Ryan

*Real shame about that door. * It's completely understandable as to why this is considered a horror classic. Although it may seem cliché and cheesy by modern horror standards, *The Texas Chain Saw Massacre* remains an unabashed classic. Before discussing anything else, I’d like to list the film’s tropes here: - Dumb characters - Isolated location (house) - Lumbering brute - Surviving female lead - Teenage/young adult main cast - Loss of control due to unforeseen events - “Based on a true story” Looking at this, it might seem like a typical horror film, but within its historical context, many of these now overused tropes were actually invented or popularized by this film. The cinematography in this film is actually really good and perhaps the most standout aspect besides Marilyn Burns as Sally. Yet, it’s undeniably the environment that defines this film. The detailed set design really enhances the movie and is crucial for immersing the audience. A unanimous must-watch for any would-be horror fan. **(4.1/5) **

*“The Corleone family was like the Roman Empire.”* Times are changing. *The Godfather Part II *is an excellent multi-character portrait with a scope comparable to much of Kubrick’s work. In terms of performances, I think everyone did a great job, although we must obviously focus on De Niro and Pacino. I must say De Niro did a wonderful job, but I don’t know if I’m a fan of the casting, though this complaint may have come 52 years too late. Al Pacino does his thing as usual. Michael as a character is super interesting. There isn’t much more to say about this film in all honesty; with the master filmmaker that Francis Ford Coppola is, it was no surprise that he was able to deliver on the sequel to The Godfather. **(4.3/5)**

*“I never really thought she’d call. But every time I passed by the phone booth, I’d stand there for a while.”* It is hard to describe why Wong Kar-wai resonates so profoundly, but it definitely has to do with his ability to create emotionally resonant films. And *Days of Being Wild* is no different from any other picture of his. Despite exploring much of the same ideas, Wong Kar-wai always brings something fresh, and with this being his breakthrough film it feels profoundly mature. This is functionally indistinguishable from his mid-90s work. Great picture, great ending. **(4/5)**