your experience. <I>The Circus<I> is no stranger to this sector, like many silent films its soundtrack holds a grave importance, and is ever so crucial and significant to the viewer's experience. <I>The Circus<I> excels from an audible viewpoint in my opinion, every scene feels uplifted and never dragged down, adjusted to within an inch of perfection. It feels like an embodiment of music to its core throughout with a strong conviction in its execution that honestly blew me away. Apart from this being my introduction to feature-length silent films, this is also I believe my introduction to a heavily based physical comedy film. I don't think I've ever quite connected with physical comedy as much as I did here, this branch of comedy never really amused me but Chaplin's <I>'Tramp'<I>, is a personality capable of many feats. However, this does not happen to include avoiding repetition. Few scenes emit that undesirable sense of tedious repetition but throughout the film there are glimpses of its wearying existence. Furthermore, Chaplin also tends to overdo his performances at times and produces some unnecessarily theatrical scenes which dims his spotlight even further. Like many silent films, <I>The Circus<I> is heavily reliant on spirited performances and an engrossing atmosphere to convey its narrative, which is something that Chaplin constructs splendidly. The energetic and vibrant tone of the film is created early on and only expands as time goes on, leading to this joyous tone becoming more emotional and compelling than could've been expected. It allows the film to be led down different alleyways and explore its various themes in a riveting manner that maintains the viewers engagement throughout. Once you couple this with the enthusiastic performers that we see on our screen, the film's pivotal moments of heartache, ecstasy, or some profound other feeling, suddenly become so much more surreal and impactful. Conveying such an enticing story in the minute runtime of 72 minutes was always going to involve fast-paced action and storytelling, especially in order to avoid comedic repetition, which as previously said, was an issue. This does work well for the majority of the film's runtime with it carrying a strong flow and the presence of continuous advancement from a narrative standpoint. However, as the film comes to an end, the haste at which it carries out its finale feels rather rushed and unperfected. This slight error in conclusive pacing could've certainly disrupted the entire movie, but in this case only if it was dramatically more blunt and disappointing. This is only a small take away from the film's pacing but one that stood out. Ultimately, <I>The Circus<I> is an impassioned and evocative romantic comedy that continuously delights and compels the viewer throughout. And for me, presented one of the best introductions to a cinematic era that I could've wished for. am embodiment of music to its core where every scene feels perfectly adjusted, with some strong comedy throughout that can at times feel overdone or slightly repetitive but rarely ever dull and is generally extremely enjoyable, a vibrant and energetic tone reliant on physical comedy and spirited performances that deliver a strong sense of joy or heartache in the right moments, incredible score, a touching story that was so much more engrossing than I could of anticipated, high hopes for rest of chaplin's filmography, very fast paced but positively so until maybe the marriage part which can feel slightly rushed. a lonely tramp centered on the ide

<B>79<B> <blockquote><B><I>"Individuality is a monster and it must be strangled in its cradle to make our friends feel comfortable"<blockquote> Johnny Clay is meticulous, mindful, passionate, and above all else, a criminal. Once the opportunity arises, Clay is ready, conscious of the risks yet clever enough to reduce them to a few innocuous beliefs if all is executed correctly. However, when does a cautious and wary heist ever play out accordingly in these daring stories. <I>The Killing<I> is emphatic, vitalized through varying conflicting personalities, an astounding noir atmosphere, and commendable supporting aspects, Kubrick's thriller shines. The story is distinct, direct in its themes and pervasive in its grasp, there is something to engage a multitude of viewers who seek exhilarating crime. The vast identities on display allow intricate conversations and developments that often deviate from modern crime fiction. However, Kubrick can't collect all of the merit for this intriguing story, as like many of his films, this is yet another adaptation of an alluring novel which he has brought to life through the big screen. I recently stumbled upon a clip of <I>Sir Roger Deakins<I> describing the impact of cinematography and how he hopes that the viewer doesn't become distracted or captivated by a singular shot, but rather that the film flows freely between scenes. This is an understandable premise but one that fails to become a reality if you create as many mesmerizing shots as he has. It is clear that Lucien Ballard is no Deakins from the two's contrasting archives alone but there is some similar delight to be found in Ballard's work. There are moments of dim noir appeal projected through his camerawork that would be indistinguishable had an angle been adjusted or directed entirely by another soul. The allure is distinct and the ambience conveyed vividly, creating an atmosphere of engrossing mystery and suspense, one which is not solely fueled by the lens of a camera. Gerald Fried accompanied Kubrick for many of his early releases, including <I>Paths of Glory<I>, and <I>Killer's Kiss<I>, the latter of which I have not yet been granted the joy of witnessing. However, his strength as a composer is prominent in both of Kubrick's crime related features, maybe more so here. The score is infused with suspense, eeriness, mystery, the core elements or a noir thriller that you would anticipate. It plays a crucial role within the atmosphere depicted and contributes immensely to the intense emotion derived from it despite its noir subtilty. Circulating back towards Deakins' comment on the necessity of retaining constant flow within a movie, the fast paced nature of Clay's lifestyle leaves little room for this to yet again become a reality. From each scene to the next, the pacing is swift, never stagnant, a new character is met, decisions made, and consequences inevitable. It allows continuous character and story development without meandering about, but when does it need to relax? Certain sequences react differently to rapid advancement and consequently can feel quite blunt, or rushed to an extent. The scenes involving shootouts were often the most noteworthy exhibitions of this, frequently sudden, unannounced, and rapid. The concluding shootout demonstrates this rather evocatively, establishing itself as an intense climax but also as a rather abrupt one, which leaves conflicting impressions on the viewer. While we reminisce about these fractured shootouts, it is also a stellar time to reflect on the <I>interesting<I> deaths portrayed. They may not be the easiest thing to execute, particularly for an inexperienced extra, but at what points are conversations held. A slow fall to the floor maintains the simplicity of a 50's death but to little prevail when every movement feels fake or ingenuine. A small nit-pick possibly but after repeated sequences of unamusing death scenes, the prominence of disappointment builds. Kubrick's non-linear approach to this story permits the implementation of an overlooking narration of Clay's

<I><B><a href="https://boxd.it/pt1xk">HoopTober X: An Ambitious Voyage</a><I><B> <B>89<B> As soon as you hear the telephone ring, and that ambiguous voice on the other line responds, gradually transforming Drew Barrymore's gleeful attitude to a fearful tone of true, genuine horror. The stage is set, and there is no going back. Despite the initially lighthearted comedy, the atmosphere created is hostile, dominant and oppressive. Casey is simply a pawn in this game, incapable of making any meaningful move, and inferior to Ghostface's commanding aura. In these vital introductory moments, the tone is compelling and unnerving, an indicator to the intense story that is about to commence. <I>Scream<I> doesn't slam the brakes following its compelling opening sequence but rather eases its grip and expands upon its foundation bit by bit. Craven progressively introduces us to the enticing assortment of characters at play and allows us to witness Ghostface's dramatic impact through a series of otherwise trivial interactions. The tension gradually accumulates and only intensifies as the film continues. The atmosphere is distinct and efficient, blending the potent themes of mystery, fear, and outright horror into an engrossing cinematic experience that is ensured to leave a worthwhile impression on the viewer. However, Craven doesn't simply rely on the fundamental aspects of horror to produce an enticing story but rather amplifies them through a supporting comedic undertone which works wondrously for the film. <I>Scream<I> is compelling and evocative through its ghastly storyline but the implementation of a rather joyous underline to such a grisly story sets it apart from other contemporary horrors. There is never a dull moment, emotion is created in every circumstance, whether it be from a grim killing on the brink of midnight, or a spirited party down the street. The resulting slasher experience is brimming with energy and delight as every scene offers something new or equally appealing, and never relents from its poignant grasp. This clever supporting technique is often fuelled by the characters' repeated consciousness about their perilous situation. The next event is frequently foreshadowed, and mocked by the negligent characters. It accentuates the commonly predictable nature of contemporary slashers and their lackluster executions. Craven's decision to highlight this before ultimately exploring that same path produces an alluring sense of comedic relief to be found within the film's macabre story. The result is generally quite gripping, but throughout the film there are moments where it feels tedious to an extent, and ultimately unnecessarily predictable. It's an unfortunate side-effect of an otherwise enjoyable style but one that feels overused for the duration of the film. The score is mesmerizing, intent on evoking these contrasting emotions, yet also dramatically successful. Beltrami's resume at this point was minute, this having been his third feature film expectations might not of been monumental but Craven saw something in him which appealed to him. This choice to enlist Beltrami into his crew was seemingly a worthwhile decision however, as the subsequent soundtrack was breathtaking. Each moment is captivating, each song fitting, both actively complementing each other in a fashion of utter synergy. and delight, Berltrami's previously sparse resume, now impressive. Visually, the cinematography can not be lauded quite as much. There are moments of striking camera work and effective shots, but for the entire duration, there seems to be nothing spectacular. Not as infectious as the film's enchanting score, yet more than adequate enough to fulfil the role it beholds, Irwin's cinematography is effective and direct. Craven's conclusion is bewitching, the reveal entrancing, and ultimately, compelling. It doesn't feel predictable like much of the film's previous events (at least not to me), but instead enthralling and immensely enjoyable. It concludes what has been a significantly exciting story in a manner that will

<I><B><a href="https://boxd.it/pt1xk">HoopTober X: An Ambitious Voyage</a><I><B> <B>75<B> Brought to life through striking performances, the eerie story of <I>The Lodger<I> is convictive and intense. Initiated by a sorrowful murder in the midst of the night and a subsequent police investigation, Hitchcock embeds a frightening sense of mystery and unease as the killer is left unknown and operational, invoking the question, <I>"Who is it?"<I> An unsettling aura encapsulates the lodge from the moment Jonathan Drew walks in, the night is already foggy, mystery already pervades the outside, and now it has creeped into the Bunting's lodge. Cautious of Novello's piercing eyes, Ms. Bunting greets Drew with a wary attitude, but nonetheless invites him to stay, as Hitchcock similarly invites us into this mystic and ghastly setting. The foundation is now set and we can only watch, as Drew's identity becomes clearer and clearer. Hitchcock engrains the unnerving tension of this misty London throughout the film, but it rarely propels from it's stagnant pace and often remains unfulfilled. It accumulates throughout and works marvels in moments, but the blood-curling fear factor that it could've possessed is frequently absent. I understand Hitchcock has produced a thriller here rather than a horror but for what is such a powerfully mysterious and engrossingly ominous story, the thrill of a horror would've been a splendid complimentary tool. Despite this, the tension is consistent, and the enigmatic setting, intense. Hitchcock builds an atmosphere that thrives off its disturbingly uncertain position and frightening inhabitants. However, not all of London's inhabitants are quite as opaque as Drew. Ms Bunting is a seemingly cautious individual, she is heedful in her time with Drew yet also relatively spirited in her precarious situation. She deals with her tenant carefully yet compassionately, and gradually an aura of romance develops between the two. This subtle romance is potent and prominent yet frequently supressed by her apprehensive husband. The passion is poignant yet reduced to an insatiable desire, and left to marinate through a poisonous sauce. It was from <I>The Lodger<I>, where I learned about the various scores associated with silent films during this time. Given the quiet nature of the <I>silent era<i>, films would be accompanied by a live musical performance in theatres which often led to improvisation and various soundtracks being produced for each film. Unbeknownst to me, I watched a version of <I>The Lodger<I> involving a more modernized score, and one that felt the need to implement actual singing. It was something of a shock to me, leading to me questioning what I was watching but while it was abrupt, it was also effective. This quiet yet impassioned voice emphasized the tantalizing romance beneath our eyes, but also felt ingenuine in its execution. The moment was stellar and serene yet simultaneously fake. The music was an unwelcome addition that while complimentary in theory, made the moment feel <I>off<I>. It was not an accurate portrayal of Hitchcock's era and stood out in a manner than felt unfitting, leaving an impression more detrimental than it was benign. Hitchcock's powerful transitions can be seen as far back as his third feature, where the unknown pervades the upper floor, and the uncertain, the bottom. The panning of the camera from the upper floor to the ceiling of the bottom, as one entity paces above the other in a display of his commanding presence, is remarkable and evocative. The message is sent, and conveyed through noteworthy creativity and striking editing, which passes the test of time pleasantly. Where <I>The Lodger<I> ultimately shines is in its evocative atmosphere, and astounding score, yet also slenderly from the compelling performances derived from the cast. From what I've seen, Marie Ault has been the most successful member to stem from this minute cast, and understandably so. Each character is portrayed powerfully, but the details of Ault's expressions and her contrasting emot

<I><B><a href="https://boxd.it/pt1xk">HoopTober X: An Ambitious Voyage</a><I><B> <B>63<B> Freddie Francis' <I>Tales From The Crypt<I> stems from a prominent comic series of the same name, both with appealingly grim stories to convey there is vast potential for an alluring viewer experience. Unfortunately, Francis' live-action depiction fails to execute these promising ideas in the grisly fashion that they deserved. As a preface, I've never seen the tv series also of the same name. It was well before my time and <I>Grizzly Tales for Gruesome Kids<I> was much more my jam with its similarly <I>dark<I> storytelling and ghastly tales. I say this because for many, this film will pose as a portal to the past, a nostalgia filled dream where they get to indulge in their long gone childhood once more. Evidently, something I can't relate with. Now that nostalgia, good or bad, is out of the question, let's continue. The concept is genuine, and it has evidently worked before in its successful time on paper, but this depiction just feels bland. The stories are promising, they are varied, intriguing, and dipped in subtle horror, but lackluster. There are moments of spine-tingling fear and striking horror which is built up through a tense premise but without these short compelling moments in each, they would be far from remarkable. Each story caries with it an enticing new adventure, intended to be brimming with unease and macabre delight but falls short through a disheartening script and occasionally dull performances. Everything about this film just feels antique. Aesthetically, it accentuates that early 70's horror atmosphere but without any resulting merit. The production feels ancient, living from the times but not surpassing the test of time, dim yet atmospheric. The performances are <I>weird<I>, I'm not sure how to describe them, the characters themselves are unnerving but the aura they are encapsulated in, is itself, oddly unsettling. Complimentary of the performances, which despite feeling weird, were effective. After being quite harsh on this film, I can still safely say it wasn't bad. In moments it flourishes but it generally treads carefully between dull mediocrity and exciting horror. It remains passable at all points despite some mundane sequences and a discouraging script. Eerily entertaining, but far from captivating. Finally, 5-1-3-4-2, would be my ranking of the stories :) 06.10.23 (5-1-3-4-2) ⚫ entertaining premise but wasteful execution, ⚫still some golden moments but overall can feel very mundane and dull but is certainly passable ⚫stories are cool and entertaining with some eerie moments of horror prominent in both of the first 2 but they are overall somewhat dull, ⚫the stories are promising but can be held back due to dull performances (rarely) and lacking scripts, ⚫no personal connection to the show so i lack nostalgic feelings towards this movie, ⚫acting is weird, film feels technically and aesthetically ancient

<I><B><a href="https://boxd.it/pt1xk">HoopTober X: An Ambitious Voyage</a><I><B> <B>88<B> <blockquote><I><B>"Faith alone shall vanquish death"<blockquote> Murnau's acclaimed depiction of <I>Faust<I> is exciting, engaging, and riveting, but albeit excessive. The story is gripping throughout as we witness the fabled Faust sway between science and religion, and meander his way around this new life that he has chosen, led by the devil himself. There is no doubt in my mind that where <I>Faust<I> flourishes narratively is in its commanding religious themes and compelling protagonist, but for a film so centered on Satan and God's war over Earth, I would've expected more from God. The depiction of a benevolent God or archangel to oppose Mephisto is often minute and unseen. The film is of course focused on Mephisto's cunning quest to mould Faust into someone that he is not, and this works wondrously, but one or two more scenes of his opposition at play would've also been quite powerful. Murnau's ability to convey such a potent drama is mesmerizing and effective, his imagery is breathtaking and each scene feels intensely vitalised by more than just an engrossing source material. The production is utterly captivating, the visual allure of this despairing world is not nearly as disheartening as the atmosphere it conveys. You've probably already heard about Murnau's optical witchcraft as Mephisto spreads his wings down on the city, or as Mephisto and Faust glide through the skies. These are possibly the summits of Murnau's visual sorcery but to say that these singular moments are all that Murnau has to offer is far from the truth. The consistency of Murnau's visual poignancy is a pivotal factor in itself, with moments of surreal enchantment there was room for Murnau to relax and dissolve into mediocrity but he maintains his visual wizardry throughout, with much merit to be derived from it in the end. Not only is Murnau's <I>Faust<I> bewitching to witness, but also astounding to hear. Heymann's score may not be as entrancing as Hoffmann's cinematography but it is far from disappointing. Each moment already vitalised by Murnau's compelling imagery, is a pleasurable delicacy in itself, but once coupled with a stellar score, the result is enchanting. Maybe not derived from Murnau's own interpretation, but the critique of materialism within <I>Faust<I> is exciting. As Faust sways between good and evil, he eventually succumbs to Mephisto's persuasion and makes a pact with him to become youthful once more, and have his desires fulfilled. After a tragic series of events, Faust eventually realizes his mistake and wishes to return to Gretchen, a lady he has fallen in love with, but it is all too late. Once everything is said and done, Faust is overwhelmed with guilt and once again in despair despite his previously gratifying pact with Mephisto. The circle of emotion is intricate and compelling, derived from Goethe's original play I believe, but nonetheless masterfully conveyed. As I mentioned in my opening line, despite these stellar components, <I>Faust<I> is also excessive. Emil Jannings' portrayal of Mephisto is full of sharp grimaces and impassioned movements but to an extent where it feels overly theatrical. Emphasis is necessary in an era of concise dialogue but perhaps, extreme in certain scenes. Additionally, the almost comedic undertone prominent at times throughout the story was an unforeseen circumstance. In a story fueled by despairing themes and tragic characters, comedy is maybe not your first guess at what you will encounter. While, this comedic tone can be somewhat encouraging and relieving from the grim storyline at play, it feels dramatically out of place and ultimately, bizarre. An unwelcome and weird addition to such a poignant tale, but seemingly something that Murnau felt to be, fitting. This can also lead into another point of ill-execution, which being, Murnau's immensely varied story. That in itself is a hard line to understand, but what I'm aiming at is how diverse and even inconsistent <I>Faust<I> can be

<I><B><a href="https://boxd.it/pt1xk">HoopTober X: An Ambitious Voyage</a><I><B> <B>87<B> Zach Cregger's entry into the field of horror is as equally commanding as it is frightening. Filled with eerie revelations and discomforting coincidences, <I>Barbarian<I> is a haunting assortment of nightmare fuel. Unwanted guests at the front door are often tedious but also manageable as you can control the situation from the inside. However, what happens when you find that unwelcome guest on the inside, and yourself, stranded on the outside, helpless. That is essentially the premise of Zach Cregger's <I>Barbarian<I>, and while exciting in itself, it would be little but a B grade horror without something more malicious awaiting on the inside. The tone is set instantly as Georgina Campbell's <I>Tess<I> arrives to her Airbnb in the middle of the night, rain pouring, lights dim, eerie music playing, and the door to her apartment locked. The situation is already unnerving, then she is greeted by a strange man the at the door, tensions rise, and questions begin to surface. The mist of uncertainty and suspense in the air quickly becomes ever so dominant as this unusual situation gradually develops and reality becomes clearer. This uneasy atmosphere isn't just prominent in Cregger's introductory moments but also throughout the entirety of Tess' stay in this local town. Each development in Tess' journey carries with it a disturbing realisation, often pervaded by intense mystery and in the right moment, pure horror. It is safe to say that in more than one scene, I may have jumped out of my seat in horror at what I was witnessing. The disturbing realities confined in the lower layers of Tess' Airbnb is just about enough to make sure you never want to rent an Airbnb ever again. Zach Kuperstein's intense cinematography is one of the many reasons why <I>Barbarian<I> is so infectious. It makes you feel connected with Tess on this journey and immerses you into this frightening story. Kuperstein's cinematography just feels so delightful and evocative, always possessing something intense in the way it conveys Cregger's wicked tale. Also on a high note, is Anna Drubich's tremendous score. Brimming with suspense and intrigue, the frights of this adventure are never left to become stale or overlooked due to the powerful supporting soundtrack at play. Despite the engrossing horrors we witness and the mountain of suspense that is built up time and time again, the conclusive third act can feel a bit flawed. It is evidently a decline from the previous two acts of the film and causes questions to surface about Cregger's logically flawed storyline. In an attempt to stray clear of spoilers, I will be quite vague here, but the logic behind the film's antagonist is quite simply, dubious. Does <I>i<I> lead to <I>that<I>?, and how old is the scene of the old man at the shop? These queries could've been made transparent through the tapes that Tess found, but unfortunately, we don't get to see their contents. Their contents are almost certainly vile and disturbingly sordid but they could've also been revelatory. The decision to stray away from showing them does certainly feel more PG however, and maybe positively so. A sequence that was a lot more direct in its revelatory nature is Cregger's conclusive one. It answers that long feeling of suspense and intrigue which was so prominent throughout but not without invoking more questions and inducing doubt into the film's logic yet again. The film could've almost certainly benefited from going to the full length of 2 hours and answering some of these prominent logical queries and flaws. The backstory of Cregger's tale has so much potential which was lamentably never met, ultimately leading to the film feeling slightly rushed and unnecessarily so. All in all, 2022's <I>Barbarian<I> is an exciting and gripping horror, brimming with suspense and at times intensely frightening horror. However, it also sways clear of any convictive logic and leaves a lot of questions untouched rather than delving into the dee

<I><B><a href="https://boxd.it/pt1xk">HoopTober X: An Ambitious Voyage</a><I><B> <B>60<B> What better way to spend Friday the 13th than watching Sean S. Cunningham's notorious <I>Friday the 13th<I>. Filled with a campy atmosphere and eerie uncertainty, the origin story of Jason Voorhees is iconic in nature but unfulfilling in reality. The atmosphere is prominent and direct in its portrayal of an outdated summer camp pervaded by uncertain horror, but lackluster in actually conveying that precise horror. The nature is delightful, the outdoors celebrated, and aspirations hopeful, all depicting a spooky summer camp splendidly but not a camp that is utterly frightening. The horror atmosphere feels often minute and discouraging. While the dominant camp aesthetic is delightfully prominent, it helps little in conveying the intense horror that <I>Friday the 13th<I> inherently possesses. There are some moments of intense horror and frightening revelations but they are often derived from jump scares instead of actual appealing suspense and conviction. I'm not here to insult them as they were frequently, at least in my case, effective. However, also disappointing as this is the majority of what the famed <I>Friday the 13th<I> possesses in regards to compelling horror. In an attempt to convey what little horror this summer camp contains, Cunningham tends to implement some particularly vivid death scenes and while they are effective, they can also be let down by some less than convictive performances. The actors frequently seem rather shallow and unconvincing, there is no compulsion as a viewer to engage with these characters, considering the actors themselves seem withdrawn from them. Cunningham's final exhibition of some grisly horror is possibly his most powerful depiction. <I>Friday the 13th's<I> final moments are quite dominantly unsettling and even haunting, something that the rest of the film rarely, if ever conveys. It closes what has been a relatively enjoyable and ghastly adventure in a fashion of unsettling horror, which was disappointingly absent in much of the film's runtime up to now. Barry Abrams' cinematography is <i>something<I> to behold here, the camera angles are often quite peculiar and unfortunately tend to be more counterproductive than compelling. The close-up shots were quite intriguing and when executed correctly, could be quite engrossing, but elsewhere there isn't much that invites celebration. Cunningham's renowned feature also could've benefited from a much better soundtrack. Harry Manfredini has composed the music for most of, if not the entirety of the <I>Friday the 13th<i> series but from my introduction to him, I don't necessarily understand why. Manfredini's score is existent and not entirely discouraging but it isn't something I would look back on with pride, apart from it's fame, he done well in that regard. The <I>Friday the 13th<I> series in itself possesses little acclaim and seems to be a persistent cash grab of sorts, where there was a new yet similarly unappealing installment every so often, until the early 2000's. In that regard, you would not need an exceptional and captivating composer but rather someone that gets the job done, like Manfredini, who holds a resume of over 100 films primarily consisting of B grade horrors. Not to hammer the guy, he's seemingly done well for himself, but his score here is compelling in a manner of little merit. Despite those underwhelming traits, <I>Friday the 13th<I> does contain some delightfully conveyed visual effects. Not necessarily mesmerising but far from dull, and often possessed some joyous relief. Ultimately, the famed <I>Friday the 13th<I> conveys an entertaining experience and moderately compelling adventure, but one that suffers vastly in many aspects despite having reached such a high ranking of notoriety. ⚫cool camp aesthetic but certainly lacking in a horror atmosphere, ⚫some cool deaths but ultimately lacking of convincing performances, ⚫ some actually frightening moments but they were generally from jump scares, ⚫no

<I><B><a href="https://boxd.it/pt1xk">HoopTober X: An Ambitious Voyage</a><I><B> <I>Spoilers<I> <B>85<B> <blockquote><B><I>"A body can only judge themselves"<blockquote> John Clayton's <I>The Innocents<I> is a gripping and unsettling horror that despite its benign name, conveys a much more disturbing reality than you could fathom. From the moment that Miss Giddens enters this vast estate and encounters its inhabitants, nothing is certain. Brimming with suggestive undertones and malicious suspicions, <I>The Innocents'<I> continuously developing horror is both demonic and powerful. The potent reality of this estate's history is neither commendable or certain. With intense cues towards deplorable child abuse, the horror of Giddens' accommodation is far from admirable, but at least its vile history has been left in the past, or has it? A potent element of <I>The Innocents<I> bewitching horror can be found in its ability to convey a dramatically frightening supernatural presence. Giddens' stay at this previously enticing estate is evidently far from joyous or at least what she had anticipated and this is immensely due to Clayton's convictive depiction of a supernaturally prominent environment. The spectral entities that Giddens encounters along her journey are dramatically more frightening once their past activities become transparent. This becomes even more engrossing once Clayton implements the powerful tool of possession into this already foreboding experience. Even if only suggestive, the demonic inclinations of Clayton's depiction are just as horrifying as their possible reality. Clayton's brilliant direction can be seen vividly in his enchanting portrayal of an untouchable supernatural presence and its impact on Giddens. As night falls and suspicions arise, we witness Miss Giddens venture out into the long hallways and seemingly vacant corridors of this large house. Clayton raises the tension through a sequence of events and then unleashes the terror as Miss Giddens becomes engulfed by a frighteningly unstoppable presence. The production is captivating and the execution mesmerising, as this single scene feels like a mystical portrayal of the intensely frightening and ominous supernatural that pervades this home. Much of these poignant themes are so convicting due to their intense real life applications. What Clayton portrays from Henry James' dominant novel is simply terrifying, the idea that this could and likely has occurred is as frightening of a horror that it can. Amplified by a powerfully commanding finale, <I>The Innocents'<I> intense horror is as infectious as it is petrifying. Deborah Kerr's leading performance is phenomenal and immensely complimentary to such an already convicting film. Kerr is certainly not the only compelling performer but as the protagonist, she stands out more. Her accompanying talents are just that, talented, and consequently incredibly effective in their vital roles. Amplifying this chilling atmosphere ever more is the mindful implementation of a constant and pervasive ballet tune. Coupled with an already unnerving ambience, this administration of something so frequently utilised to convey subtle horror is masterfully done and thrillingly so. What can be attributed to much of <I>The Innocents'<I> success can be found within its alluring script. Teeming with delightful interactions, powerful dialogue, and an intense understanding of this malevolent atmosphere, Clayton conveys a ghastly depiction of Henry James' brutal novel. Delightfully enthralling in its execution, and ambiguously suggestive of its themes, John Clayton's <I>The Innocents<I> is alarmingly disturbing yet effectively captivating. ⚫a gripping story that thrives off its demonic and unsettling horror, ⚫a brutal insight into child abuse and a horrifying one on possession, ⚫frightening in its reality with an engrossing finale, the horror is as infectious as it is surreal, ⚫captivating performances from all involved, that constant ballet tune is severely off-putting and accurate to the atmosphere, ⚫that one

<B>59<B> Tim Burton's original poem about the ghastly Pumpkin King is enthusiastic, and delightful to the ears, but not a whole lot else. Burton's poem is certainly an intriguing piece of literature, it portrays the esteemed Pumpkin King in all his glory, and all his woes, delivering an insight into Jack's intricate character and his lofty ambitions much more directly than the film itself does. As a writer, Burton is a delicacy, his fluid wordplay and enticing storytelling is joyous and once conveyed by Lee, wondrously captivates many viewers, but not quite me. I'm not quite as infatuated with Lee's narration as many other viewers have been. His narration is certainly solid and he can be an audible treat at times, but personally, I didn't find him to be anything special. However, the musical accompaniment to his aging voice and this energetic story itself was something that I fell in love with. Primarily, its alluring theme song which has quickly climbed its away along my Spotify plays and as a matter of fact, that entire album has. The stop-motion animation that worked so effectively in Burton's feature similarly returns here but not quite as such a high calibre. It works moderately well and certainly plays its part in this 11 minute adventure but it is not quite sublime and far from bewitching. Ultimately, a short and spirited trip through Burton's original poem which captivated me in its full feature depiction, but could not replicate that same engrossing atmosphere in this minute narration. ⚫ but the film does feel far superior and entertaining, ⚫solid narration but I am not as in love with Lee's voice as many others are, ⚫animation is fine for this short but far from sublime, ⚫nice wordplay in the poem and a much more distinct look into jack's ambitions rather than the film, ⚫theme song is terrific,

30.10.23 <I><B><a href="https://boxd.it/pt1xk">HoopTober X: An Ambitious Voyage</a><I><B> <I>Spoilers<I> <B>79<B> <I>Carrie<I> was the first induction into Stephen King's bibliography and consequently his first big hit on the screen. It was a debut that served to mold his career for decades to come, embedding its horrific world into you consistently, with a critical potency to be found within its striking religious and psychological elements. <I>Carrie's<I> opening sequence sets the tone immediately, Carrie is a normal girl but tormented by her schoolmates due to her fanatic mother's poisonous parenting. The events are traumatic to both experience and witness, there is no humanity or sympathy and Carrie is left alone to suffer for far too long. A nightmare brought to life through King's imagination and conveyed through De Palma's rich storytelling. De Palma is well renowned for his powerful infliction of suspense throughout his filmography and he has developed a running name for himself in that field. Although, this may not be the summit of his suspense, he conveys the riveting nature of <I>Carrie<I> effectively. After the foundation is set, De Palma's build-up is sublime, well paced and smoothly flowing from one narrative beat to the next, amplifying <I>Carrie's<I> horror delights bit by bit. <I>Carrie<I> is a film that thrives off of its disturbing depiction of religion, which is blended with a potent psychological force. Religion is very much a restraining theme in this film rather than offering a sense of freedom or hope, it condemns Carrie at every turn, inflicted upon her by her fanatic mother. One scene that conveys this rather dramatically is that dazzling dinner scene, where Margaret White frowns upon her daughter's dreams to go to the prom. The lightning piercing through the window, illuminating a painting of <I>The Last Supper<I> which is plastered on the wall, commotion growing, Margaret blinded by her infectious religion as she and her daughter collide in a devastating manner. The production is evocative and entrancing, while the message behind it remains all too genuine, even today. Accompanying this brutally prominent depiction of religion, is a similarly dominant infusion of psychological turmoil into the story. Carrie is tormented throughout her life, both physically and mentally, all of which is made poignantly clear through De Palma's interpretation. The story is dripped in unease and fueled by a powerful and commanding tone of psychological anguish, there is vigor and intensity in a multitude of scenes that make this aspect both convicting and infectious. In <I>Carrie's<I> pivotal prom scene, De Palma's suspense is mounting and the countdown to eruption is ticking but the resulting explosion is one that felt all too insincere. Carrie struggles throughout the entirety of the film, particularly from her classmates and in a moment that invites an appealing sense of justice, it feels rushed passed. De Palma's pacing was notably strong and commendable throughput but in a crucial scene, one of our antagonists' demise is all too sudden. There is little satisfaction to be derived from this climax, which maybe there shouldn't be for a death, but for this one, I thought there would of been. Though De Palma had hoped to convince Bernard Herrmann to score the film, the legendary composer passed away in 75' before production for <I>Carrie<I> had began. Despite this, Herrmann's influence is still distinctly clear, as his overpowering <I>Psycho<I> score remains evident throughout De Palma's feature. Donaggio's score is similarly astounding and evocative but misses a tempo from time to time and appears abruptly on more than one occurrence, inviting a sense of disconnection. Nonetheless, intense and inspired but overly dramatic and sudden at times also. A similar conversation can be had referencing Mario Tosi's cinematography, which while spirited can also feel rather strange. To my knowledge, there is no specific or infamous inspiration for Tosi's work like Herrmann's score but rather this is all f

3.11.23 <I><B><a href="https://boxd.it/pt1xk">HoopTober X: An Ambitious Voyage</a><I><B> <B>62<B> <blockquote><B><I>Only a pinpoint, Monsieur. In a flower... Or perhaps a glass of wine?<blockquote> Unintelligible singing is often a powerful way to grasp the viewers attention, couple that with an unorthodox burial in the center of the road, and you have the introduction to cinema's first zombie film,<I>White Zombie<I>. Halperin's depiction of a zombie is most peculiar when compared to our modern perception of these creatures. Halperin was heavily inspired by Haitian folklore and based a lot of his depiction from that strand of history. Hence, the prominence of voodoo magic and frighteningly effective mind-control playing a pivotal part in Halperin's feature. This intriguing portrayal of our famed cannibalistic fiends blended with a devious Bela Lugosi allows for an interesting premise to take form but once explored, proves to be dishearteningly absurd. As Lugosi's witch doctor reveals his true colours and our understanding of this world expands, lunacy gris deeper into the story. The intricacy of Halperin's environment begins to crumble once coherence gradually yet surely flies out the window. Resulting in Halperin's conclusive scene, a moment intended to be crammed with potency and emotion, dissolving into something that drifted from that alluring aura. While contemplating moments of confusion, that prominent vulture often left me bewildered. It's meaning repeatedly hidden from me, a sense of vexing perplexity pervaded my mind, frequently with no resulting merit. Halperin's world-building and resulting atmosphere is at times potent, but often stalked by a tedious sense of boredom. In most instances, this dismal atmosphere appears early on when the supportive music is absent and we are left to witness someone blandly pacing around a room. Thankfully, there is an uplift in spirit reiterated consistently once Lugosi takes to the stage. Lugosi quite simply is stellar, his sharp expressions, bold eyes, and intimidating brows, all combine to not only invade our screens but our hearts. His performance is unmatched from this assortment of performers as he is quite dominantly the stand-out. His co-cast are generally quite mediocre and rarely much better, presenting some discouragingly weak portrayals on more than one occasion, and at times, even laughable renditions. When you earn the title of <I>the first feature length zombie film<I>, you also need to take form in an early period of cinema, and consequently one of underdeveloped technological aspects. With this, is the daring visual effects of 1932. Clearly not spectacular and far from something like Murnau's works which reigned only a short few years before this, but in perspective, it is negligible and adequate. Not as condemnable as the other visual elements of <I>White Zombie<I> but far from admirable. Guy Bevier Wlliams only has one credit as a composer, and you have just witnessed it. For this singular credit, Bevier is commanding and powerful in instances but also inconsistent in his execution. When prominent, it is noticeable and noteworthy but in the film's early moments it appears absent. Left to survive in a motionless and dismal atmosphere is not something I enjoy, but these vacancies are distinct. In contrast to this, later into the film Bevier seems to attack the auditory nerves as a sense of exaggeration runs rampant. Neither of these sequences are dominant enough to outweigh Bevier's otherwise powerful soundtrack but they are certainly noteworthy enough to diminish the film's atmosphere. Enticing through its captivating antagonist and relatively rich atmosphere, yet hindered by pitiful performances and an ever-growing absurdity from within its storytelling. Halperin's courageous entry into the field of horror has earned him a plaque in history but unfortunately not for his powerful filmmaking. ⚫cool premise but idea felt a bit absurd as the story continued, particularly in the films last moments where little felt coherent, cool portrayal of zo

<I><B><a href="https://boxd.it/pt1xk">HoopTober X: An Ambitious Voyage</a><I><B> <B>74<B> <blockquote><B>Maybe we're gonna have a big earthquake. They say things get really weird just before.<I><blockquote> Freddy Krueger, infamous and intimidating at the helm of Elm Street, yet only possessing 7 minutes of screen time in his opening debut. That in itself is a shocking fact considering he is the driving force behind Craven's illustrious feature, but once you realize how potent and infectious Krueger is at the forefront, Craven's masterclass in storytelling becomes ever so transparent. From its opening moments, Krueger is commanding and frightening yet after those credits roll, it crumbles. Krueger is still present as he torments this petrified young girl for the following 20 minutes but the setting itself is all too ingenuine. It feels like a poor fantasy horror that you might find in the depths of unsuccessful horror flicks from decades gone by. This feeling is only momentary and the atmosphere swiftly transforms into something more entrancing and powerful, but the contrast of a foreboding Krueger mixed with an inferior fantasy feels all too ineffective. Perhaps, I may not yet have been adjusted to Krueger's surreal nature but at times, Craven's feature was far from the heights we know he can reach. Krueger is repulsive and sinister, something you truly do find in your nightmares. He is menacing and revolting throughout but primarily as a spectral presence rather than that of a physical entity. Krueger is constantly stalking the story, never too far from reach or absent enough to allow any hope to seep into our minds. Craven's execution of Kreuger as an impenetrable <I>spirit<I> is engrossing and masterful, allowing Kreuger to always position himself in the heart of the story without being showcased directly. Englund is effective in his depiction when Krueger does take form in the dream world but in many instances, his physical portrayal could feel excessively comical. In his direct interactions with the children or in the scenes where we witness him actively hunt the children, fear is often absent. There is something comedic about how Krueger is portrayed that negates any aspect of horror and drives the film down a rabbit hole of unintentional and redundant comedy. Despite this, <I>A Nightmare on Elm Street<I> still remains quite horrifying in instances. There is an assortment of jump-scares throughout the story which could've dragged the film down had their execution not been so infectious. Not all are intense or captivating but there are some aptly executed jump-scares throughout which avoid any exaggeration and instead convey a rather chilling ambience. As a slasher, Craven is engrossingly commanding. Not as enthralling as his feature that would be released more than a decade from now, <I>Scream<I>, but artfully adequate and compelling in sequences. The gore is prominent but not excessive while the chases offer intense climaxes even if the pursuit itself is dramatic. Additionally, Craven's world-building is notably displayed here. Krueger's homeland in the afterlife is devilish and something that conveys horror and unease consistently once the execution is nailed. It never drifts from its purpose and is continuously evocative, frequently accentuating the skill and creativity that Craven's mind possesses. Bernstein's score is yet another realm of strength for Craven's feature. It is menacing and convictive while eliciting harsh horror in scenes, yet also positively retro throughout. Bernstein certainly doesn't have a mesmerizing catalogue of work despite its magnitude but what he does have is a compelling singular piece of work, which is better than some can say. As mentioned, Englund's portrayal is effective yet inconsistent, something that seems to be a running theme for Elm Street. In the 91 minute runtime presented, frail performances consistently seep in, evident throughout the runtime yet particularly prominent in the film's opening scenes. Errors arising early on is also something that seems to be

<B>54<B> Distraught with no access to the internet, a technological advancement that has invaded all of our homes, the television returned into my life coupled with a simple but pivotal Freesat box. Browsing a variety of films what once piqued my interest but now lay dormant on the planner, I was reunited with <I>Mysterious Island<I>, an adventurous and seemingly lighthearted film with a reasonable runtime of 100 minutes, a perfect time-killer. Although it fulfilled its adventurous and joyous promises, in moments, its inordinately stagnant plot soon reminded me of why it had laid dormant and untouched for so long. <I>Mysterious Island<I> is, in theory, somewhat inviting and positively playful, it has the setting of a daring fantasy adventure, clouded in appealing mystery, yet unfortunately also the atmosphere of a mundane trip to the shop. Passed its intriguing and tumultuous opening, the thrills of this adventure are frequently far too insincere to be amazed by. Perhaps I entered this story with excessive expectations but the wacky aura that encompasses Captain Harding's adventure was all too dull and ineffective. Any comedic tone present was never lifted far from the ground while the characters that guided it to our screen were far too tasteless to ever promote any sense of engaging jubilance, Moments of insecurity on the island were frequent and notable however, there is a sense of dramatic urgency often crafted through the interesting set production, but also hindered by the ill defined blends between reality and animation. Far from a visual marvel, the editing and effects were wearily dull which was a shame because the setting in itself was at times enchanting. As I set out to embark on this journey alongside Captain Harding, I was unaware that a foundation had already been preestablished decades before through a series of novels by Jules Verne, and also a better received screen adaptation in the style of <I>20,000 Leagues Under the Sea<I>. Had I entered this with any knowledge of the previous film and even seen that before this middling journey, perhaps I may have had a better understanding and found more enjoyment from Enfield's feature. However, apart from its spirited premise, there is little merit in Enfield's execution that distinguishes this from any other family-adventure film of its time. The island is plagued by uncertainty and peculiarities but the often dismal characters and lackluster execution of such promising traits leaves a sour taste behind. I won't say Enfield's feature is a woeful or miserable experience, as it is certainly not, but there is clearly something missing from his adaptation as the final result often lacks any warmth or true conviction for such an enticing source material. Enfield's feature does prosper in certain categories however, one of which being the esteemed Bernard Herrmann's commanding score. Herrmann's work has always appealed to me from what little I have been adjusted with and this exhibition is no different. Herrmann does portray a disheartening sense of excessive aggression in moments but these inferior displays of his ability are often miniature. As a complete entity, it strays from the heights of <I>Psycho<I>, which was released just one year earlier, but it suits Enfield's feature and elevates what tends to be a middling escapade. <I>Mysterious Island<I> ultimately plays home to an intriguing and promising story but suffers through a discouraging execution crammed with stale sequences, imbalanced visuals, and a tiringly zany tone. ⚫the mixture of animation and reality felt poor - the wacky nature of this never worked for me but maybe i took it too serious to begin with - ⚫felt quite dull for an overwhelming period of time with nothing enticing about this to differentiate it from any other family adventure - ⚫haven't seen the book and was unaware that it had a predecessor - ⚫cool in the idea but nothing ever felt sublime and this just felt average - ⚫neat score though which felt quite elevating if not also over aggressive in a scene or two - ⚫semi

<B>77<B> <blockquote><I><B>Percival:<B> There's only one question left to ask. Who won? And what was the fucking game anyway?<blockquote> Emerging from the man who co-directed <I>John Wick<I>, produced <I>Nobody<I>, and possesses an abundance of other directorial credits on various action orientated films, we see before us <I>Atomic Blonde<I>. Set against the blazing backdrop of an uncertain Berlin, deep in the heart of the Cold War, Charlize Theron takes the helm as an undercover MI6 agent on a mission that will define the rest of her life. Kurt Johnstad's story (the same man who wrote <I>300<I> and the less appealing <I>Rebel Moon<I>) is infused with commendable tension, the plot is ominous and never blunt, frequently conveying an exhilarating sense of mystery throughout. It depicts the generic spy story, perhaps with little narratively to distinguish itself from its genre-bound companions, but the execution is all too commanding to ignore. Lamentably, moments of incoherence can often seep in through the cracks, particularly evident in the film's final sequences, where my opening quote proves dominant. Despite these unwelcome intricacies, <I>Atomic Blonde<I> still offers a multitude of admirable qualities that amplify this war-torn storyline. What does separate Leitch's feature from its contemporaries and even its more antique familiars, is the jaw-dropping atmosphere that he manages to portray. The gripping backdrop of a divided Berlin, where uncertainty looms over every entity that walks these grounds, is so commanding in its authenticity but also its more thrilling visual magic. The poignant aura that encompasses Leitch's solo directorial debut is incredibly immersive and in instances, mesmerising. The neon-lights that illuminate the city, that distinct style so vibrant, differentiating itself from a country so submerged into the heart of a despairing war, the Cold War is commanding but not completely overpowering. Tyler Bates has accompanied Leitch throughout his career, sharing the set on numerous occasions, so I'm sure when Leitch took the initiative to play lead director, a call to Bates did not take long at all. A worthwhile partnership it seems as Bates' score amply amplifies this deceitfully dazzling film. The connection is real, and the score so fitting to the potent scenery of this glowing yet detached Berlin. Also on the same roadmap as these two defined identities is Jonathan Sela, another character with ties to both Leitch and Bates. This three-way partnership, infused with an already burning flame, converges splendidly and powerfully as Sela adds his own flair to what has been an alluring adventure. Sela's cinematography is in its own way entrancing as the contrasting visuals of Berlin are conveyed intensely. Through the glamorous nightlife or distinct action sequences, the cinematography remains consistent with glimmers of gold shining in instances. As one of <I>Atomic Blonde's<I> primary genres, the set-pieces and synergised choreography convey the fiery action of Theron's journey quite effectively. The impressive coordination blended with convictive supporting performers allows Leitch to portray the pivotal brawls of Broughton's mission intensely, despite never garnering any moments of breath-taking immersion. Leitch's solo directorial debut proves to an appealing and enticing spy story with an engrossing atmosphere playing the most commendable role. While narratively, cracks unfortunately develop, there is still a myriad of admirable aspects to be found elsewhere throughout Leitch's impassioned feature. ⚫immersive and stylistic ⚫stellar score fitting to the spectacular setting of cold war berlin ⚫poignant atmosphere (neon lights are sexy) with captivating tension and a striking plot filled with mystery and action - everything I wanted from a spy film - could be a bit incoherent however at times, particularly in the final act ⚫strong performances and choreography ⚫entrancing cinematography

<B>77<B> <blockquote><I><B>David Holm:<b> I'm a consumptive myself, but I cough in people's faces in hopes of finishing them off.<blockquote> Supernatural, transcendent, and weary can all somehow describe Sjöström's renowned feature. Sjöström plays both lead director and actor here as we witness the story of David Holm, a man with an inconceivable past which has directly led him into the heart of a dying woman. Narratively, <I>The Phantom Carriage<I> has proved significant and invokes a myriad of fascinating themes; death, love, family, domestic violence, and maybe most importantly, faith. All of these compliment each other spectacularly in the right moments, most prominently in the film's final two acts, but where I struggled to find much satisfaction from Sjöström's feature, was in his opening act. On paper, <I>The Phantom Carriage<I> seems almost entrancing, hailed by some as <I>the greatest silent film ever made<I>, and by others simply as <I>one of the greatest film ever made<I>, my expectations had reached a considerable height. Unfortunately, Sjöström's impassioned story failed to reach those heights or even intrigue me as much as I had anticipated. For an extended period of time, everything that was conveyed felt rather tediously dull, a feeling that held a position of power for possibly the first 30-40 minutes of the film. This wasn't an entirely miserable experience and there are certainly some captivating sequences to be found in the film's early moments but on a wider scale, it was collectively detaching. Luckily, Sjöström transcends that barrier masterfully as he continues to invoke his powerful themes more dramatically and engrossingly. After the weary foundation is set, Holm's story unravels even further as his life is depicted passionately in the film's later acts. The pivotal scenes of corrupted faith, death, hope, or even love, are all too convictive through Sjöström's potent lens. It becomes enchanting and riveting in instances, effectively distinguishing itself from its rather tiresome preceding act. What makes these crucial scenes so poignant can often come down to the rich execution that Sjöström's story commands. Sjöström's innovative creativity, blended with Julius Jaenzon's mesmerising use of double exposure allows <I>The Phantom Carriage<I> to not only command our screens, but also our souls. The faded scenes which infuse the reality of Sjöström's story into our hearts, convict and compel all too frequently, propelling this intricate tale to illustrious heights while also remaining grounded and consistent. Despite the version you witnessed, Julius Jaenzon's visual sorcery will be evident no matter where you go. However, audibly, you are welcomed to a different atmosphere on each of those visits. I was lucky enough to encounter a restoration version, one which Matti Bye composed a tantalizing score for. His musical brilliancy and ability to command the screen through such a consistently evocative score, is both thrilling and compelling. Whether it conveys a sense of distorted horror or perhaps, a feeling of melancholic redemption, Bye's score is repeatedly infectious to the core and gripping in every crucial moment. Victor Sjöström's magnum opus as a director, <I>The Phantom Carriage<I>, is profound and complex with sequences of both visual and narrative wizardry evident throughout. However, its excessively stale opening act and lackluster build-up, oppress and subdue what was otherwise an appealing adventure. ⚫story didn't intrigue as much as I had expected or wished for (anticipated) and could feel quite tediously dull at times in the first half. but it picks up immensely in its final 2 chapters, with mesmerizing scenes of faith, death, hope and love ⚫sat on low or mid 4 for a while but picked itself up incredibly well, a dull story at the start but one that transcends that line masterfully as it invokes its themes more dramatically but also more evocatively. ⚫themes of family, love, death, faith, domestic violence ⚫incredible score on restoration version composed by matti

<b>56<b> Zack Snyder envisioned <I>Rebel Moon<I> to be something along the lines of <I>Star Wars<I>, a sci-fi extravaganza crammed with alluring visuals, distinct personas, and a gripping storyline to bring it all together. Unfortunately, wooden characters, a disheartening foundation, and an obnoxious use of slow-motion all hinder what could've been an engrossing sci-fi adventure. Snyder's vision is clear and even commendable but when you compare what he desired to construct with what he succeeded in creating, you are left with two very different experiences, at least I hope so. Snyder's feature is visually alluring and prospers through its appealing costume and character design, something that frequently produces an admirable environment for the viewer to indulge in. This environment can even be further amplified through Snyder's entrancing depiction of a war-torn galaxy, where the visual appeal is consistent and frequently the peak of <I>Rebel Moon's<I> appeal. However, in the grander scale of things, <I>Rebel Moon<I> still proves to be a much less gratifying experience than Snyder would have desired. <I>Rebel Moon's<I> portrayal of a divided galaxy is at times commendable yet also wearily defective once the camera rolls closer to the intricacies that lay on the ground-floor. The action-fueled nature of Snyder's story is evident and palpable through Kora's repeated altercations throughout her journey and while they offer some admirable entertainment value in moments, the tedious use of slow-motion provides a much less satisfying experience than you would imagine. I do believe there are some well-executed sequences evident throughout Snyder's feature but they seem to slip into the depths of your memory once the slow-motion contribution becomes constant. It feels like a child was at the helm of <I>Rebel Moon's<I> editing team and they have just found a new favourite toy to play about with, gradually increasing the weariness of Snyder's adventure. <I>Rebel Moon's<I> brawls showcase an alarming use of editing which rather than enhance Snyder's feature, instead diminish what is an already crippling experience. To add to <I>Rebel Moon's<I> woes, the tragic script which sits at the foundation of Snyder's story is only hindered more and more by the discouraging performances that bring it to our screen. No amount of style can support the lack of substance that inhabits Snyder's story, it feels lifeless and a mere replica of the utter magic that was <I>Star Wars<I>, just incredibly more flawed and dismal. The lack of ingenuity and creativity of Snyder's story only amplifies that exhausting sense of dread and predictability that encompasses <I>Rebel Moon<I>. For a film that can be so flattering visually, the monotonous storytelling is far too commanding to allow any admirable amount of joy to install itself into the heart of <I>Rebel Moon<I>. Snyder's ambition is heartwarming in itself, the sheer intensity of <I>Rebel Moon's<I> lore plays a significant enough role to showcase that, an aspect that retained my attention regularly. Which for some reason places a sense of optimism inside of me, as for all things considered I did actually enjoy this relatively so, and in some moments quite substantially. I heard rumour of a director cut being issued which may bring some light into this dim universe, as well as the sequel being confirmed, I do stand somewhat excited to see what Snyder can produce, hopefully something that redeems himself in the eyes of the public. <I>Rebel Moon<I> is admirably ambitious and visually commanding, yet possesses a minute amount of merit in any of its characters, storytelling, or wooden performances. There is certainly an inherent potential in Snyder's vision, but my only worry is that it will not be reached. ⚫Intended to be a sci-fi extravaganza but falls short with an overdose of slo-mo scenes that become obnoxious over time ⚫An enticing environment with much thanks to the visuals ⚫Actually enjoyed it relatively so and quite a lot at times but it just feels so meh from a character and script

<B>67<B> <blockquote><I><B>Amanda:<B> Aren't you the one who always said, "If you're not paranoid by now, it's probably too late?"<blockquote> Sam Esmail's <I>Mr. Robot<I> is possibly my favourite tv show of all time, so when I heard a new film had emerged from his coveted psyche, I was already excited. I didn't expect anything along the lines of <I>Mr. Robot<I> but what I did expect was an engaging piece of cinema that would be as bold and convictive as I know Esmail's work can be. While, <I>Leave the World Behind<I> is appealingly cryptic and brimming with intrigue, the execution feels jagged and rough, lacking much of the magic we know Esmail can produce. Esmail's story focuses on the intertwined lives of 2 families whom inadvertently end up sharing a luxurious rental home far from the tumultuous city-life while a cyberattack sweeps the rest of the country. The setting in itself is intriguing as uncertainty looms over every interaction and cryptic circumstance in the film's early moments. <I>Mahershala Ali<I> and <I>Myha’la Herrold<I> position themself on the Sandford's doorstep early on, carrying with them a foreboding feeling of suspicion, a feeling that will soon roam profusely throughout this home. G.H Scott <I>(Mahershala Ali)<I> continuously contributes to that daunting atmosphere through his ominous yet entertaining depiction, driving forward the story as the crucial focal point of character strength. Additionally, Ethan Hawke provides an alluring and gratifying performance much like the rest of the cast who convey their characters admirably despite some of the characters they portray being rather wearying. Accompanying the mystic George is his daughter Ruth <I>(Myha’la Herrold)<I>, who fails to accumulate as much intrigue and engagement as her father and quite tragically so. Ruth tends to be overly irritable and woefully commanding at times, leading the film down a narrow cul-de-sac where little merit can be derived from. Ruth is not the only source of displeasure from a character standpoint however, as our primary protagonist Amanda also vexes in sequences. Amanda is much more tolerable but she can still be frequently off-putting and repelling, credit to Roberts' performance for her conviction but Esmail's character creation was far from joyous as a viewer. Tod Campbell predominantly led the cinematography for <I>Mr. Robot<I> (all but 1 episode) and undoubtedly has produced some of the most appealing cinematography of modern-day television, something that is distinctly evident in <I>Leave the World Behind<I>. As a visual entity, his style is compelling, smooth and evocative, illustrating each scene with a taste so authentic that you can practically feel it in your hands. This is far from the heights of <I>Mr. Robot<I>, how couldn't it be, but the appeal is palpable and the conviction commendable. An eerie and ominous sense of mystery pervades the entirety of Esmail's feature, yet ultimately to what prevail? The surface is only scraped and peeled back in moments as the story unravels, the tension is sufficient and palpable but without a worthwhile conclusion, it can feel quite obsolete. The climax is subtle and I'd assume intentionally so but in that manner it feels like a set-up for a sequel rather than a single conclusive feature. There is clearly nothing on the horizon and I would be shocked at a sequel taking form (even though it could be incredibly exciting and even fulfilling if executed correctly) but from what we have seen, there is clearly something absent in Esmail's execution that would solidify this cryptic story. Esmail's most recent feature proves to be a dazzling piece of intrigue and mystery which offers an entertaining experience that despite its efforts, never truly engulfed me. A distinct deficiency of anything fulfilling in its disappointing climax leads Esmail's story to struggle with depicting its commentary in a manner that will neither impress or remain with viewers long after its conclusion. <I>This review is a structural shambles<I> ⚫full of mystery and intrigue bu

<I>SPOILERS AHEAD<I> <B>46<B> When you arrive 45 years late to a franchise as iconic as <I>Halloween<I>, you are liable to encounter some less than appealing renditions or sequels to such a prosperous entry into the field of horror. Luckily for me, I had the grand opportunity of witnessing <I>Halloween Kills<I> as my introduction to this renowned series, a film that seems to fit into that <I>"less than appealing sequels"<I> category. David Gordon Green revived the archaic Myers from his sleep back in 2018 with his own <I>Halloween<I>, a resurrection that was actually received relatively well, especially when placed side by side with his more recent <I>The Exorcist: Believer<I>. Despite this welcomed renewal of the famed serial killer, Green's sequel proves to be a much less tantalizing experience, at least in the eyes of the public. <I>Halloween Kills<I> offers exactly what its title depicts, an assortment of grisly kills reaped in the dead of night. The murders are intense and generally convictive enough to supply an appealing sense of both gore and horror as Green executes the slasher nature of <i>Halloween<i> to a degree surpassing his storytelling capabilities. Green's eyes seems to be almost glued to the idea of fulfilling any slasher hopes and anticipations that may have been present following his previous feature. This aspect of Myers' reign seems to completely overshadow any intent on producing a compelling narrative to fuel Myers' rampage. Slashing and stabbing instead play the most dominant role in <I>Kills'<I> storyline, allowing cheap thrills and tedious deaths to overflow Green's feature rather than it being a potent character driven fright-show. In an attempt to accentuate its various scenes of bodily harm, <I>Kills'<I> yet again falls into another pit of both monotonous storytelling and filmmaking as the pitiful trope of <I>idiotic characters in a horror film<I> appears in full motion. Despite an appealing amount of the kills evoking some sort of benign emotion inside of me, the events that led to these crucial moments are all too ingenuine to make them commendable. For example, in every instance where a supposedly vacant house is to be explored, the characters are seemingly required to split up <I>to cover more ground<I>, or some other nonsense where the conclusion of this investigation is already set in stone. Too many deaths are predictable and tediously set-up to the point that they become devoid of any emotion, if there ever was any present in the first place. After making a name for herself as a scream queen, I expected at least something thrilling from Jamie Lee Curtis' <I>Laurie<I> as she has evidently become a recognisable face due to her portrayal in this famed franchise. Curtis takes very little time to make an impression as her resilient <I>Laurie<I> takes to the stage, lamentably however, she carries quite a foul taste for being such a focal point of the film. As we see more and more of Laurie, it swiftly becomes quite transparent just how vexing and intolerable her character is. I'm optimistic that she is depicted more glamorously in her earlier appearances as she is clearly such a pivotal aspect of the franchise, yet there is very little delight to be derived from her appearance here. For all of its defects, there are still some inspiring moments of conviction to be found during <I>Kills'<I> runtime. I particularly appreciated the chaotic chase through the hospital where one unlucky escapee from the local mental asylum is subjected to a brutal manhunt. The pure horror and distress in the escapee's eyes accompanied by an ensuing mob of traumatised civilians searching for justice. The climax in itself is moving and for what was otherwise a particularly mediocre experience, there are moments of merit to be found in this singular sequence. I don't think anyone doubts that <I>Halloween Kills<I> is a messy film, surrounded by cracks and flaws at every corner, yet there is still a certain level of enjoyment that can be derived from these dismaying aspects. Personally, I found myself to

<b>63<b> Ficarra and Requa craft an enticing crime film that is led by some big names but apart from the cheap thrills, <I>Focus<I> doesn't amount to a whole lot. Now, that sounds like a bad thing but the truth is I don't believe <I>Focus<I> actually intends to be anything divine or spectacular. The concept of <I>Focus<I> in itself is appealing and tempting yet was never really going to be anything powerful under the guidance and genres that it is bound to. <i>Focus<i> does provide some moments of laughter that invoke its comedic nature quite admirably so while never going off the rails and trying to overdo itself. On the other side of the spectrum, <I>Focus'<I> actual storyline is infused with a lighthearted portrayal of crime that still conveys some dazzling depictions of tension. The <I>conning<I> or scamming side of crime is seldom the primary focus in cinema or even literature but Ficarra and Requa's decision to convey it under such a focused scope allows a breath of fresh air to infiltrate our minds. The crime is cunning and in moments it can be both commanding or dismaying but generally it remains ambitious and carefree. <I>Focus<I> still never strikes me as much more than a joyous crime story with some crowd-pleasing actors at the forefront but its simple execution and entertaining nature allows for it to be a delightful time-killer which does nothing more or less than it intends to do. ⚫Getting a bit bored of watching mediocre films but ⚫It was a fun time killer that amounts to very little but doesn't intend to ⚫Provides some moments of laughter and some scenes of dramatic tension ⚫Story was enjoyable and I liked the con aspect but it never stood out as more than a joyful crime story ⚫Executed well as what it is and was an enjoyable watch, nothing more

<b>58<b> Nowadays, when we look at Joel Crawford's resume, <I>Puss in Boots: The Last Wish<I> stands out remarkably as a film that received a mountain of praise and even an Oscar nomination to top it all off. However, If we look only a few years into the past, we are met with, <I>The Croods: A New Age<I>, a sequel into the lives of one of our favourite primitive families. Lamentably, this sequel was a seemingly much less divine experience than what Crawford has more recently created yet it still remains a lighthearted experience which transports us back into the prehistoric and fictitious origins of humanity. The Croods are chaotic, energised, and most of all, divided. The conflicting nature of an ambitious adolescent coupled with an overprotective parental figure is a tale we have seen countless times before. Here, it is illustrated as vibrantly as you could imagine through compelling visuals and a childlike wonder in its worldbuilding but neither of those really enhance the mundane nature of the storyline enough to overshadow how shallow the plot actually is. Don't get me wrong, <I>A New Age<I> is packed with energy and it provides the lighthearted family adventure that you likely came here for but it also offers something very similar to what you could find in any other animated comedy of the last decade. It follows the very simple template of an already fractured family being torn apart by the film's antagonist, only for everything to be repaired by the end of the film with some superficial lesson about the importance of family at the forefront of it all. Little is done by Crawford or any of the writers to distinguish this from the myriad of animated features out there which this eerily resembles and so as a result, <I>A New Age<I> stands as a rather generic copycat of a tale we have seen hundreds of times before. The adventure is still spirited and relatively delectable with the alluring character dynamics providing a feeling of joy and entertainment at many crossroads, an aspect that this tedious plot frequently lacks. A side-effect of portraying such a prosaic storyline is the fact that nothing ever actually feels at stake. The relationships that are seen to be in peril, are almost always destined to survive in these subpar animations. Not everything is routine about these storylines and I wasn't sat there aiming to predict each focal point of the movie before it came along but you don't need to ruminate over each event to come to the conclusion that you've seen this scenario play out before. <I>Dreamworks Animation<I> have been positioned amongst the heights of animation in cinema for quite some time now, providing us with the many enchantments of <I>Shrek, Kung Fu Panda, and How to Train Your Dragon<I>. All of which <I>(I assume HTTYD does as well)<I> offer an engrossing depiction of their worlds and characters. This is no different for <I>The Croods: A New Age<I> where the atmosphere is vibrantly conveyed through some pleasant visuals. The environment is hazardous and tricky yet also energetic and playful due to the delightful animation on display. It seems that these modern-day animations don't quite amuse me as much as they once did and while there is an often absent sense of excitement in Crawford's piece, the gratifying character dynamics, visual enthusiasm, and lighthearted atmosphere all provide a relatively engaging experience nonetheless. ⚫Light-hearted fun family adventure that doesn't do a whole lot to differentiate it from many other animated family comedies but a relatively enjoyable viewing nonetheless ⚫Fun character dynamics* but the story can feel quite stale a d very much template - following the same idea of fractured family that gets torn apart by bad guy but then everything comes together ⚫These modern day kids animations really never excite me any more ⚫Didn't really care about the relationships at stake and there never felt like much was actually under threat - maybe because everything is pretty predictable ⚫Lovely animation with a vibrant atmosphere/setting

<b>55<b> I was never really into Pokémon, neither as a child or a growing adolescent but it is hard to neglect the influence that the franchise has possessed during its lifetime, one that spans back over two decades. In recent times the culmination of that influence most certainly has to be <I>Pokémon Go<I> which took the world by storm only a few short years ago. Since then, the franchise's output seems to have diminished significantly or maybe just not been as monumental as that of the sensationally well-received game. <I>Pokémon Detective Pikachu<I> seems to have fallen into that bracket of expansion which fails to reach anywhere near the heights of the franchise and to be quite frank, struggle with even being a moderately enjoyable experience. Once I seen Ryan Reynolds was at the forefront, there were feelings of both optimism and suspicion adrift in my mind before I had even clicked play. Reynolds is an appealing persona and an entertaining one at that but this also felt like the kind of film where a famed actor was chosen to produce some sort of merit for what is going to be a dull experience. To my surprise, Reynolds seems to be one of the many anchors that were lodged into the side of this adventurous feature. I don't see Reynolds as the most oppressing aspect to this ambitious piece of cinema but once you pair him with the other assortment of actors inhabiting this film, they collectively offer very little notable from a viewers perspective. None of the actors really ever excited me, each performance is reminiscent of something mundane and robotic where somehow each entrancing character now seems somewhat hollow and dull. In contrast to this, the other visual depictions were quite flavoursome and pleasantly illustrated. The blend of animation with reality is one that has been growing more and more popular over the years and while I will say they don't always come out great as a complete entity, there is a sense of engagement to be derived from it here. The animation in itself was quite exciting and dare I say alluring, a fundamental visual aspect which shockingly offers a more convictive appeal than that of our performers' bleak renditions. Entering the world of Pokémon after only being acquainted with it minorly in the past was quite a delightful experience. The setting is attractive and complimented by its fictious elements which still resemble reality. While exploring this lively environment we gradually become accustomed to the film's resourceful antagonist, a villain who also tends to be feeble and forgettable. Nothing truly feels at stake until the film's final sequences and even then, our antagonist is just brutally monotonous and unengaging. It sounds like a miserable experience when I say it like that but really, there is nothing remarkable or significant about the film's antagonist to lure viewers in further. As someone who has only encountered the Pokémon franchise a short few times during my life, I may not be the correct audience for <I>Pokémon Detective Pikachu<I> but from my experience, once the franchise takes to live-action its fabrications still prove to be the series' strong point. I found myself enjoying the Pokémon of the story significantly more than the actual plot or any of the human characters that inhabited this tantalizing universe. They enhanced and solidified what would otherwise have been a dismal performance restrained by a flat storyline and wooden performances. ⚫Actors never excited me and felt quite hollow and dull ⚫Animation was exciting and the blend of live action with animation was engaging ⚫Entertaining setting ⚫The villain was weak and forgettable, nothing was actually at stake until last 20 minutes ⚫Not massively into Pokémon so maybe not right audience but enjoyed the Pokémon quite a lot - Pokémon were best aspect of an otherwise dull story with lackluster performances

<b>78<b> <blockquote><i><B>Dutch:<B> Get to the Choppa!<blockquote> After watching so many films that all sway between the lines of <I>meh<I> to <I>pretty good<I> in quick succession, a foul taste begins to form in your mouth, leaving you optimistic about your next experience but also desperate that it is gratifying. <I>Predator<I> is a film that not only fulfilled my wishes of an engaging experience but one that also injected an atmospheric sense of tense uncertainty into me, a feeling that I had long missed. Set in the fictitious <I>Val Verde<I> deep in the heart of Central America, a war is brewing and Schwarzenegger's team of highly-skilled operatives seem to be at the forefront. <I>Val Verde<I> is as legitimate as you could imagine, derived from the authentic jungles of Mexico, there is an inherent power and mysticism surrounding it. These war-torn terrains are gripping from the outset while the succeeding hunt is just as exhilarating as the land that it unfolds in. One of the reasons <I>Predator<I> shines as much as it does is the fact that it is tangible, the reality of McTiernan's setting is distinct and the accompanying storyline of a relentless hunt unravelling in the depths of these jungles is not one that completely boggles viewers. <I>Predator<I> is more than a mundane manhunt, it offers a concrete sense of uncertainty with a palpable atmosphere that is frequently absent in modern-day thrillers. It feels just a touch off the zenith of 80's thrillers, but is still commanding with an atmosphere that entices viewers from the start mixed with a tantalizing storyline where the unknown becomes infectious and unyielding. The tension is generated primarily from the hostility of outside influence, an aspect that is both penetrating and hypnotic under McTiernan's guidance. At the vanguard of this oppressive onslaught is Kevin Peter Hall's resolute stalker, an otherworldly alien which has found joy in massacring the lost souls that parade these jungles. Hall's depiction is eerily and frighteningly effective in sequences but a feature that stood out the most to me was just how physically repellent it truly was. When I tell you that specimen was grotesque, I might just be being too kind. It amplified the deterring nature of the beast both from an outside perspective and I can only assume once anyone came face to face with it, they had just a few thoughts on its grisly appearance. Those characters that did encounter this horrid creature were often unable to cross the path of anyone else residing in the jungle (or on this globe) ever again but while blood did circulate throughout their veins, they tended to be a pleasantly entertaining assortment of personalities. Each character is unique from one another yet the bond they hold is universal, to the point that the emotional links forged accentuate that recognizable fear for survival which encompasses us all in our most dire moments. The only drawback of this crew becoming the film's focal point is that no single character really feels that fleshed out. Each has some striving force separate from the others and a particular characteristic to distinguish them yet no one character actually feels <I>enthralling<I> without outside influence. Nevertheless, the heightened emotions derived from this group can certainly be attributed to our spirited cast's performances rather than the Thomas brothers' screenplays, but it is more courteous to praise each entity involved as they are each nothing without the other. Essentially, Schwarzenegger's thick European accent propels a group of commandos into the harsh conditions of one fabled Val Verde in order to rescue a crew of ailed airmen, all while a psychotic <I>predator<I> from the depths of outer space finds entertainment from their demise. The journey is engrossing and evocative, if absent of any true anchor to solidify the conviction of such a potent atmosphere. ⚫An actual good film with tension, atmosphere and a strong sense of fear derived from the unknown ⚫A world that comes to life due to its realism and the fact t

<b>59<b> I've never really played the games, I mean I did start one of the games in some collection before but I only completed the first mission and then left my <I>Uncharted<I> experience behind to join the ruins of uncompleted games on my PS4. I say this as a ways to communicate how I really hold no connection to this daring universe. If there are any inaccuracies to the games, small or significant, they were inconsequential to my experience. I approached <I>Uncharted<I> with aspirations for a simple yet thrilling adventure, one that would convey the beauty of a forgotten history and the glimmering jewels left behind. And for all that 2022's <I>Uncharted<I> is, it still remains lighthearted and relatively fulfilling of those dreams. Drake's adventure is one that is able to elicit those tantalizing thrills in sequences but it assumes the role of a mediocre action/adventure flick far too often. The pursuit of a lost treasure, and one as alluring as the sight of gold is simple and a concept that from what I understand stays true to its source material. It is relaxing in its tone but brimming with tension during the right pursuits, allowing a simple blend which doesn't thrive but still produces an entertaining journey in moments. An underlying romance seems to take form in the majority of action films nowadays, dare I even say in the lion's share of all films actively produced and while they can be pleasurably convictive in instances, <I>Uncharted's<I> romantic ambitions are instead rather lifeless. To be blunt, the romance is dead. Any authentic or convincing chemistry is absent and it drains the film of any engaging narrative standpoint far too often. If it is much of a romance in the end, there is a weary amount of admirable conviction to be derived from it. As the focal point of the film, Drake is quite an entertaining and enjoyable character to witness. He is bold, adventurous, and reckless once his ambitions become tangible, a set of traits that suit the world which he inhabits quite splendidly. Opposing this spirited individual is the devious Moncada who seems to feel right at home under Banderas' portrayal. While Moncada is far from sublime, he fits the story convincingly and offers some promising antagonistic thrills. Unfortunately, he fades away all too soon and instead seems to just carve out the path for a much less appealing or compelling villain to replace him. Truly, Moncada just feels underappreciated. The succeeding antagonist is all too bland and unremarkable for any sort of excitement to filter itself into the story while the archaic link between the protagonist and antagonist seems to be the only aspect holding together this tiring relationship. There is still some enjoyment to be derived from their back-and-forth altercations but nothing substantial enough to outweigh the mundanity that encompasses this prosaic story. 2022's <I>Uncharted<I> is a narratively dismal journey which lacks any potent enough conviction to convey why millions fell in love with the franchise. Despite this, it still possesses a lighthearted tone and enough cheap thrills to offer some sort of commendable experience to any viewer looking to kill time. ⚫No relationship with the games so any inaccuracies present there are negligible to me ⚫Enjoyed the adventure and the thrill of the hunt for gold ⚫The romance is dead and unengaging with little to truly appreciate, if it is much of a romance in the end ⚫Drake is enjoyable and an entertaining character to watch while the story at play suits a devious antagonist but moncada is underappreciated and leaves too soon ⚫Following antagonist is dull but holds a connection to drake so is enjoyable in that aspect ⚫Light-hearted and relatively enjoyable but nothing special - narratively weak but an entertaining little attention flick

<B>79<B> <blockquote><I><B>Elspeth:<b> I was a lesbian for a while, you know. But it was all just too wet for me in the end.<blockquote> <I>Saltburn<I> is a film that somehow took the world by storm last year, likely due to the powerful cast or maybe even the fact that <I>Murder on the Dancefloor<I> became a worldwide sensation for a considerable amount of time. But at the core, <I>Saltburn<I> is a rather convoluted, intriguing and in moments outright bizarre fever dream that has polarised viewers globally, and after watching, I can understand why. In the heart of Saltburn, provocation seems to be constantly parading the halls as the intricacies of Oliver Quick's new life offer a welcomed sense of compulsion for much of the film's runtime. However, at what point do these complexities become rather tiresome and excessive with no real benefit to descend from the insanity that looms around every corner? Many scenes which elicit some sort of disturbance towards the viewers can be convictive but not when the outcome is entirely insignificant to the story it inhabits. The focus is all too frequently aimed at unnerving viewers rather than painting a more vivid picture of the characters it depicts or even accentuating its <I>questionable<I> commentary. Sure, the surreal nature of Keoghan's character is illustrated later in more detail but that feels like a side-effect to Fennell's true goal in one way or another. Despite the inordinately unsettling tone that encompasses much of Fennell's story, there is still a prominent enough sense of ambiguity being conveyed that will lure viewers deeper into the seclusion of Saltburn. The film is rarely blunt and always entices viewers through a myriad of <I>eye-catching events<I> which stray far from any sense of mundanity or repetitiveness but of course as previously mentioned, they can sometimes wander too far down that dim-lit alley. At the forefront of this uncertain journey is Keoghan and Elordi who both convey why they are currently sitting in the limelight of casters worldwide. They are both intensely convictive and dominant over our screens with only a few moments of insincerity to be found in their consistent portrayals. Accompanying this dazzling duo is an assortment of other actors, some renowned, some aspiring, but all admirable in their depictions. The side characters that they portray are often entertaining enough to diversify the focus of the film from the sights of Felix and Oliver but the unsettling aura that encompasses the story has a pervasive enough grasp to darken their glow. As we all know, <I>Murder on the Dancefloor<I> has grown to colossal heights following its association with <I>Saltburn<I> and significant role in the film's climax but the joys of Anthony B. Willis' composition don't end there. The thrilling classical climaxes and simply more classical orientated scenes are often the most gratifying audibly with plenty of merit to be found in <I>Saltburn's<I> less disturbing aspects. As far as <I>Saltburn's<I> actual conclusion comes about, I'm not sure how exciting it truly is. The character development comes to an end and we are left with a transparent picture of Fennell's vision, but why? Saltburn is an estate that thrived off of its ambiguity and uncertainty but once that is taken away, half of its thrills are stolen from us as well. I'm almost certain that <I>Saltburn<I> would've proved much more commendable and captivating had it illustrated its final moments in the same foggy tone that had previously encircled it. Emerald Fennell's <I>Saltburn<I> is eerie, distressing, and questionable but above all else, polarising. It tends to prove admirably entertaining and alluring yet also tragically absurd and discouraging once it sets its sights on something slightly more <I>out of the box<I>. ⚫a convoluted story that provokes and compels viewers time after time again, however sometimes with no substantial benefits - just to creep and unnerve viewers - possibly to display the surreal nature of Keoghan's character. ⚫ story is enticing and never b

<I>SPOILERS AHEAD<i> <b>68<b> <blockquote><I><b>Jim Gordon:<b> Wayne promised this world's fair would be a paradise of cleanliness and light. But what does a light in the darkness do? It draws flies. Vile, unclean like you.<blockquote> Shrouded by the murky glow and moonlit fog of a Victorian era Gotham, Batman's adventure travels down a new alley and it proves to be just as convincing as the somber and chaotic Gotham we all know and love. The blend between your typical Batman detective story and the notorious mystery of Jack the Ripper is an unusual but felicitous combination which propels this Batman story into new lands that we have never seen on our screen before. The mixture is welcomed and compelling but limited, down this cul-de-sac the only real focus was a distinguishable journey in Batman's shoes. This was never going to reach the heights of what we had seen in <I>Mask of the Phantasm<I> or any other animation which depicts Batman in such a sincere tone but this was still going to be a fun and entertaining journey that relished in the detective side of Batman's life. I'm not sure how accurate this is to the graphic novel of the same name wrote by Brian Augustyn and Mike Mignola but whoever's efforts it was to play a twist on some of the common Batman mythos, I admire it. Jim comes to mind instantly when this topic is brought up and I think his new attitude is a pleasurable treat all things considered. It is exciting and fresh yet believable enough to also be convictive, a modification that proves delightful after all is said and done. Lamentably, that seems to be the only aspect that can distinguish this Batman animation from the 50 other which possess a similar amount of commendable traits. As far as the animation itself goes, there are moments of beauty but also contrasting moments of ugliness to be seen throughout. On a more consistent level, it remains delightful however, rarely exceeding or slipping beneath its expectations. The addition of Jack the Ripper was in itself always going to be exciting but the unravelling of his mystery was a complete spectacle. Jack is as dark and ambiguous as you would imagine and his role in Batman's life is all too fitting for this alluring storyline. The final reveal is gripping and concludes what tends to be a flavourful and engaging Batman journey. Complimenting the ominous duties of Bruce's nightlife is also the action-fuelled side of things, which are unfortunately less consistent. They tend to be about as entertaining and absorbing as many other feature's of <I>The Caped Crusader<I> yet on occasion, the action sequences drag and diminish what is otherwise a generally enjoyable experience. The reason this journey is so powerful, like many Batman films, is its rich atmosphere and in this instance, somewhat strong soundtrack. The sharp shrieks from the nearby alleyways and translucent fog which appears every night all amplify this potent atmosphere and Batman's pursuit of the Whitechapel fiend. Of course, in this case the soundtrack supporting Batman's hunt isn't quite as infectious as other Batman features but it does show glimmers of gold in moments which prove effective in their own regard. Similarly to many of Batman's depictions on the big screen or otherwise, Selina Kyle follows him onto the stage and accompanies him on his adventure one way or another. Here their relationship is more companion like rather than the opposing sides we have seen them take before but Selina's portrayal is overall comparatively tedious instead of something more joyous like it could've been. Kyle's decision making is questionable and peculiar in many situations with very little beauty to be found in her character. While distinct from her other renditions, it is not for good reason leading the story down a dreary lane of discouragement. Batman's journey into the Victorian era is as enthusiastic and exciting as you would anticipate with a chilling mystery and thrilling pursuits taking form around every corner. Yet nothing is truly remarkable about the piece and with little

<B>86<B> <Blockquote><I><b>Nick:<b> When I think of my wife, I always think of her head. I picture cracking her lovely skull, unspooling her brain, trying to get answers.<Blockquote> <I>Gone Girl<I> is meticulous, intricate, and exhilarating, yet also somewhat disappointing. The story in itself is engrossing, swerving between the themes of domestic abuse, struggles in marriage, and an alarming sense of self assurance when all else proves otherwise. The complexity of Gillian Flynn's characters and their ever expanding lives is what elevates these themes beyond the mere surface level of gratifying tension. Nick and Amy Dunne are real, they aren't just wooden cut-outs that were left to rot in the shed but rather a hyperbolic depiction of why such a crippling number of marriages dwindle out. The hyperbole I mention is most obviously the missing person's case of Amy Dunne and its devastating impact on not only the lives of her close family but also upon the entire country once her case becomes the focal point of a media manhunt. The reality of this case and the intricacies of Amy's plan are what ultimately drive this plot forward as each revelation and execution portrays why <I>Gone Girl<I> is so intense and convictive. Amy is precise and meticulous <I>(if not also a tad loony)<I>, she controls each scene so effortlessly even when she is not stood on the stage but when she is right before our eyes, staring us down, Rosamund Pike amplifies her conviction by magnitudes. Pike's Oscar nominated performance is one for the ages, each time she steps out in front of the cameras, an aura of deceit, mystery and petrifying evil accompanies her. She is subtle and calm on the outside but a time-bomb waiting to go off once you look deeper. The harsh authenticity that pervades her character is only one of the reasons why Amy is such a tantalizing and convincing antagonist but a vital aspect at that. Her accompanying spouse of Nick Dunne is also compelling and impressive but not equally so. Affleck is unwaveringly cogent yet also tediously wooden in moments. I think Affleck was utterly entrancing at times and consistently performed to a scale that not many will reach but his scenes of misplaced relaxation prove palpable. Who am I really kidding though, he was phenomenal, and mesmerising in instances which far outweighs his few moments of plainness. The fashion in which Jeff Cronenweth shoots <I>Gone Girl<I> is reminiscent of why Fincher has desired to work with him so many times. The visuals are distinctly alluring and evocative, the movement is smooth and fluid, never opting for utterly commanding shots which displace the atmosphere but rather simple and effective camerawork which maintains the consistency of <I>Gone Girl's<I> tragic ambience. For such a captivating and enthralling thriller which conveys the bewildering lives of a dying marriage sinisterly, its conclusion is relatively discouraging. I can comprehend its intent on being a subtle killer, like a blunt knife piercing your heart as you can only bleed out and let it happen but that climax wasn't as evocative as I had anticipated. From what I understand, Fincher's feature is accurate to the book <I>(a book which I recently picked up for the price of nothing)<I> which is commendable but for me it wasn't nearly as effective as I imagine it has been for so many others. A riveting two hours for something which proves rather lackluster in its crucial final moments. <I>Gone Girl<I> is immersive and absorbing with each moment being a separate depiction of the somber reality that encompasses many despairing marriages. While the exaggerated personalities and performances involved in this crippling marriage exemplify how such a grave and melancholic topic can be powerfully arresting given the right execution. ⚫ Engrossing, fuelled by complex characters and phenomenal performances ⚫ Meticulous, exciting, commanding - the intricacy of the plan was the commanding aspect ⚫ A story of impactful and striking themes (domestic abuse, struggles in marriage, personal development, con

<b>71<b> <Blockquote><I><B>Martin:<B> At that time, I thought I was the only one who ate spaghetti that way. Me and my dad. Later, of course, I found out that everyone eats spaghetti the exact same way. Exact same way, exact same way.<Blockquote> Cunning and unnerving while effectively awkward in its conviction yet oddly decrepit in its final remarks with an unsteady balance of ideas that never really come together. Lanthimos is hardly confined here and as my introduction to him, this is a rather enticing feature to experience. There are fragments of experimentation all about and he presents a concept that for all its weirdness can be rather convincing. The themes are mixed but the tone is palpable, paving the way for any success which can be derived from this intricate adventure. Yet, to support this tone and really embrace it, a connection with the characters that it shapes is practically essential, at least in order to elevate the experience beyond the simple mundanity of regular cinema. That bond is distinctly absent here and any miniscule sense of attachment is too feeble to really take form past the clumsy chains which already bind us all. Lanthimos does craft an intensely creepy and eerie story however as many revelatory sequences and otherwise produce that ambiguous sense of horror which profusely parades this peculiar tale. In this regard, the horrific thrills can be deeply unsettling and convictive yet also obsolete in the grander picture, displaying Lanthimos' preference to convey harsh style when the substance is evidently missing. At the forefront of these sophisticated thrills is the one and only Barry Keoghan who yet again plays the role of an awkward and deceitful character eerily effectively. He alone is commendable in his aptitude for the task but once you couple that with what I hear is Lanthimos' trademark of direct and monotonous dialogue, you have yourself an alluring blend of mystery to fuel this conflicting story. The peculiarity and novelty of Lanthimos' dialogue is in itself strangely convincing and while I enjoyed it maybe that was just due to its novel nature. It was a refreshing take on casual conversation and apealing in the moment which while adequately conveyed for such a stark story, it isn't something I can see retaining that aura of excitement if, or when, I encounter it again. Aswell as this verbal impression on our auditory canals, the vast amount of classical pieces and otherwise notable aspects of <I>Sacred Deer's<I> soundtrack are yet another conflicting feature of Lanthimos' film. There is little doubt about the soundtrack's effectiveness as it is able to highlight that disturbing nature of the story so grippingly in moments but at times it also delves too deep into distortion and ends up being woefully distracting. An inconsistent blend which never truly finds its balance. While I have mentioned that the crippling atmosphere of Lanthimos' feature is the clear driver of the film, its lack of resulting merit is one that makes me wonder what it was all really for. The grim reality of the Murphy family's adventure is deeply upsetting but rarely if ever exhilarating. While the conclusive moments of their story proves subtle, I wouldn't say rewarding for what was a story of methodical build-up and complex moral dilemmas. <I>The Killing of a Sacred Deer<I> consistently proves to be a pleasantly ominous and disconcerting experience. However it is unable to both form an emotive bond with the viewer and fulfil their expectations after such a convincing build-up. This, among other aspects, only acts as an anchor for Lanthimos' bleak tale of consequences and moral dilemmas. ⚫ It's cunning and weird but there doesn't feel like much reason to support the protagonists, whether there should be or not - no connection to characters ⚫Outright unsettling in some scenes, conveying horror well ⚫weird and generally compelling but rarely exhilarating ⚫Keoghan plays yet another awkward character and to a commendable level ⚫Consequences? ⚫Musically distorting, often to highlight disturbin

<b>47<b> <Blockquote><I><B>Wadsworth:<B> But he was your second husband. Your first husband also disappeared. <B>Mrs. White:<B> But that was his job. He was an illusionist. <B>Wadsworth:<b> But he never reappeared.<I><Blockquote> <I>Clue<I> is something of a cult classic in the murder mystery genre, it is a darkly comedic tale on the gripping concept with some novelty in its execution that places itself in the spotlight of newcomers to the genre. Despite <I>Clue's<I> esteemed status, there was very few moments of genuine intrigue or compulsion from the feature that I had previously anticipated. From my experience, the atmosphere is practically non-existent. I don't doubt there are moments of comedic ingenuity and some entertaining altercations throughout the film but on a larger scale, the comedy is about as alluring as a stale loaf of bread. I think much of my dissatisfaction can be derived from the fact that the characters that encompass Landis and Lynn's journey are all too bland and shallow. Simple and tasteless tropes being thrown in here and there results in Tim Curry's frantic butler being the only character who actually possessed some sort of effective charisma. I don't think anyone actually doubts that Curry is the star of the show but to be so far above the other characters is quite a worrying feat once you look back on it. Any moments of intrigue or dazzling suspense that the film does convey don't lie too long before the evident signs of poor writing or simply appalling dialogue seep through. At every stretch, the dismal comedy on display drags out much of the film's excitement and leaves a sorrowful impression of what could've been. Obviously, comedy is subjective and there is an entire army of worshippers out there who will die on the cross that <I>Cure<I> is among the zeniths of comedy films but for me, it stands far lower. From what I understand, if you were lucky <I>or unlucky enough<I> to see this on the big screen during release, you could've become accustomed to any of 3 separate endings and while that does sound attractive, the resulting conversion to one complete film holds a different aura of enthusiasm. Each summary and repetition is tiring and exhausting as we bear witness to Curry completing nothing short of a cardio workout as he parades the halls of this archaic mansion, narrating each and every event that occurred on that fateful night. It just becomes long and excessive while none of the endings actually feel fulfilling or worthwhile after such a weary adventure. I do believe that if I had only witnessed one ending, the film would've been more gratifying in its conclusive moments but if none of them are delightful singularly then what hope is there for that experience to actually be much better. Despite all of this, <I>Clue<I> is a film brimming with potential and one that still depicts a relatively enjoyable adventure throughout but the bleak comedy, one-dimensional characters and tedious conclusions only inhibit what could've been a tantalizing experience. ⚫ Laughed very few times, comedy rarely connected ⚫ Characters were so dull, none of them ever felt compelling apart from the butler ⚫ Atmosphere is nonexistent, the moments of intrigue suffer from poor writing and unappealing comedy - weak comedy drags the atmosphere out of the film and gradually destroys it ⚫ 3 endings is kinda cool I suppose, none of them struck me as a worthwhile climax - with curry running frantically over and over to no prevail - all the summaries were tedious and felt incredibly long - maybe because I watched all 3 of them at once rather than getting the original reveal of a singular outcome that many might've got (not really though) ⚫ Fun idea but lackluster execution with dull comedy, boring characters, tedious conclusion, relatively enjoyable adventure, Curry's compelling and charismatic performance

<b>83<B> <Blockquote><i><B>Mrs. Danvers:<B> Why don't you go? Why don't you leave Manderley? He doesn't need you. He's got his memories.<Blockquote> Manderley is lush yet antique. It is an estate which contains ominous personalities and unnerving entities but at the heart of all of that, it is merely a haven for the unknown Before we truly step our soles into Manderley, Hitchcock sets the foundation of the intriguing romance which will soon locate itself inside those walls with tender care even if it can be less than entrancing. I was never hooked so to say on this brewing romance in the film's opening scenes but despite this, the manner in which Hitchcock sets the stage is commendable. There is a level of uncertainty blended with a degree of mystic allure to the character that is Maxim de Winter and his crippled past which by all means entices viewers into this unknown estate. His new romantic aspirations are persistent and while his past is mysterious, it only adds to the allure of Hitchcock's developing show of suspense. While this mystery fuels each scene, the characters which it encompasses are the true delights of Hitchcock's thriller. They are layered and engrossingly so with each minute detail only contributing to the compulsion of their characters. Ms Danvers is often the character that physically stands out from Daphne du Maurier's work, particularly through her subtle conviction and the dramatic horror which she elicits. She is foreboding and eerily cryptic like the rest of this gripping tale, standing as an age-old remnant of the dark history which Manderley possesses. Judith Anderson at the forefront of this depiction is a delicacy in itself as she brings a tantalizing sense of conviction and harsh horror to du Maurier's words. While Hitchcock was the one to bring du Maurier's work to life, I can only truly praise du Maurier for the beauty of <I>Rebecca's<I> storytelling. As each pivotal revelation takes form and the film continues, the mystery is only amplified with each cunning expansion. The film sways between disclosure to disclosure without ever feeling excessive and overdone, a feature which many common-day mysteries and thrillers fail to execute. Much of <I>Rebecca's<I> magic is derived from the unknown but more specifically from the entirely unseen yet still dominantly commanding Rebecca. As the titular character, one may expect a more visible embodiment of Rebecca but often the beauty is in what we don't see. There are remnants of her existence in every corner of the estate and deep in the souls of all those who continue to walk the halls in which she once inhabited, yet she also somehow remains alive and unyielding through these corridors. Hitchcock vitalises a spectral presence into a daunting and overwhelming entity which you can not touch or see but fell at every turn. Rebecca controls each scene unmistakably and throughout every interaction, leaves an unsettling impression which feeds the already growing fire which she constructed. Hitchcock's <I>Rebecca<I> is gripping, suspenseful, and infused with mystery on every turn. It is sharply atmospheric and foreboding in its uncertain thrills while also eliciting some intriguing scenes of romantic companionship. It may not reach the heights of some of Hitchcock's other works but it undoubtedly possesses an intense atmosphere and conveys the unrelenting power of one invisible character with utmost sincerity. ⚫use Manderley as opening (similar to hitchcock's use of it) ⚫ Wasn't too excited for the romantic opening but it sets a good foundation ⚫ Compelling and intricate characters ⚫Ms Denvers was surreal, frightening and subtle, with a killer performance ⚫The way the story is written and says between revelation to revelation is compelling and entertaining without feeling overcomplicated for the sake of adding twists ⚫Fueled by intricate characters and an unsettling impression left by Rebecca ⚫ Analysis ⚫ Atmospheric and suspenseful, intriguing but frightening through an unseen but entirely commanding character

<b>88<b> <Blockquote><I><b>Scottie:<b> You know, the Chinese say that once you've saved a person's life, you're responsible for it forever, so I'm committed. <Blockquote> ⚫ Engaging story fueled by mystery and intrigue with a speciality in engrossing characters ⚫Stellar performances from both Stewart and Novak, ⚫a compelling use of a phobia as a fundamental story aspect ⚫dramatic use of colours which emphasised bizarre nature? of scenes - often confounded and left me curious to their purpose but not dishearteningly so ⚫Killer ending if albeit quite unexpected and sudden, why did she run out/off? ⚫ Left me quite perplexed and confused, definitely something I need to rewatch ⚫Critiques - is she really dumb or reckless enough to use the same necklace - why did she stick around in San Francisco after the incident, was she really that in love and if so could she not of came out with the truth and maybe asked him to leave

<b>62<b> While Johnny English in himself isn't all that exciting or adventurous, merely moulding James Bond into a more comical piece of media, Rowan Atkinson is both alluring and daring. Atkinson adopts the role as if it was he who crafted it, his subtle comedic nature which he possesses off-screen is only amplified once illustrated through the novice and <I>untidy<I> English. Atkinson's performance is simple and effective, depicting this generic James Bond parody with his own ingenious flair. However, I can't exhibit the same degree of enthusiasm when I ponder over the storyline which encapsulates this clumsy character. Despite English's adventure being co-wrote by both Neal Purvis and Robert Wade <I>(the two men who also helped co-write the last five bond films)<I>, there is very little glamour to the tale. The intentionally illogical nature of the story combined with the one-dimensional antagonist of Pascal Sauvage makes for a weary narrative that only dampens the mood as English's journey unfolds. Everything about Sauvage just feels tasteless, his mediocre tactics and stale comedy are only slices of the cake when it comes to the bland reality of this ambitious tyrant. In summary, <I>big French man is evil - boohoo<I>. Once Sauvage does take the stage during the film's later moments and English's mission goes wayward, so too does that vibrant atmosphere which once encompassed Atkinson's titular character. The comedic beauty that towered over the picture's earlier scenes soon cowers into a corner as much of the film's pleasantry drifts away. It just feels like mediocrity has taken over Howitt's picture by the end as it finally settles down. The predictability of <I>Johnny English<I> can proves quite tiring, particularly from a narrative standpoint but Howitt is surprisingly able to capitalise on the anticipated nature of the story and utilise it to refuel the comedic flair of the film from time and time. Atkinson's campaign certainly isn't stellar but it provides more than a few chuckles for the majority of the film even if it never truly scrapes comedic brilliance for me before it slowly whimpers away during the final act. <I>Johnny English<I> is commendable and exuberant at times but primarily due to Atkinson's impassioned performance which fuels the tale emphatically. However, its second-rate storytelling and depleting comedy acts as an anchor for Howitt's comical attempt at a spy thriller. ⚫I don't know why it works but it relatively so, does. ⚫ Rowan Atkinson's subtly comedic nature is brilliant and carries much of the story ⚫ A fun adventure that has more than a few moments of laughter from me, but not exactly stellar ⚫Begins to die down at the end when comedy drifts off and so does the storyline itself ⚫Plot is intentionally illogical but also quite weary, big french man is evil - boohoo ⚫Can be incredibly predictable but also tends to deliver on predictable comedy quite well ⚫You don't watch a comedy for the story and thankfully so in this case, B grade plot idea with Atkinson being a delightful treat throughout ⚫Quite fun in it's moments but the mediocrity begins to settle in near the end, Sauvage was also quite dull

<b>68<b> <Blockquote><I><b>English:<b> Dear God, let me not die at the hands of the Swiss.<Blockquote> Even though Howitt crafted an entertaining and typically adequate watch, <I>Johnny English<I> was far from divine and certainly had its fair share of flaws and while <I>Reborn<I> also possesses some similar discrepancies, it still transcends Howitt's ill-defined predecessor. Parker evidently took a more intellectual approach to the series with his attempt to focus in on the spy thriller aspect of <I>Johnny English<I> rather than relying solely on its comedic ambience to amuse viewers. Due to the delightful presence on an actually coherent and alluring narrative, <I>Reborn's<I> comedic tone is much more subtle as it's casual bluntness is partially replaced with a more intelligible and indirect execution. As a result, Parker's picture appears more defined and fluid which while it may convey less ecstatic laughs, the consistency of Atkinson's comedy is much more appealing than what we witnessed during his original escapade. Everything appears more steady and constant here, with the collective result being that of a well-structured comedy than that of a low-level parody. <I>Johnny English<I> feels like his own man here, with a mission to complete and a story to tell while Howitt's depiction relied almost entirely on the film's comedic endeavours to satisfy audiences. Of course, Atkinson's comedic aptitude is only elevated here as he portrays this spirited agent on the mission of a lifetime but on this occasion, he is not on his own. Atkinson's co-cast offer their own glamour and gold as they produce their own comedic illustrations which match Atkinson's in moments. They are able to lend him a crutch to stand on, rather than force him to carry the film on his shoulders once more. Of course, I do feel the need to make it clear that this is the only <I>Johnny English<I> which I had seen when I was younger, so there is a possibility nostalgia has impacted my experience in one way or another. In particular, I did adore <I>The Killer Cleaner<I> in my earlier watch(es), an absolute weapon in her own regard. Although, <I>Reborn<I> has certainly established itself as far more than tolerable, I struggle to hold similar expectations for its successor, in <I>Johnny English Strikes Again<I>. What has been so far an enjoyable trilogy may not conclude with comparable strength. <I>Johnny English Reborn<I> is an enticing and absorbing chronicle of English's attempt at redemption and while it may not be deemed impeccable in any aspect, its structured narrative and constant comedic ingenuity is more than enough to make it a sufficient watch. ⚫ Evidently more focused on the spy nature of the series and in presenting an actual storyline which is a delightful treat ⚫Comedy is more subtle and indirect and less prominent, which produces in total less ecstatic laughs but also a more consistent experience with plenty of laughs throughout ⚫More enjoyable than the original due to the collective result and how everything comes together quite well rather than the first being almost purely just a comedic delight ⚫Rowan Atkinson is still stellar but isn't the only offering of enjoyable actors on screen where he was often dominantly so, in the original ⚫Asian assassin was good craic ⚫Low expectations for the finale of this so far enjoyable trilogy but still excited

<b>57<B> With the third entry into the <I>Johnny English<I> series, comes with it a third director at the vanguard, David Kerr. Kerr's directorial debut isn't necessarily lousy or anything, its just rather cheap. In fairness, he doesn't control the script but he is unfortunately the one who will receive the critiques <I>(or praises)<I> from audiences. Everything about <I>Strikes Again<I> has been done before, it reuses jokes from the earlier films but not in the form of a tribute. It appears to dissect pieces from the previous stories which we have already witnessed and recycle them to create a similar yet different story which feels far too shallow to be called novel. The predictability of Atkinson's adventure has been depicted and utilised somewhat acceptably thus far but here, there is no joy in watching the same concept unravel again but under a different veil. Complimentary to this, <I>Strikes Again's comedy<I> as an entirety is just simply inferior to that of its predecessors. Primarily due to its hollow core which is only blanketed by familiar faces. Atkinson clearly attempts to infuse the film with some sense of life and while he evokes a commendable amount of laughter, his idiocy begins to suck the movie dry once it becomes rather tedious due to it being recycled so many times. Accompanying English previously was an enthusiastic group who contributed their own admirable flair to the film and kept the machine running. Lamentably, mundanity and monotony controls much of Atkinson's companions on this occasion. They aren't unique and just act as cut-outs of what the story requires in the moment. A key problem I encountered during English's initial mission was the lack of complexity enveloping his antagonist, Sauvage, who appeared to be a bland angry French guy. Vexingly, I have found too many similarities between himself and English's third adversary, Jason Volta. Volta is a prime example of the <I>Mr. Know it all guy<I> who we all knew and hated at a point. His infuriating personality and calculable <I>unveiling<I> coupled with <I>Jake Lacy's<I> potent performance make this douchebag quite unbearable. However, English's return to combat isn't entirely miserable as we also get to witness how English has built a career outside the agency. Some of my favourite scenes were those from the classroom, watching English recruits his own agents for the secret service, teach them everything he knows, passing down his <I>skills<I> and <I>knowledge<I> no matter how flawed his time in service was. English gets the opportunity to build something of a family while also exemplifying his admiration for the career he used to have. <I>Johnny English Strikes Again<I> is for the most part, acceptable but that is not what audiences desired. Its typically second-rate comedy and foreseeable storyline weigh down the installment which could've proved to be an absorbing continuation of English's tale given the right execution. ⚫A mix of previous jokes reused and similar storylines, nothing original ⚫Comedy is inferior to the previous two and retains that predictable comedic tone from the earlier films, particularly the first ⚫ Characters are dull and mundane, nothing unique ⚫ Antagonist is smirk and annoying, Mr know it all facade that is far from entertaining with a smug performance ⚫ Rowan tries and has a good amount of funny moments but his idiocy is over used and feels quite tedious at times ⚫Blast from the past in a way but doesn't set itself apart from the others in the series and just falls to mediocrity ⚫enjoyed scenes at school, was kind of wholesome watching English recruit his own agents for the secret service, a sign he still missed the force

<b>73<b> <Blockquote><I><b>Ronnie:<b> I'm homosexual, Frances. Well, I am a, uh... I'm a giver, right? I'm not a receiver. There is a difference.<Blockquote> <I>Legend<I> delves deep into the history of organised crime in London to illustrate the lives of the notorious Kray twins, whose dominion cast a heavy shadow over East End between the 1950's and 60's. Although Helgeland writes and directs this piece, Tom Hardy is the one who manages to infuse it with vitality. Hardy slips away from himself and embodies both twins with pure conviction and heart, amplifying the feelings of both terror and compassion which blanketed the duo's intricate personal lives and menacing careers. Helgeland's storytelling offers a treasured insight into the reality behind the men who once ruled London's East End as his portrayal illustrates the conflicting nature of the relentless duo and how their clashing lifestyles were dramatically detrimental for their careers. The intense contrast depicted between the pair combined with its deadly implications were often the most exciting aspects of Helgeland's tale. This was primarily due to the insight it offered ⚫ intriguing look into the kray's rise and ultimate demise ⚫an enticing crime story with counteracting forces both criminal and lawful ⚫the contrast between both brothers and how it led to their demise was enjoyable ⚫strong romance and character development if it felt all too dull in short periods ⚫ Pleasurably atmospheric if the story felt lackluster at times ⚫ Enjoyable soundtrack ⚫ Francis' narration was entertaining and provided a strong outside perspective on the krays

<b>92<b> <Blockquote><i><b>Proximo:<B> All you do is kill, kill, kill. The crowd don't want a butcher, they want a hero. We want them to keep coming back. So don't just hack them to pieces, remember you are an entertainer. So entertain!<Blockquote> FIRST 60 ⚫Layered with a strong undertone of deceit, feelings of betrayal and impeding revenge ⚫ Appealing characters with a strong foundation set allowing them to be displayed effectively and compellingly ⚫ striking action scenes, visually and audibly strong REST ⚫ watched first hour on original version and rest on extended, was unaware and don't know if differences that occur early on ⚫ Stellar performances that elevate characters tremendously ⚫ story of revenge, family, passion, ⚫ Engrossing character dynamics all around ⚫ Impressive score and cinematography ⚫ Some sensational character farewells and deaths ⚫ Poses as an action epic at times through the engrossing gladiator scenes and entertaining opening sequence ⚫ Wasn't without its moments of elongated scenes (dullness)

<b>75<b> ⚫bizarre as fuck, felt like a fever dream ⚫ entertaining through it's continuously expanding story and diverse characters/settings ⚫Dunne was great as the lead ⚫Eerily coincidental and not afraid of expressing how coincidental it is - as seen in final scene - aware of what it is ⚫ comedically present and strong but never hysterical in my experience ⚫ Effective and compelling camera work, similar story with its strong use of songs and soundtrack ⚫cool as fuck, and something that oddly works, likely due to the intriguing protagonist at play and the nature of his adventure - sex/sleep/sex - goes full circle as he "looks for someone to sit and talk with", what he had at the start but ignored ⚫ weird af but entertaining and compelling - intricate storyline and commanding characters

<b>89<b> ⚫that was fucking beautiful, pure raw emotion, ⚫guided by an inherited but forced upon feeling to fight and become one of the best, chasing their father's dreams rather than their own - "i never even really wanted it" confession in the toilet at kev's wedding. ⚫ there is power in every performance as each character is brought intensely to life ⚫powerful soundtrack ⚫ it was genuine - a story so tragic and emotional potent that you can't not be left affected by this depiction ⚫so emotionally poignant due to the character development and that overwhelming father figure but can suffer in its conclusion of these stories ⚫father - always refers to everything as "we" and "us" - family is crucial in every moment - mind is focused on wrestling and the title even at his son's funeral - dominant and oppressive - still resenting the industry/ those in charge due to never receiving a shot at the title. ⚫supernatural aspect felt somewhat unfitting - not the curse which was a pivotal and compelling aspect but the scenes where there is a faded presence sitting on the stairs overlooking his family or when Kerry reunites with his brothers in the afterlife - felt odd and while moving - unnecessary and out of place. ⚫ absolute sports spectacle in the ring which while scripted - offers solid entertainment value - training scenes were superb ⚫at times seems to move on too quickly from one focal point of the narrative to the next - leaving little time to sit with and somewhat rushing to the next sequence - maybe runtime worries but a hindering aspect still ⚫i'm not a wrestling man and this does arise some questions about the technicality of wrestling as a sport and its scripted nature - is it fixed, is it not? - I'm aware that wrestling is not the focal point of this film.

<B>83<B> ⚫the horror was frighteningly effective, conveying an atmosphere growing with unease and filled with frights around every corner - thrives due to its realistic portrayal of a supernaturally prominent antagonist -> stellar effects (makeup) and editing (final decomposing scene) ⚫contains multiple moments of questionable decisions and can run into that vexing theme of dumb decisions just to elevate the horror ⚫in its short runtime of 85 minutes, the pacing is sublime, rarely feeling dull passed its opening sequences ,or in need of a boost in spirit - while it also consequently avoids rushing into things - punchy and direct in its sequences ⚫ brilliant practical effects and production over all, the lighting is particularly powerful in some scenes. ⚫ the gore was commanding and intentionally disturbing - effective and while gruesomely off-putting (👎) at times also entertaining ⚫that tree rape scene was a bizarre and peculiar scene with little merit to be derived from - maybe adds a sense of realism to these demons but could've been conveyed differently ⚫ disturbing use of sound and music to elevate the atmosphere ⚫ characters aren't all there with no real connection to be built with a few of them - could be disconnecting for many viewers as there is little reason to ultimately root for these characters ⚫has no reason to work so well, but comes out as an engaging, gory and frightening piece of cinema.

<b>79<b> <Blockquote><I><B>Stella:<B> Well, he's a salesman, isn't he? <B>Jeff:<B> What would he be selling at 3:00 in the morning? <B>Stella:<B> Flashlights.<Blockquote> ⚫Slow start that doesn't find it's way quickly but once it finds its flow it thrives ⚫ engrossing atmosphere and setting, with various appealing characters and lifestyles ⚫Single location is complimented well by the variety of personalities shown - always keeping a refreshing mist in the air ⚫ Mystery was entertaining and suspenseful but as the driving force of the film, never captivated me until the conclusive 20 minutes ⚫ Entertaining and intensely suspenseful in the right moments (conclusive 20 minutes) but throughout it maintains a moderately engaging atmosphere ⚫Will watch again as was somewhat tired when I watched, hopefully being the reason for my lack of amazement to what some consider Hitchcock's finest ⚫ This seems like a beauty which I missed out on cause of tiredness - definitely watching again

<B>61<B> My introduction to Buster Keaton is both chaotic and spooky as we bear witness to Keaton experiencing a bad day in the office and consequently end up parading a haunted house, where an assortment of ghouls and ghastly figures alike all already inhabit. Everything about Keaton's journey is playful and energetic, that is as soon as he leaves the bank of course. While Keaton's mix-up causes an entire array of problems for himself and the bank's anxious customers, it also leads to a diminished viewing experience for the outside world. The overused glue gags become weary after a few repetitive jokes and while things are kept relatively fresh as new and varied incidents occur due to the disruptive glue, predominantly these glue gags offer little laughter in comparison to Keaton's later thrills. There are still a few golden moments during Keaton's stay at the bank, particularly those involving the time-lock, which allow a breath of uplifting comedy to position itself in our hearts. Keaton's, and the <I>Faust<I> crew's, escapade to this mysterious house, is when the real magic begins to appear. These fresh and powerful comedic sequences offer the most effective thrills that <I>The Haunted House<I> possesses. The synchronized strolls on the upper floor, skeletons rearranging a fallen corpse, unnerving ghosts looming over your every move, all complimenting each other to produce the beauty that is <I>The Haunted House<I>. The emphatic musical tone that accompanies these moments elevate each sequence terrifically and are frequently the primary source of enjoyment during Keaton's journey. The slapstick comedy and eerie coincidences are gratifying in their moments but collectively offer very little in terms of pure hysteria. <I>The Haunted House<I> serves as a depiction of the short yet spirited slapstick comedy that dominated the early 20's of cinema, while still remaining powerful over 100 years later during the right sequences. ⚫playful and energetic - enjoyable fun - a chaotic mess but an entertaining one at that ⚫ the bank was a bit dull with overused glue gags that became tiring after a while - still a few golden moments in the bank's screen time ⚫sequences of the<I>haunted house<I> in all its glory were by far the best - joyful and eerily coincidental for the innocent bystander ⚫ has its thrills but just didn't hit the same as something like <I>The Circus<I> which was crammed with hysterical physical comedy and thrills ⚫ emphatic musical tone and fuels much of the story's thrills, i suppose like a plethora of silent films

<B>84<B> <blockquote><i><B>Mr. Pink:<B> I tagged a couple of cops. You kill anybody? <B>Mr. White:<B> A few cops. <B>Mr. Pink:<B> No real people? <B>Mr. White:<B> Just cops.<blockquote> ⚫riddled with tension and a generally potent atmosphere - through the looming sense of betrayal, doubt, and mystery that pervades every character until each of their reveals ⚫ thrives off its intricate character dynamics, characters, and immersive narrative structure - structure is reflective and enlightening throughout, showcasing the characters we are met with one by one, slowly conveying the story of how we reached this point ⚫the performances are impassioned, produces a strong crime storyline ⚫conclusion is jaw-dropping yet also rushed - eddie and joe's deaths are instant while we have repeatedly seen a death been dragged out throughout ⚫disturbingly vivid through its dialogue at times - i guess that is just quentin tarantino ⚫only fitting my introduction to tarantino was also the world's introduction to him (his first feature) ⚫appealing and compelling yet never truly dazzling until its final moments where everything ultimately collides rather destructively - was just a ticking bomb the whole time.

<b>80<b> <blockquote><I><b>Moses:<B> Did he just call you "bunny"? <B>Victoria:<B> Life sometimes is complicated.<blockquote> ⚫fast paced with high intensity action that felt spirited and entertaining throughout - high octane thrills with an ominous foundation that emits intrigue throughout ⚫ story has a mysterious foundation where nothing is known about Guatemala 81' which is the focal point of Moses' investigation and the entire movie - can feel generic and basic yet the film still remains entertaining as the story really isn't the focal point of my experience. ⚫ can be bizzarely coincidental and direct with its comedy - which doesn't always work - while there is often a sense of ridiculousness pervading some actions sequences and narrative beats. ⚫the characters are shallow yet entertaining in their relationships - comical foundations and developments work surprisingly well (maybe moses and sarah's relationship not so well) at least for me - yet Joe and Sarah both feel overlooked and unremarkable for playing such primary roles - malkovich and willis stand out while urban, mirren, and cox all amplify the experience aswell ⚫cinematography felt close and fluid - or at least noticeably enough attempts to seem that way - enjoyable in its own distinct manner ⚫ still enjoyed immensely - maybe some nostalgia present which outweighs the flaws but also not an intense amount of nostalgia for this film ⚫ RECAP -fast pacing work incredibly well and is generally able to overshine the film's flaws - characters and storyline are both shallow yet the enjoyable action sequences, comedy, relationships, and all blended with a sense of nostalgia all create a joyously gripping experience

<B>80<B> ⚫fuelled by uncertainty and an expanding level of intrigue and horror ⚫infused with an eerie sense of paranoia that is complimented by convictive performances and a continuous sense of development from its story ⚫ pacing is never stale and for such a minute runtime, it conveys its story powerfully ⚫the close-ups were brutal and evocative, portraying the true horror of Bennell's deteriorating environment ⚫ excited for the remake which is supposedly even better

<B>60<B> ⚫was searching for a light hearted comedy to kill time and this worked well enough in that respect. ⚫storyline is bizarre enough to work but not overly so that it becomes completely tedious - relatively dull still but average enough for a comedy ⚫the bosses were often the most entertaining characters while the employees just sort of existed - solid but never dazzling - might have appreciated seeing more of Pellitt ⚫ only laughed a few times but I still enjoyed the film - comedy was balanced and never really felt dull or tediously executed ⚫ killed time but never really amazed or compelled me - decent i suppose

<B>75<B> ⚫ a film that resided deep at the back of my memory - forgot I had even seen this until the <I>more crucial cat moments<I> came into play ⚫ joyous and entertaining- carries a sense of nostalgia and acts as a transport back to the days when scooby doo's investigation was the most frightsome part of my day ⚫ the classic tropes of scooby-doo are seen very prominently - as scooby's cat chases can be tediously overdone - but generally these tropes offer a more engaging tone than one of weariness ⚫soundtrack can be SO immersive when used in full effect with a spirited song playing behind one of the many chases - but can also feel somewhat absent apart from those hunts - varied between overly vacant and stellar ⚫ monsters are a similar story - incredible when depicted powerfully but also would've liked more from them ⚫ classic scooby-doo, setting is appealing and the characters distinct - a very welcomed throwback - so beautiful

<b>72<b> <Blockquote><i><b><b><Blockquote> FIRST 66MINS ⚫ Consistent comedy expressed through witty and powerful dialogue ⚫Some mediocre performances and one-dimensional side characters but the cop duo are synergised and compelling ⚫ Emphatic soundtrack and hyper angle switches in some sequences embody everything that I had heard about Bay's directorial work - action infused and excessive ⚫ Storyline is quite strong for a comedy but the dull characters inhabiting it can be diminishing REST ⚫ entertaining chemistry between the characters and a strong comedic presence ⚫ Something about Bay's direction makes the film feel powerfully direct and action(y) but it does feel excessive at times ⚫ Enjoyable experience through Smith and Lawrence's impassioned performances and an explosive storyline

<b>71<b> <Blockquote><i><b><b><Blockquote> ⚫ visually enchanting and clearly a masterpiece in visual imagery and in essentially being evocative eye candy ⚫ The romantic premise of the story never truly gripped me and I struggled to connect with the relationships much deeper than their conflicting surfaces ⚫ Characters were strong in their own regard but as a complete entity, the film is much more style over substance, and intentionally so ⚫The soundtrack is at times gripping and smoothly magical yet can feel absent in many altercations throughout this absorbing panhandle ⚫Narration was delightfully descriptive and informative - providing a welcomed insight into this series of events that they call life ⚫ Beautiful and captivating to the eyes yet somewhat dismissive in it's plot - romances are typically not for me

<B>76<B> Q? ⚫ denzel and hawke are beautiful - utterly authentic and gripping ⚫ intense storyline and intricate characters with a strong conviction in ethical boundaries and police corruption - a theme that is powerfully conveyed ⚫story is slow and methodical but past the enticing protagonists and colourful themes, the lack of structural coherence becomes evident once you question how these events led to one another and the ultimate finale which was fulfilling and brutal yet oddly developed ⚫ still an intense and thrilling crime story with powerful performances and an exciting plot but an oddly executed/developed nature brings it down

<B>69<B> ⚫red hood was admirable and the crime side of Gotham was conveyed moderately effectively for a feature lasting only 75 mins but it never really gripped me as some of the other animated films that Batman has inhabited ⚫miss Hamill and Conroy's chemistry but the depictions here were solid and particularly gratifying from Joker and Batman - others were overall JUST solid/ok but Ackles had some strong conviction in his more emotional moments - if Ackles was more consistent this could've been engrossing but also same with the others ⚫action scenes were enjoyable and a strong aspect of the film ⚫dialogue feels far too comedic for the story being conveyed - joker is understandably comical and pleasurably so but elsewhere the tone feels rather conflicting and hard to take seriously ⚫ I'll rewatch at some point and hopefully feel that magic which so many viewers have already felt but for the time being this seems like a genuine and entertaining batman animation with a potent and powerful storyline that unfortunately felt hindered by lackluster depictions and an unexciting backdrop - Ra's is cool though (always liked that guy)

<b><b> <Blockquote><i><b><b><Blockquote> FIRST 56 MINS ⚫Hermann's score is powerfully smooth and convicting - divine ⚫Felt impassioned early on in the film but as the story unravels that feeling of anxiety and uncertainty just seems so much less potent once I know how things play out ⚫ Contd- I found myself being more intrigued by the story and Norman in particular but the horror just didn't feel anywhere near as dramatic and exciting ⚫ Optimistic those gripping emotions will reunite with me in the next 40 mins. ⚫ Intriguing and delightful but not as captivating as I had anticipated - viewing was interrupted but that shouldn't play a strong enough role to completely dismantle my experience

<b>74<b> <Blockquote><i><b><b><Blockquote> ⚫ strong comedy throughout ⚫I was a bit slow to adapt to the overlapping stories and the film could feel rather incoherent at times, particularly early on but as characters died off later in the film - my understanding grew ⚫ Fast paced chaos which seems to be reminiscent of Ritchie's debut feature and it works well but can feel excessively bizarre and chaotic at times leading to an unappealing taste ⚫entertaining and powerfully comedic but overly incoherent and confusing at times also

<b>78<b> ⚫ no doubt a monumental influence in the horror genre but not quite as mesmerising as I anticipated given its esteemed status ⚫ for something so traumatic and intensely claustrophobic - the atmosphere never really hooked me in to those heights which it did so many others ⚫Delicate yet precise but something was absent from my experience which allowed this film to transcend that barrier of being just intense enjoyment ⚫ I certainly enjoyed it but never really loved it and often found myself admiring aspects like its production quality or performances rather than feeling immersed in its intricate setting ⚫ Lighting to set production to camerawork - all technical aspects were stellar and performances from Weaver and Holm drive film forward but I don't know man ⚫Maybe my expectations were too high but I don't think so - struggling to understand what was so absent from my experience that captivated so many others

<B>97<B> <blockquote><I><B>Tomas:<B> I feel so helpless. I don't know what to say. I understand your anguish... but life must go on. <B>Jonas:<B> Why do we have to go on living?<blockquote> What is faith? Is it something you cling to in the hopes of a beneficial result? Is it something which infiltrates you subtly until it gradually envelops your every move? Or is it as simple as a way out of the cruel reality which we all inhabit, a vision of a better world outside these barriers or past these conflicting times. Maybe it's the idea that there is someone or something out there that actually means something, that our everyday actions which mould into our lives are actually significant. What difference does watching this film make or reading a review from someone whose opinion holds just as little value as the next. Does anything really matter and If God exists, so what? From one angle Bergman investigates and shatters religion in <I>Winter Light<I>, but maybe he just paints in a different more reflective light. I don't know where Bergman stands on the front of religious beliefs despite his filmography exploring the concept so vigorously time and time again but I can attest to the fact that his understanding of religion is one that I will never really possess. He depicts the confining reality of blind beliefs so sharply that every scene holds considerable importance whether it is miniscule or overpowering. There is a question conveyed in every moment and something to ponder in every scene that passes. Are Tomas' beliefs displaced?; Are human cruelties really just an extension of God's influence>; Does God even exist and if so, why is there such carnage and hatred around every corner for such a benevolent God to be the one in charge?; What is the extent of God's power? I have seemingly strayed from Bergman's feature and into the abyss of my own mind but these are questions that still arise from the story that Bergman conveys. <I>Björnstrand's<I> Tomas is the despairing lead of this dark journey down the religious crater of humanity and he is an exceptionally absorbing and intriguing character. A man infected with his own woes and lost between his own thoughts and beliefs who also maintains an influential position in this rural town of ---, a position which attracts worshippers and lost souls alike. Tomas struggles with his own lost beliefs and absent companionship where the succeeding partner of his life is only a relentless reminder of the love he lost forever. He is guarded by love and hope yet chained to the archaic religious tribulations which led him down this despairing road he calls <I>life<I>. He is seeking an answer which he may never find and is only one more lost soul in this vast universe but still a lost soul that others feel drawn to. Max von Sydow's disillusioned fishermen <I>(Jonas)<I>is one of the misplaced identities that seeks guidance from Tomas whether he is willing to accept that truth or not but what help is a man who suffers from the same commanding thoughts of despair and worry. As Tomas ponders over his divided reality and crippling beliefs, he can only convey those defiant ideas when Jonas needs his assistance. A melancholic conversation and reflective insight moulds both lives almost instantly as Tomas' drivel transforms into a brutal bullet which irreversibly pierces both of them. How can a person so conflicted with his own ideologies direct the lives of other lost souls, like a blind shepherd leading his flock through a foggy field where no one knows what lays beyond the mist. I'm never going to say I totally understand <I>Winter Light<I> cause I evidently don't now and never will but what I can state is that I don't believe anyone needs to. <I>Winter Light<I> is the puzzle of life which no one knows the answer to but everyone ponders. It is one man's crisis of faith transformed into a captivating depiction of the very essence of religion and the human spirit. It is thought-provoking, open to interpretation and utterly evocative of authentic human emotion. It is art. added after** ⚫

<b>31<b> Robert Harmon's <I>The Hitcher<I> was meticulous, commanding, and admirably petrifying throughout. It was a horror which flew under many radars and established itself as something of a hidden gem in the genre, at least in my eyes. Harmon's complex fright-show didn't need a sequel but it had one forced it upon it and to no one's surprise, <I>The Hitcher II<I> is a woefully repetitive and soulless insult to it's esteemed predecessor. In its opening moments, my dismal hopes were actually transformed into something more alluring and engaging as Mourneau strays ever so slightly from predictability and plays with our thoughts as he reintroduces Jim Halsey (C. Thomas Howell) back onto our screens. I was never quite captivated by Howell's depiction in the original and nothing changes here but Howell is a delight to see once more even though he can be rather excessive and oddly emphatic at times. Despite this, Howell is still one of the most appealing aspects that Mourneau's feature has to offer. One could expect that a sequel would offer a meaning extension of the previous film's story and if you're lucky, an engaging one at that. Lamentably, Mourneau does nothing of the like. Every daring pursuit and close encounter is one that we have seen before but this time with only a fraction of the atmosphere. Jake Busey is incredibly conflicting as the successor to Hauer's foreboding performance, he is both adequately weird and unnerving yet also disastrously comical and unconvincing. Apart from his spine-chilling conviction, John Ryder's twisted mind and belief in something bigger was the pivotal reason that he was so haunting as an antagonist. That vision which previously commanded viewers is now absent and in place of it, a myriad of mindless slasher elements and less conviction in any of them than anyone could've ever imagined. Additionally, the arresting visuals of the original are seen only in fragments here with a direct-to-DVD budget weighing down any hopes of glamorous effects or absorbing camerawork. George Mooradian's cinematography is as bland as you could imagine but it does reach the level of a B-grade horror movie quite remarkably so that's something. Joe Kraemer's rather prominent soundtrack does amplifies that at times intriguing atmosphere but like much of the film, also struggles dreadfully with possessing any form of creativity. <I>The Hitcher II<I> essentially retells Jim's traumatic experiences with no intention of paving its own path in the storyline and as a result, fails to accumulate any sort of commendable atmosphere or conviction, acting as a lifeless replica of what was a renowned entry into the genre.

<B><B> <I>Good Will Hunting<I> is a moving celebration of potential and human desires. It depicts a small-town nobody with the mind of a genius yet ambition of a moving in sequences unbridled potential stellar performances and touching story somewhat tired during watch, particularly early on

<B>63<B> <I>Them<I> is a home-invasion thriller which mounts its tension admirably and strives through its ambiguity yet also still manages to possess some undesirable features that can unfortunately command the screen. As with many features derived from the horror genre, idiocy feels all too common throughout the film. It is difficult to critique <I>Them<I> for being much worse than many other modern horrors and I would even go on to say it performs much more intelligently than its genre bound companions but its flaws are still perceivable. The simple idea of leaving your safe haven to <I>"look downstairs" or "check outside"<I> is a cliché that by every means, invokes the very essence of stupidity. I would be finding a weapon and locking the doors if I thought there was a threat outside my window, but maybe that's just me. Similarly, the lack of awareness a person has to their surroundings is often confounding, in this case it is more so their infuriating inability to be quiet. I'll admit they try but by God, surely you could try even the tiniest bit harder when you're in such a threatening scenario as this pair is. Despite these puzzling depictions of stupidity, our duo of protagonists are actually quite convictive throughout the runtime. They are evocative, spirited, and physically compelling in their performances but I just struggled to connect to the story through their characters in multiple sequences which evidently tarnished my experience in a film with such a minute runtime. <I>Them<I> still does maintain a gratifying level of tension throughout its runtime, proving truly horrifying in the right moments, particularly once we witness the menacing tactics of these unwelcomed visitors first-hand. Closing shutters; Cutting electricity; Stabbing through peep holes, all of these tricks and approaches haunt both the house's inhabitants and also the viewers. Their ambiguity is intimidating enough but once coupled with these spine-chilling techniques, the tension is almost tangible. Despite the authenticity of <I>Them's<I> horrific tendencies, I couldn't neglect the evident Considering my - appreciation for <I>2008's "The Strangers"<I>, my expectations were quite balanced for <I>Them<I>, which according to the general consensus surpasses its subgenre bound companion quite heavily. Of course, I would only be stating this if it failed to do so, <I>Ils<I> can be quickly defined as a horror movie whose source material surpasses its adaptation, even though all signs point to the source itself being fabricated. - why go downstairs, why so loud - chilling and eerily convictive at times yet dimly atmospheric in other moments - considering my appreciation of the strangers, this was oddly much less compelling, my viewing was interrupted a few times which can cause havoc in an experience particularly within a horror film such as this - feels low budget (shaky cam, poor visual quality) and often too coincidental for the horror to powerfully penetrate the viewer - the tactics from the invaders are surreal and petrifying in themselves (stabbing through peep holes, cutting power, closing shutters) often propel horror forward

<B>89<B> - atmospheric, intense, exciting characters and accompanying development - authenticity is unrivalled in the sense that the true story is as intriguing and evocative as the feature which depicts it - can certainly not speak to the reliability of the tale that is depicted as this is essentially heavily propelled by Graysmith's book and perspective which is not solidified but either way the movie is gripping and riveting throughout - was hardly enthralled by the film early on but it is certainly consistent and never falters beneath commendable in my eyes - keeping me entertained for minimum 2.5hrs of runtime - beautiful performances , god i love ruffalo, downey jr, gyllenhall, and just about everyone involved - stellar cinematography in moments as well, tension is consistently upheld with each development and new interaction executed tremendously - lost track of the story at times with the story due to time jumps and failed to recollect who certain characters were like when I had to google darlene and mike later into the film - forced to cover a story that spanned decades in under 3hrs - something I do wish to rewatch at some point and while engrossing, doesn't stand as one of my 5 star favourites - inexplicable but maybe related to a lack of early engagement which soon faded.

<b>69<b> <I>Closing Time<I> is hardly divine or an otherworldly experience but for its simple premise and low budget nature, the results are more than sufficient. My time spent with short films has diminished immensely over the past few months but I anticipate this to change over the coming weeks and in part, due to Keller's spirited short. This tranquil diner atmosphere isn't exactly riveting from start to finish but it clamps itself onto the viewer with commendable tenacity. Lifted by the sleek cinematography, alluring colours and compelling performances, Keller's short is appealing across much of the board. However, no ship sets sail without an anchor. Narratively, <i>Closing Time<i> isn't much to bat an eye to, it stands reasonably rigid for an 8 minute fable but you can still sense the cracks waiting to seep through. While the tension accumulates gradually and concludes with an intriguing climax, the resulting thrills are short lived. I adored the <i>twist<i> and eerie penultimate frame yet it all seems to draw to a close too swiftly. Expectations are set for the rest of Keller's short filmography even though they will be earlier illustrations of his abilities.

<b>74</b><blockquote><i><b>Rachel:</b> Bruce... deep down you may still be that same great kid you used to be. But it's not who you are underneath... it's what you do that defines you.</i></blockquote> Nolan's famed trilogy sets the dark tone of Gotham instantly and unveils the origin of Bruce Wayne's devilish pastimes powerfully with a fresh insight Wayne's relationship with Ra's al Ghul to complement it. However, while this contemporary Wayne shines in the limelight, the story pervading his rise and the accompanying atmosphere never quite feel like they reach the heights of the other Batman pieces that have preceded it. As the first of a trilogy, you can feel the foundation being set but not truly tapped into. The characters are constructed and displayed but many feel like pictures rather than frames. Stagnant and untouched. Of course, figures like Wayne, Ra's, and even Scarecrow all shine but others like Rachel, Gordon, Lucius, and maybe even Alfred lack that same potent touch. I make them sound like wooden cut-outs which couldn't be further from the truth but their true colours feel blackened here, a few shades away from their most poignant depictions. With Falcone, Scarecrow, and Ra's all at the forefront of this origin story, it was perplexing to me that I couldn't luxuriate in their menacing schemes. <i>Spoilers Ahead!</i> Between this and <i>Arrow</i>, I have never been able to find satisfaction in Ra's' necessity to demolish Gotham through chemical warfare. Ra's' ultimate assault has its moments but Scarecrow seems to be the one delivering much of them. In itself, the plan tires me. While the conclusive battle between Ra's and Wayne is also much less mesmerising than what it could've been. Similarly to many modern-day superhero films, the loud booms, cars flipping, and long choreographs all present themselves here. For much of the runtime, I can appreciate the emphatic nature of Nolan's action sequences but at the same time, they don't bend corners or set new bars. They do however enhance the moment, excite the viewer and in instances, sent chills down my spine. Newton Howard and Zimmer command the score for this piece and by all means they craft a stable and consistent soundtrack but hardly one to stand amongst their best. Elsewhere, the scrip - a compelling origin for our favourite bat but the story never transcends into the heights of other Batman pieces - characters are only truly acquainted with and no one is quite yet fleshed out - Bruce is depicted powerfully from his origin even if the wayne deaths are rushed - Batman is less compelling - ra's al ghul has always piqued my interest but from his adaptations to screen i have not yet been as captivated as i had hoped - neeson is subtle and wise but Ghul's admiration of chemical warfare doesn't quite mesmerise me - the action is consistently boom boom (But) and choreographing is pleasant to witness while zimmer and howard's score is steady not exhilarating - strong placement of comedic moments to calmy disrupt the tension - an exciting origin but that is the extent of it - the dark tone is consistent yet the atmosphere is so much less potent than ideal while the ultimate finale is gripping in revelations, it is over-the-top in its blend of chemical warfare, elevated railways and odd Batman dialogue - enjoyable yet hardly immaculate - solid scarecrow and decent ra's but their plan didn't hook me and the atmosphere is prominent in moments but - looking back i think the story is what just never hooked me, the attack on gotham is meh and i've seen it done dimly before - much more enjoy seeing crime within gotham from the large catalogue of villains it contains

<B>84<B> <blockquote><I><B>Alfred:<B> You squeezed them, you hammered them to the point of desperation. And in their desperation, they turned to a man they didn't fully understand. <blockquote> - heath impeccable, best depiction of Joker to date - menacing and potent - beautiful depiction of the depth of batman and his unyielding fight for justice - score is simple yet effective, offering well timed silence in climactic scenes - poignant display of characters present in the DC catalogue - never necessarily completely absorbed by the piece but it is impossible to neglect the intricate elegance of Nolan's work - action is consistently explosive on the big stage but some hand to hand fights can feel underwhelming

<B>78<B> <blockquote><i><b>Bane:</b> Oh, you think darkness is your ally. You merely adopted the dark. I was born in it, molded by it. I didn't see the light until I was already a man. By then, it was nothing to me but blinding! </i></blockquote>

<B>70<B> <blockquote><I><B>Striker:<B> Because of my mistake, six men didn't return from that raid. <B>Elaine:<B> Seven, Lieutenant Zipp died this morning.<blockquote> <I>Airplane!<I> is as charming as it is monumental within the comedy genre. Towering above much of its contemporary companions through its blunt dialogue and deadpan delivery, while also relishing in its <I>spoof<I> or <I>parody<I> nature. I won't be the first to say that <I>Airplane!<I> has taken a few chuckles from me and while my laughter could be immense in instances, it was rarely potent enough to garner my utmost adoration for the piece. There were some depictions of comedic gold which as iterated, offered more boisterous laughter but I found the comedy to typically be more subtle and snicker worthy (not the bar) rather than the former. Evidently this was intentional and it works wonders but not enough miracles occur for the film to be as contagious as I had anticipated. What did prove remarkably infectious however, was <I>Airplane's<I> ability to continuously mould itself given the necessity. Between Abrahams and the Zucker Brothers, there is an authentic and comedically apt storyline crafted before our eyes. What originates as a mere romantic endeavour transforms into an impassioned chronicle of a man torn apart by his past, succeeded by a hapless tale of food-poisoning and concluded with a redemptive trip through memory lane; where despite the odds, a man's bravery guides him through his own internal abyss. <I>Airplane!<I> may exhibit all the signs of a comedy film but at its core, it sends a heartfelt message about the significance of overcoming your fears and the redemptive benefits that encompass those who are able to prevail over their traumas once and for all. At the vanguard of this slippery story is the pleasantly convictive cast whose chemistry directs the viewer through the narrative with a constant sense of clarity. Whether its Nielsen's comical deadpan deliveries, Hagerty's often shaky tone, or Kareem Abdul-Jabaar's loyalty to a lie, the cast revel in their roles and match the comedic tone of the film identically. While this all blends together rather blissfully, I still struggle to find any more satisfaction from the piece than that of an above-average comedy. Which needless to say, <I>Airplane!<I> qualifies to be at a minimum. <I>Airplane!<I> is delightful and convictive, with glimmers of gold and a steady flow throughout, it structures itself in a manner that not only requests but demands your attention. It illustrates itself as a tightly knitted tale that compels both the thrill seeking loonies and those who are searching for something a little more <I>grounded<I>.

<I>SPOILERS AHEAD<i> <B>61<B> <blockquote><I><B>Dr. Loomis:<B> I spent eight years trying to reach him... and then another seven trying to keep him locked up, because I realized what was living behind that boy's eyes was purely and simply... evil. <blockquote> John Carpenter's infamous slasher classic is in itself, iconic. Admired by millions globally, it is often considered to be amongst the best that the horror genre has to offer. Yet, the amplified allure of <I>Halloween<I> seems to heavily outweigh the reality of Carpenter's esteemed classic from my experience. For a film lasting just over 90 minutes, I didn't anticipate this to feel like such a slow burner. Michael creeps behind bushes, lurks outside windows, and roams nonchalantly through the Illinois suburbs without a care in the world. There is no haste in his terror or immediacy to his onslaught, which while commendable in its attempt to build the terror, it is also futile. Bar Myers' brutal and haunting theme tune, the masked maniac rarely ever lifted the hairs on the back of my neck. Michael just exists and although I have previously encountered a killer who can be perceived as unmotivated in the form of Rutger Hauer's <I>John Ryder<I> from <I>The Hitcher<I>, the distinct disparity in their conviction speaks volumes. While Ryder's methods and actions allude to something larger and significant than mindless terror, I struggled to find a similar beauty within Michael's character. In retrospect, Michael's victims are often either in or soon to be in erotic situations before their untimely demise but this is not always the case so it is difficult to label that as the reason for Myers' malevolent nature. Michael is also continuously portrayed in a more and more <I>superhuman<I> tone as the story unfolds, which while <I>intriguing<I>, also eerily confusing. Perhaps, he is just impressively resilient but his inability to be fatally injured also seems to drag on and do more harm than necessary. This coupled with Myers' sudden blindness <I>(constant inaccuracy)<I> once Laurie becomes his primary target proves rather questionable instead of compelling. Despite these palpable flaws, Myers' reign concludes in an absorbing manner as Laurie comes to realise the gravity of her unearthly situation. Laurie struggles to end Michael's assault at almost every turn which is tolerable but what isn't acceptable is her alarming lack of spatial awareness which only prolongs her suffering. Like horror movies from any era, idiocy bizarrely run rampant through the characters' minds, which was quite disappointing given the layers of respect and acclaim attributed to Carpenter's classic. Similarly, Jamie Lee Curtis became a staple name under the <I>Scream Queen<I> discussion following her depiction here, which lamentably didn't fulfil my expectations. JLC just feels so tasteless, particularly when she cowers down beside the dark closet and breaks down into something fractured and petrified which for a moment, feels comical given her facial expressions. Despite these significant faults, the conclusive 15 minutes to <I>Halloween<I> are equally climactic and entertaining nonetheless. Proving effortlessly memorable through an arresting final sequence of visuals, supported by one of the most ghastly uses of deep breathing seen on the big screen. Something I haven't mentioned throughout this review are Hill and Carpenter's abilities to construct a gripping selection of characters whose ideals and personalities both overlap and diverge at separate points throughout the film. The casual teenagers of the film are frequently prioritising one thing, sex. While, Laurie gives it less importance she still acknowledges it as she continues with her daily life as usual. Their lifestyles and friendships are authentic and believable, contributing to the compulsion the viewer feels for these haunted characters. Similarly, Dr. Loomis and Sheriff Brackett both join together in order to protect Haddonfield from <I>"death" itself<I> despite their varied career paths. Brackett just wants to keep his commun

<B>67<B>

<B>82<B>

<I>SPOILERS AHEAD<i> <B>62<B> <Blockquote><I><b>Dr. Loomis:<B> You don't know what death is. <Blockquote> As iconic as John Carpenter's <I>Halloween<I> is, it still left me feeling unfulfilled after the end credits rolled, having felt like I missed out on that special something which has made millions around the globe admire it so heavily. As a result, I entered <I>Halloween II<I> level headed, keeping my expectations grounded yet still remaining prepared for the unknown. Remarkably, I was met with a much more potent sense of optimism following the film's initial fifteen minutes. I can't disregard how stale the opening sequence felt, as it merely replays the final moments of its predecessor in order to set the foundation for Myers fresh reign of horror. Necessary? maybe so but repetitive? also so. Despite this, I found Rosenthal's early depictions of Myers to be quite haunting. His slow pacing around the back alleys of these fragile homes accompanied by Dean Cundeys perverse camerawork truly mould Michael's simple escape into a tantalising adventure. As man can not live without air, Michael also can't refrain from terrorising the souls of these Illinois suburbs once more, transferring us to the Haddonfield Memorial Hospital. It is here where Michael's spree reaches new heights as he marches eerily through the vacant halls, slaughtering his victims in much more exciting natures than he had previously done. <I>Halloween's<I> tone as a slasher feels much more poignant in this sequel as the kills are amplified both numerically and visually, which in my experience, only propelled the film forward. Although I found Myers' own perspective to be quite foreboding and his kills to often prove absorbing, his mere invincible existence yet again perplexes me. Up until a certain sequence, his ability to repeatedly return from the dead almost feels guaranteed from a viewing perspective and is subsequently proven to be the case as well. If this is a narrative point which hasn't been overthrown in this sequel, I would hardly be astounded to hear that it continues throughout the franchise, although this wouldn't necessarily be a bad thing if it was explained. Discussing plot points which hadn't previously been explained, Michael's obsession with Laurie is finally explored even if only minimally, which brought a glimmer to my eye. I can sense this being delved further into during the sequels but for now, I applaud this revelation. Something I am yet to laud however is Laurie's dismal decisions. In fairness, she has survived two lengthy encounters with this madman so far which is commendable but I still hate how she crawls out of the car and fails to make any discernible noise until Loomis and his companions are well out of sight. Also, her damaged ankle felt overlooked after a while, maybe adrenaline was her saviour. Succeeding that vexing sequence, a mixture of deja vu and predictability takes hold of the film for a few minutes until the finale is set in motion, and let me tell you, it is something. I honestly wouldn't of being able to tolerate the finale for much longer than I was forced to. It appeared tedious and shocking to an extent, that this idiotic tactic repeatedly <I>tricked<I> Myers even when Laurie was letting out screeches directly in front of him. Miserably insufferable until Loomis decides to go for gold and bizarrely <I>take one for the team?<I> It was incredibly badass though and Myers walking out alive offered yet another sense of exhilaration which the previous five minutes failed to come anywhere close to. Ultimately, I think I may have preferred the pursuit and ensuing murders which were captured in <I>Halloween II<I> more than those from Carpenter's original. In regards to the setting, both prove quite formidable in their own manner but it is difficult to overlook the eeriness of Michael parading through the Haddonfield suburbs on a ghoulish Halloween night. Carpenter and Hill's initial set of characters are almost certainly more captivating than those depicted here but the hospital staff are distant

<B>72<B> Chaplin's comedic heroics are as playful, enlightening, and joyful to watch as ever in <I>The Floorwalker<I> even if at times they appear to fall out of focus. For far too long, I couldn't make out if Chaplin was playing the mischievous customer or thieving assistant here and coupled with the fact I dared to look away from the screen for a minute early on, I felt myself losing track of the story that was unravelling before my eyes. Despite this, it is difficult to overlook the sheer capacity for laughter that Chaplin conveys. The slapstick comedy is once again commandingly potent, while the tale being depicted also portrays some pleasantly comical characters in itself. Some gags can feel overused, particularly seen through the heavy focus on the moving stairs in the picture's later moments which Chaplin repeatedly fails to conquer. Although, there is still a tad of flair to compliment it with the inclusion of other characters to this chaotic image. The soundtrack accompanying the version I watched was as equally whimsical and delightful to experience as Chaplin's story but it also seemed to display an often unnecessary sense of confusion through outlandish sound effects. This only happened once or twice throughout the thirty minutes yet it was still powerful enough to deject me from the moment. All in all, Chaplin's poignant flair for comedic portrayals reigns victorious once more as his chaotic endeavours blend splendidly with a nefarious manager's devious robbery attempts.

<B>85<B> <blockquote><I>"A tender spot at the tenderloin"<blockquote> Money is a universal language and to that degree it happens to be one which envelops most of Chaplin's filmography from my understanding. It is such a fundamental construct that has domineered society for centuries and Chaplin depicts both its significance and contrasting lack of such remarkably during <I>A Dog's Life<I>. At each turn, the Tramp is met with misfortune and opposition as his life in poverty soon feels never-ending. On the prowl for employment, he enters the job office but is shoved about and outshone by larger, more mighty men, only to then be surpassed by other simpletons of his own stature once the burlier men are complete. The large tower over the tiny and those who oppose find themselves left to rot without aid while the majority who waited behind the giants are granted acceptance upon arrival. Chaplin's new friend, <I>"Scraps"<I>, also encounters similar hardship once he finds his own stroke of fortune simply lying on the ground, only to then be mauled and swarmed by much more ferocious and sizable canines. The direct link between these scenes is unnerving, placed side by side in the runtime, Chaplin is making a statement. Although, their desires are benign and intentions pure, they will always be overshadowed by those larger than themselves, whether that be physically or financially. Complimentary to the Tramp's pursuit of financial stability in his life, he discovers that some relationships are more important than the coins in his wallet. Following Tramp's adoption of Scraps, his adventure takes him to <I>The Green Lantern<I> where he soon meets the love of his life. Utilised as the star of the show, she is granted little respect from her higher-ups, merely viewed as an attraction instead of a woman. Each of them are forced to endure the consequences of the system they find themselves in while those in power, continue with their lives without ever having to bat a meaningful eye in their direction. Once their eyes first lock, confusion is more prominent than anything but their feet still move closer. They are guided by the music and each other until the bond between them is shattered by a necessity for money, pushed upon them by the business minded bartender. They are torn apart but later brought back together again by sheer luck, or fate, only for misfortune to once again plague their affair. Their relationship is tormented by obstacles at every turn and bend but in the end, their sentiments of passion are unrivalled. Even though the Tramp's desire for money jumpstarted their story it was love which conquered all in the world dictated by metal coins and paper notes. NOT INCLUDED (POSSIBLE FINALE BUT NAH) - All while Chaplin's comedic aptitude and well-timed gags illustrate the narrative both comically and compellingly as his romantic portrayal conveys a message more

<B>79<B> - powerfully unsettling throughout, particularly convicting early on through charlie but can appear to dwindle in periods while setting a foundation for later revelations - charlie death, joanie and ellen friends reveal(somewhat predictable), final chase from annie, all among favourite and most impactful scenes - can feel somewhat excessive at the end when everything is unravelled, potent in its earlier reveals until now but finale feels somewhat untidy and extreme to the supernatural with annie floating and shit - audibly and visually appealing, particularly soundtrack wise - toni colette is fucking amazing as well as everyone else but she is the clear stand out alongside milly shapiro - the demonstration of this familys demise is gripping and impactful, resemblant of familiar despair within grieving families yet inflicted with a supernatural touch

78 - solid but not terrifying in many aspects, bar a few impressive jumpscares - creepy and compelling as a narrative which while intriguing, hardly transcends new levels of the genre - no performances stood out apart from possessed mother at times - develops its scares quite powerfully but doesn't haunt the viewer with great conviction - consistent yet never impeccable or of similar degree

<B>63<B> - more unhinged than previous entry and disappointingly so - less consistent horror or impressive horror in general as the film takes a more intimate role in presenting the family - lack of motive from demon who just seems to be tormenting family (spoiler)

<B>65<B> - enticing backstory between father and daughter - more enticing narrative than previous storyline and ensuing revelation (s) - horror is as steady as previous entries and rarely impeccable but certainly capable enough - the presence of a motive set this above predecessor although motive of ritual is unexplained apart from the fact they are a satanist

<B>46<B> - evelyn being a hero was an unexpected turn - annabelle was not very prominent - very few scares that were actually impactful, primarily jumpscares and not much suspense built up throughout - a moderate horror which doesn't build much of an atmosphere and plays into predictable storylines - also becomes reliant on hallucinations -

<B>64-65<B> - much more potent than predecessor - suspense is accumulated and executed well - setting is much more atmospheric and fitting with an enticing origin story embedded into this haunted figure - Janice's performance as Annabelle wasn't entirely convincing - Annabelle does play a more consistent and effective role than previous film - can still exhibit predictable moments

<B>67<B> - a tranquil yet impassioned Halloween atmosphere which portrays a touching tale of romance - musical tone was effective but not Elfman's best work - never truly felt engrossed by the story but it was still compelling and enjoyable throughout - an exciting animation that is an easy watch and doesn't transcend much past that

<B>55<B> - a slightly yet noticeably more comedic tone which was welcomed in a weird way - cool depiction of the rest of the warren's creepy closet artefacts - no doubt idiocy runs rampant through the film particularly within Daniella

<B>46-48<B> - compelling horror at times but primarily and almost entirely due to jumpscares - a very weird and much more unhinged horror that feels hyperbolic for a lack of reason - cool setting and visuals which seem to offer most of the films merit - idiotic decisions which provoke jumpscares and an attempt at haunting sequences roam rampant and tend to cause confusion and irritation

<B>48-50<B> - how far we've come from the warrens - excessive and fantasy/adventure like horror which strays heavily from the original conjuring and with little merit to show - heavy depiction of jumpscares which some are effective but general horror is an upgrade from previous entry but farm from spectacular or continuously admirable -

<B>40<B> - appealing folklore aspect and story foundation but dismal execution - narrative felt messy, kidnapping plot was surprising and misplaced - tuco was fun to see again but stupid - intense amount of idiocy amidst the characters, particularly little girl - just overly mediocre and not scary except a single jumpscare here and there -

<B>65-67<B> - expected more deaths throughout rather than that climactic finale - strong blend of comedy and horror displayed through lighthearted dialogue and supernatural finale - exciting assortment of characters - comical and fun yet moderately so (3.5)

<B>70<B> <I>Scooby-Doo! and the Spooky Scarecrow<I> is ghastly and spooky yet serenely childish as tradition demands. It is eerily uplifting to watch Scooby-Doo shine on All Hallow's Eve, to witness those ghoulish masks be unveiled while a gloomy mystery is unraveled before our very eyes once more. This <I>Spooky Scarecrow<I> certainly isn't enthralling but it is devilish enough to warrant commendable delight and satisfaction from a mere 20 minute short. Impressively atmospheric and reminiscent of <I>Mystery Incorporated<I> in spirit.

<B>85-89<B> <blockquote><I><B>-<B> What is America? <B>Mickey:<B> Life... <B>-<B> What is Vietnam <B>Mickey:<B> Death... <B>-<B> What is country? <B>Mickey:<B> Everything... <blockquote> Anti-war protests date back to the 1960's in America, most prominently with the first major protests beginning in 1964, near the height of the bloodbath which was known as <I>The Vietnam War<I>. As the body count rose, so too did the passion for pacifism as this inescapable war raged on, leaving a trail of misery far beyond the Vietnamese coastline. To say Bourgeois captured the haunting reality of Nam' with the utmost authenticity I can hardly validate but to say his depiction of a war-torn veteran is impressively crushing is far from an exaggeration. Mickey is merely a facade, a familiar face to which we have all seen before, a welcoming familiarity which guides us into the harsh abyss of Vietnam where Mickey's gleeful persona is one of distant memory. Mickey is corrupt, blackened by the darkness of wrongly placed patriotism. Country is everything in a world where our loved ones are fading before our very eyes. Goofy himself is the harsh cost of such a committal loyalty, his values are unshaken, benevolent at their core much like Goofy's alternate life on the screens when we were children; <I>We have to... it's our moral obligation. We can't let them go on with this.<I> Bourgeois presents the clear contrast between unwavering patriotism and unwavering humanity, capturing the disparity between the two ideologies through an eerily poignant illustration of a post-war Mickey Mouse. But <I>Mickey’s Descent Into Madness <I> is more than a cheap parody produced for comedic relief, it exhibits the severity of the Vietnam War with a refreshing tone of accessibility through the iconic Mickey Mouse and Goofy. It carries with it an atmosphere of despairing emotion, gradually mounting with a tangible tension as this world blends the lines between compelling fiction and a dramatized documentary. <I>Mickey’s Descent Into Madness<I> is captivating at every corner. It captures the inescapable reality of war with careful consideration and deep sincerity, forging a bond between the typically childish Mickey Mouse and the massacre which was the Vietnam War.

70 - energetic score - wholesome family vibe - splendid super action

43

70 - loved the stop motion animation - anti AI shown in a new compelling glow - intend to watch rest of series - exciting characters

As I continued my adventure through the esteemed <I>Wallace and Gromit<I> franchise without any sense of direction, I landed upon one of this fine duo's earliest appearances through <I>A Close Shave<I>

<B>76-79<B> A tragic dystopian reality where the disparity between social classes constructs a bitter futuristic reinvention of the Colosseum designed for both cruel entertainment and the exhibition of historical values. <I>The Hunger Games<I> is an intriguing film, with no context of the novels it is derived from, Gary Ross paints what I consider to be a compelling depiction of a totalitarian society which lies on the brink of collapse. Hope is a concept exhibited repeatedly throughout the film, from Prim's melancholic optimism to Snow's grim understanding of the matter and eventually to Katniss' fulfilling conclusion. However, with each ray of light which shines upon Panem, a murky shadow follows. Ross continuously displays this contrast to indicate the severity of the world which Katniss inhabits while simultaneously mounting the pressure through various potent interactions. Although, not every portrayal is as impactful as the next, particularly considering the periodically inconsistent cinematography techniques utilised. For instance, the handheld camera movements while placing you in Katniss' boots as she plays this sadistic game, also hooks you out of the film entirely in moments when it abruptly takes control. This contradictory immersion and withdrawal places the viewer in a dismaying although fleeting position throughout the film. Evidently this technique has landed with great satisfaction for many viewers but also a lack of such for others. For myself, I was often able to overlook it when present, never holding a completely disastrous impact. Elsewhere, I found the games themself to be relatively confusing

<B>79-80<B> - relishes in both aspects of film, the games and outside tour - touching and poignant world building and character constructions -

I remember during English one time I wrote a personal essay about escapism within my own household before, of course while stemming from genuine circumstances, it was for the most part dramatized to provide more emotional weight than was experienced but even at that, the few pages of paper wouldn't be able to compare with Jack Stauber's steady unravelling of similar themes. Stauber is steadily offsetting in his depiction of the <I>forbidden house <I> across the street, not only are the inhabitants graphically disturbing with our first meeting with the man of the house being one of a blind smoker spewing blood from his mouth before embarking on a <blockquote><I>We see you Opal. <blockquote>

Jeunet and Caro's feature is stunningly stylish while commendably comedic; blending vibrant rose-coloured dresses with gloomy grey apartment buildings, immersing us into this residential nightmare with invasive camera movement and masterfully crafted dark comedy - <I>Delicatessen<I> is a harshly absurd yet joyous tale of a post-apocalyptic society

Dogme 95 fascinates me to be honest; before today, i had merely heard the phrase, never knowing it's meaning but to see the manifesto carried out with such a potent display of conviction is enthralling. Vintenberg pays no attention to fancy camerawork, cheap gimmicks, or snazzy editing, the core narrative is all he requires to convey an engrossing and immersive film. Fuelled by striking performances, consistently intense clashes and evocative characters, Vintenberg meticulously illustrates the simplicity of powerful storytelling in its rawest form.