This is right in my wheelhouse, and yet, I disliked it more than anyone I know of. The cinematography is relatively strong, but that's where my faint praise ends. The writing, direction, pacing, and even the performances—including Sonne's, who I thought was a revelation in Holiday—are overwrought to the point of parody. As a purveyor of bleak European dramas, even this was a bridge too far (read: affected, forced) for me.

As 58 minutes, it's either too long or too short. It's simultaneously undercooked and overstretched, even if it's quite effective at times and undeniably beautifully animated.

Highly recommend avoiding plot descriptions for this film as they completely spoil the film's biggest surprises.

Had to consult my review of Jauja to even remember what I thought of it, and while I primarily praised Alonso's formalism in his previous film while lamenting the lack of substance, I'm glad I can't say the same of his follow up. Eureka is a gloriously inscrutable film which I found enrapturing for the bulk of its runtime. Its unique structure is the main draw for me (no surprise there), but in a sense, also its downfall, as its final third felt like a deflation after the preceding 90 minutes. As with all—in this case, borderline—slow cinema films, I think this would benefit more from a theatrical viewing, and I'd jump at the chance to reassess it in ideal conditions.

In high school, my friends and I burned a CD with 15 tracks of just this one song "Hyper Lenny", wrote "The Greatest Mix CD of All Time" on it, and put it in the CD binder in my car, so that when unsuspecting people would see it and request to listen to it, I would reply "sure but we have to listen to at least 3 songs." This feels (both in title and vibes) like an extension of that inside joke/bit, and I had a great time with it.

Look, I can't pretend to know the Wolf Man experience, nor am I a glass expert, but it's very curious to me that they make such an important distinction between vehicle windows and house windows. Incredibly stupid movie, and everyone is giving their worst.

Based on the plot description, poster, tagline, etc. I assumed this would be your typical weepy movie about a jaded older person forced to take care of a child who slowly warms their heart and helps them atone for their past failures, etc. But for 30 minutes or so, this bucked my expectations, avoiding sentimentality and leaning into the grittier elements as it develops the characters and sets up the story. Once they depart the titular station, though, it quickly becomes exactly the film I anticipated, and while the performances do a great job of elevating the material, it still fundamentally feels formulaic and sappy.

Brain-dead Easton Ellis. Araki describes his own film as "Beverly Hills 90210 on acid," but it plays more like SNL's The Californians on K2. The soundtrack and set design are doing all of the heavy lifting. Doesn't take its characters or content seriously enough to qualify as social commentary, nor is it anywhere near incisive enough to pass as satire. A total jerk-off-motion of a movie.

I knew the plot going in, and I consider myself pretty unfazed by taboo content like this, and yet I still said "jesus christ" out loud during two different scenes. But even considering that the film managed to surprise me, not only with its content but specifically the thrilling direction it takes in the second half, the ending is too disappointing and deflating to give this an emphatic recommendation.

Watched on Sunday January 12, 2025.

Packed full of cringy, lazy "jokes," but, at under 100 minutes, it rarely feels dull, and the CGI is surprisingly good. Also the whole cast is really committed, especially Carrey, which helps it not feel completely soulless. Would be a borderline 2/5, but it did get one genuine hearty laugh out of me—the throwaway fitbit joke, not that anyone would remember it—and that's honestly enough for a passing grade at this point.

Whether it's the intentionally repulsive aesthetic, the exhausting and unrelenting pleas for pity, the children's storybook vibe to it all, or the clashing mix of all three, this was a chore to get through, only made watchable by the undeniably impressive craft apparent in the details of every frame.

McQueen going full Spielberg, and though his approach adds a bit of grit to the mix (and, it should go without saying, a solid craftsmanship), the cartoonish characterization, blunt themes, and overbearing sense of childlike wonder and hope do it no favors. We only need one Sentimental Steve. Or do we even?

Interesting concept and structure, but not on a scene-to-scene basis, unfortunately. The ending's fantastic, but even at a paltry 94 minutes, the journey to get there isn't compelling enough to recommend this.

[Extended Director's Cut]

Absolutely breathtaking visually and never less than compelling, but the score is ridiculously ill-suited to the material and some of the acting is over the top at times. From what I've seen by Leone, this is easily my least favorite, though that just speaks to his incredible body of work. I can't say it's a must-see, especially at its length, but I certainly wasn't bored at any point.

Adopt a cat, folks. I'm in the process of acclimating a newly adopted kitten with my adult cat, amidst raging wildfires all around L.A.—I'm all good!—so basically my apartment is the boat in this movie.

Pithy review aside, this was a bit of a disappointment considering the adulation it's received. Really made me want to rewatch Up and/or play Okami. Interesting little movie, but my attention waned around the halfway point.

[Director's Cut]

Honestly found the first half pretty dull, but it gets more thrilling as it goes, and the last 60-90 minutes are incredibly tense. Absolutely incredible filmmaking.

I skipped the other feature, partially because I was in my pretentious-ass-film-school bag at the time but mostly because I figured the W&G charm was perfectly suited to short film length. And sure enough, though I did find this surprisingly enjoyable, I checked my watch at exactly 35 minutes in.

Watched on Saturday January 4, 2025.

Commentary from Vincent Gallo—recorded in 2004, based on context—in which, as expected, he's very defensive about the Cannes premiere while also being fairly modest (or at least less pretentious than one might assume) and a bit misogynistic (as one might correctly assume). Pretty insightful, which is surprising because I figured I already knew all there was to know about the film.

Picked up this DVD the week it came out in 2005 at Best Buy—I know, even I can hardly believe it, but it's true—and it absolutely devastated me unlike any other film I'd seen. Still just as transfixing and haunting 20 years later.

Pretty much a masterpiece, except for the brief moments where Van Sant feels the need to punctuate his experimental anti-character study with traditional scenes/moments (e.g. Kim Gordon's scene, the rare times he cuts to a close up instead of staying in a long shot). Still, the ratio of transcendent to traditional is overwhelmingly in favor of the former. A hypnotic odyssey into a destitute party house—places in which we've all longed for seclusion, maybe even to the point of death.

Hadn't seen this in probably close to 20 years, and now I cannot believe I watched this in my adolescence, because it's far more intense and disturbing than I remembered. Apart from a slightly bloated runtime and some generic '90s/noir dialogue, it holds up pretty damn well. The concept is brilliant, the performances are fantastic—well, most of them, and even the ones that aren't are at least enjoyably hammy—and it's, unfortunately, incredibly prescient even still to this day. A visceral, rousing tech-noir thriller that doesn't let up on the gas for a second.

Hard for me not to compare this to 3 Idiots which I watched the same day, is from the same writer (who also directs this one), and has similar themes about the societal pressure put upon students trying to enter extremely competitive fields. In this case, it follows the true-life story of a man trying to become a high ranking police officer. Whereas 3 Idiots took a more lighthearted comedic approach (which I found undercut its drama and messaging), 12th Fail is much more grounded, not only in treating the material with an appropriate dramatic weight, but also in the filmmaking itself which is honestly very impressive. The only thing holding this back for me is that it, by nature of staying true to real events, feels repetitive and monotonous at times, and in my opinion the ending muddles the film's themes/messaging. Relatively minor complaints for a film I quite enjoyed on every level.

Very different from what I thought this was going to be. I know it's touted as a story about the "triumph of the human spirit" etc., but then also has its detractors who think it trivializes the Holocaust. I understand the inclination for both, but I don't think either are accurate. This is a much more complex film than I thought it was going to be, and more importantly, it's pretty damn effective from start to (near) finish. I also commend Benigni for not copping out with a clean, simple resolution, though I do think the final moments spoil it a bit. Took off a half star because the final shot is just absurd considering all that came before it.

Coworkers got me an IMDb top 100 movies poster and have been encouraging me to watch the remaining handful I haven't seen, so I finally caught up with this highly acclaimed Indian dramedy. I figured it wouldn't be to my taste, but I was not expecting to outright dislike it, let alone virtually hate it by the end. It's essentially like a college American Pie/Inbetweeners but with all the raunchy sex comedy replaced with (even more) piss and fart jokes and musical sequences and melodrama. Oh, and it's damn near 3 hours, and uses that time to cram in more episodic plotlines that feel completely disjointed. At first it's relatively charming, if not ever actually funny, but that wore off quickly for me, and after the second hour I was exhausted. My dislike fully curdled into contempt in the final 20 minutes during a birthing scene I found to be in bad taste, to put it mildly. One of those movies where I genuinely feel gaslit by the overwhelming praise.

I skipped this in theaters, assuming it would be mildly enjoyable, an offbeat comedy with some deeper thematic material thrown in to give it some dramatic weight, but I now regret having written it off, because this turned out to be the biggest surprise of the year for me. The writing, direction, and performances are perfectly calibrated. Understated yet emotional, funny without being too cute or quirky, serious but not somber, and most importantly, it all feels totally grounded. These characters feel like real people, both of them deeply relatable to me personally, though I don't attribute my reaction entirely to that. Eisenberg smartly avoids cliches and refuses to resort to melodrama or a simplistic resolution/catharsis in order to make the film more traditionally entertaining, and in doing so he preserves the authenticity which makes this such an impressive yet modest work.

I had such lofty, unachievable expectations for this at the time, considering I'd named both Magnolia and There Will Be Blood my single favorite film of all time at different points in my life and I was so ready for PTA to take down Scientology. Obviously the film completely subverted my expectations, but with each viewing I find myself more attuned to its unique rhythm, its enigmatic qualities now fascinate me more than they vex me. I've warmed to it (if that's even an applicable descriptor here) with each revisit, but seeing it in a theater on 70mm definitely makes me appreciate it even more, flaws and all.

For my money, this is the purest distillation of Sofia Coppola's ethos and also her boldest work. I've always found this highly underrated, and I'm glad it still holds up as a stark but beautiful portrait of ennui.

This has been on my radar for years, as one of my favorite bands of the 2000s got its name from this film, but it wasn't until a recent suggestion from my boss, of all people, that pushed me to finally check it out. I expected it to be depressing, but I wasn't prepared for one of the most relentlessly bleak films I've ever seen. And yet, for all the abject horrors both shown and implied, there's such a sense of compassion and humanity at the heart of the film that makes it so powerful. This is a major and important work, but it's also too devastating to pass on the recommendation to almost anyone else.

The conundrum with this is that the premise of her turning into a dog turns out to be basically superfluous and the least interesting aspect of the film, and yet, without that hook, I doubt I'd have watched it at all. Initially I turned this off in the opening scene where she's fantasy-monologuing the film's themes aloud, but I'm glad I gave it a second chance because, if nothing else, it's another showcase for Heller's instincts as a filmmaker. The best choice she makes here is keeping the kid adorable, rather than going full Babadook. It makes the main character's struggle with parenthood and resentment more complex. Otherwise though, the film is pretty boilerplate, nowhere near as bold as the premise would suggest.

Much better than I anticipated, especially considering how much I hated Reijn's last film, Bodies Bodies Bodies. This time she's working from her own screenplay, though, and that seems to make quite a difference, because what most impressed me about this film is how un-formulaic it is. I thought this would basically be 50 Shades of Gray—which, in fairness, I haven't actually seen—but it's refreshing to see a movie explore S&M relationships where the characters themselves are figuring out the dynamics. Sure, there's maybe less incident than you'd expect from a movie marketed as a thriller, but I found the character work to be surprisingly nuanced.

Corbet's follow up to Vox Lux, one of the most polarizing (and best, imo) films of the past decade, is a rebuke of the American Dream (as one can immediately gather from the poster image), an epic which spans decades in its 3+ hour runtime. It's perfectly paced—to my mind, at least; I overheard a few people describe it as "tedious" during the intermission, but I was shocked when both halves ended far sooner than I expected—features some of the best performances of the year, and looks absolutely stunning, especially in 70mm, but it ultimately doesn't live up to its seemingly lofty ambition. Without getting into details, I'll just say the film stumbles in its last act, making literal some of the subtext that wasn't all that sub- to begin with, and though it certainly doesn't retroactively spoil the preceding 3 hours, I walked out feeling deflated, disappointed that the film wasn't as subtle or thematically rich as it needed to be in order to cement Corbet as a modern master.

Reminded me of Ramon Zürcher's work: essentially plotless but meticulously detailed both in its character work and formalism, immersive and evocative...but I sadly got nothing out of this.

Went into this extremely apprehensive, because from what I gathered, it seemed like a spiritual successor to American Honey, the most recent film I've given 5 stars to. And indeed, the first 20 minutes or so had me pretty certain I was going to suffer through a pale imitation of that film's free-wheeling energy and vibes, but Bird evolves into something else entirely. And while I can't say it ultimately worked for me, I admire Arnold for going for something different, even when it gets a bit to silly or earnest for my taste. Not an entirely successful film, but a unique one, which is much better than I anticipated.

Formally immaculate and genuinely unnerving. Apart from some pacing issues (still better than the other versions I've seen), this greatly exceeded my expectations.

Not a successful film by most measures—it's an onslaught of clashing tones—but I have to say I don't see anything particularly objectionable here. It's a garish, operatic melodrama with a couple ill-advised songs (and a couple catchy ones, honestly), but in terms of its treatment of the subject matter and characters, while not especially sensitive, it's nothing that would make Almodovar blush. All that said, the performances are the only thing saving this from being marginally bad.

Just a hair too dumb and overlong to rank among the Collet-Serra classics/gentleman's sixes.

Great first hour, relatively deflating second hour. Really great execution, and Grant's as fun as advertised.

Excellent performances across the board—I’m a bit less impressed by Hoult than others, but Smollet and Sheridan are both fantastic, and Law commands every frame. I wonder if some of the idiosyncratic choices were his or Kurzel’s. Either way they add an offbeat quality that the material needs to buck genre conventions. And as an evocation of the era, this is aces stuff. The grainy cinematography and set design makes the film feel lived in rather than cheap pastiche. All around a well-crafted police-procedural/thriller which is certainly relevant today, though Kurzel thankfully doesn’t hit you over the head with nods to today's America.

Love the set design and some of the set pieces are really impressive, but the story and characters are so shallow and dated.

The poster looks like a Paramount+ ad, and with every minute that passed I became more certain this started development as a television show before being morphed into whatever you want to call this. It's obviously really bad, generic bullshit, but you couldn't imagine my sense of vindication in the final minutes when, after the film has already declared "The End," a "next time on Homestead" reel starts playing and then an actor pops up, not only to pull the same Sound of Freedom grift ("scan this QR code to buy a ticket for a stranger, in the spirit of Christmas!"), but also outright stating "this is actually a television show too, and if you buy a ticket for a stranger, you can continue the story with episode 1 right now!" Just unreal.

Love the texture to this film, and the emotional complexity to the characters which would be treated as stereotypes in different hands. The melodrama sometimes clashes with the sense of naturalism the film seems to be aiming for, but I don’t think it’s entirely to the film’s detriment. It ends up striking a unique balance between those contradictory elements, which is fitting for a film that highlights the sensitivity and grace amongst a superficially masculine group of friends.

Doesn’t fully hold up to my memory, dragged down by Elfman’s treacly score, but when it hits, it hits hard. Williams was on another level in this, and especially watching it now after his death, his scenes are so powerful and moving.

Still as brilliant and fun as it was in 1998, but watching it as an adult, I can fully appreciate its ambition and emotional complexity. The scenes where Truman is being emotionally manipulated and gaslit are absolutely devastating. It’s better than I even remembered.

Finally caught up with this Dadcore Western and I gotta say, either it’s aged quite poorly or it was never very good to begin with. The action sequences are legitimately great, but they’re too few and far between, most of the film burdened by needless subplots, generic dialogue, and melodrama. Also, this hurts me to say but Russell is pretty terrible in this.

For my money, this is Guadagnino’s most bold and ambitious work, and it pays off quite beautifully. It’s a multi-faceted look at longing, addiction, depression, and obsession. While that sounds like a hell of a downer, there’s actually a good deal of comedy in here to lighten the mood. Craig’s best performance hands down.

Not good, but the cast does an incredible job to conceal that fact.

Such an inventive and thematically rich film. I will admit, I don’t know that it warrants the lengthy runtime, but I definitely don’t agree with others’ claims that it’s monotonous. It’s exploring many facets of privilege and accountability (or lack thereof), and the plot was much more substantial and dynamic than I anticipated. Oppenheimer is an artist in the truest sense, and it’s thrilling to watch him operate in an entirely different mode but still retain the emotional and thematic power from his acclaimed documentaries.

Nyong’o’s performance makes this the best in the series, but obviously that’s saying very little. Would have skipped this but Sarnoski greatly impressed me with Pig and I was curious if any of his skill would be apparent in his blockbuster follow-up. It isn’t.

Extremely stupid, but admittedly watchable.

Latest addition at the top.

• Tales from the Darkside: The Movie
• 16 Blocks
• 21 Grams
• 8 Women
• Adaptation.
• A.I. Artificial Intelligence
• Alexander
• Ali G Indahouse
• Allied
• All Is Lost

...plus 124 more. View the full list on Letterboxd.

1. April
2. Presence
3. The Shrouds
4. Misericordia
5. Wolf Man

Latest addition at the top.

• Paprika

  4K

• 2001: A Space Odyssey
• The Adventure of Denchu-Kozo
• The American
• Anomalisa
• Apocalypse After

  Apocalypse After: Films by Bertrand Mandico [11-film collection]

• Arrival
• The Assassination of Jesse James by the Coward Robert Ford
• Audition
• Avatar

...plus 129 more. View the full list on Letterboxd.

1. Do Not Expect Too Much from the End of the World
2. Anora
3. The Beast
4. Nickel Boys
5. The Wonderful Story of Henry Sugar and Three More
6. About Dry Grasses
7. Furiosa: A Mad Max Saga
8. A Real Pain
9. Queer
10. A Different Man

Latest addition at the top, then alphabetical.

• Xiu Xiu: The Sent-Down Girl
• Afterschool
• All the Real Girls
• Amer
• The Angel
• Approaching the Elephant
• Author: The JT LeRoy Story
• Beyond the Hills
• Bird People
• Blue My Mind

...plus 57 more. View the full list on Letterboxd.

Ranking of one of my favorite filmmakers' films. Only includes films (re)watched since I joined letterboxd in 2017.

1. Zodiac
2. Se7en
3. Fight Club
4. The Social Network
5. Panic Room
6. The Game
7. The Killer
8. Gone Girl
9. The Girl with the Dragon Tattoo
10. Mank

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

Ranking of one of my favorite filmmakers' films. Only includes films (re)watched since I joined letterboxd in 2017.

1. Irma Vep
2. Clouds of Sils Maria
3. Demonlover
4. Cold Water
5. Non-Fiction
6. Summer Hours
7. Late August, Early September
8. Clean
9. Personal Shopper
10. Boarding Gate

...plus 1 more. View the full list on Letterboxd.

Ranking of one of my favorite filmmakers' films. Only includes films (re)watched since I joined letterboxd in 2017.

1. Certified Copy
2. Close-Up
3. The Wind Will Carry Us
4. Through the Olive Trees
5. Taste of Cherry
6. Homework
7. 24 Frames
8. Life, and Nothing More…
9. Like Someone in Love
10. Where Is the Friend's House?

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

Ranking of one of my favorite filmmakers' films. Only includes films (re)watched since I joined letterboxd in 2017.

1. Dial M for Murder
2. Rear Window
3. North by Northwest
4. Psycho
5. Rope
6. The Lady Vanishes
7. The 39 Steps
8. Strangers on a Train
9. Notorious
10. Rebecca

...plus 6 more. View the full list on Letterboxd.

Ranking of one of my favorite filmmakers' films. Only includes films (re)watched since I joined letterboxd in 2017.

1. Dogville
2. The Boss of It All
3. Antichrist
4. Breaking the Waves
5. Melancholia
6. The Idiots
7. Europa
8. The Five Obstructions
9. Nymphomaniac
10. The House That Jack Built

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

Ranking of one of my favorite filmmakers' films. Only includes films (re)watched since I joined letterboxd in 2017.

1. The Color of Money
2. GoodFellas
3. The Wolf of Wall Street
4. Taxi Driver
5. The Irishman
6. After Hours
7. The King of Comedy
8. Raging Bull
9. Casino
10. The Departed

...plus 8 more. View the full list on Letterboxd.

Ranking of one of my favorite filmmakers' films. Only includes films (re)watched since I joined letterboxd in 2017.

1. The Aviator's Wife
2. Rendezvous in Paris
3. Claire's Knee
4. Four Adventures of Reinette and Mirabelle
5. Pauline at the Beach
6. My Night at Maud's
7. Love in the Afternoon
8. Full Moon in Paris
9. A Tale of Autumn
10. A Good Marriage

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

Ranking of one of my favorite filmmakers' films. Only includes films (re)watched since I joined letterboxd in 2017.

1. Solaris
2. Ocean's Twelve
3. The Girlfriend Experience
4. Ocean's Eleven
5. Erin Brockovich
6. Traffic
7. Out of Sight
8. High Flying Bird
9. No Sudden Move
10. Ocean's Thirteen

...plus 26 more. View the full list on Letterboxd.

Favorite films from my youth which I made friends watch at sleepovers, organized by release date (with a rotating highlight at the top).

• Boiler Room
• Judgment Night
• Ghost in the Machine
• Fresh
• Clerks
• The Chase
• Brainscan
• Pulp Fiction
• Speed
• True Lies

...plus 78 more. View the full list on Letterboxd.

1. The Tree of Life

   Extended Cut

2. Certified Copy
3. Under the Skin
4. Holy Motors
5. Toy Story 3
6. American Honey
7. Shame
8. Magic Mike XXL
9. The Tribe
10. Nocturama

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

Feature-length bangers under 90 minutes, from shortest to longest.

• Sherlock Jr.
• Birthplace
• Decalogue IV
• Decalogue IX
• Field Niggas
• Decalogue VI
• The Angel
• Tetsuo: The Iron Man
• The Kid
• Man with a Movie Camera

...plus 56 more. View the full list on Letterboxd.

My ranking of the AFI Top 100 films.

You can read my thoughts on most of them in my old column for Cinema Etc.

1. 12 Angry Men
2. Singin' in the Rain
3. It's a Wonderful Life
4. Sunrise: A Song of Two Humans
5. 2001: A Space Odyssey
6. Annie Hall
7. Citizen Kane
8. North by Northwest
9. Double Indemnity
10. Rear Window

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

Latest addition at the top.

• Happiness

  4K UHD

• 4 Months, 3 Weeks and 2 Days
• 8½
• Anatomy of a Murder
• Antichrist
• Pather Panchali
• Aparajito
• Apur Sansar
• L'Argent
• Au Hasard Balthazar

...plus 152 more. View the full list on Letterboxd.

Favorite film for each year I've been alive.

21st century films are organized by US release date.

• Do Not Expect Too Much from the End of the World
• Enys Men
• Întregalde
• Evangelion: 3.0+1.0 Thrice Upon a Time
• A White, White Day
• Marriage Story
• Shoplifters
• Nocturama
• American Honey
• Magic Mike XXL

...plus 28 more. View the full list on Letterboxd.

Includes films which haven't yet been acquired for US distribution.

1. A White, White Day
2. Possessor
3. Hopper/Welles
4. Boys State
5. The Nest
6. Fourteen
7. First Cow
8. Soul
9. Let Them All Talk
10. Slow Machine

1. Enys Men
2. The Taste of Things
3. The Worst Ones
4. The Killer
5. Oppenheimer
6. De Humani Corporis Fabrica
7. Afire
8. Godland
9. Pacifiction
10. Dream Scenario

1. His Girl Friday
2. Mulholland Drive
3. Persona
4. Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles
5. Woman in the Dunes
6. Irreversible
7. Dial M for Murder
8. The Tree of Life
9. Kiki's Delivery Service
10. Certified Copy

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

1. The Taste of Things
2. Do Not Expect Too Much from the End of the World
3. About Dry Grasses
4. Perfect Days
5. The Boy and the Heron
6. The Sweet East
7. La Chimera
8. Fallen Leaves
9. All of Us Strangers
10. American Fiction

31 first watches of horror films for October 2023, ranked.

1. Images
2. I Walked with a Zombie
3. Angel Dust
4. Fright Night
5. White Dog
6. The Return of the Living Dead
7. Visitor Q
8. Peeping Tom
9. Angst
10. The Church

...plus 21 more. View the full list on Letterboxd.

1. Întregalde
2. Aftersun
3. The Eternal Daughter
4. Triangle of Sadness
5. The Banshees of Inisherin
6. Athena
7. Sundown
8. Resurrection
9. TÁR
10. Murina

Ranking of the films I've logged that I absolutely loathe (rated 1/5 or under).

1. The Devil and Father Amorth
2. Scarecrowd: The Musk
3. Close Encounters of the Inbred Redneck Kind
4. The Twilight Saga: Breaking Dawn – Part 1
5. Brigsby Bear
6. Oasis
7. Fateful Findings
8. The ABCs of Death
9. Rock Steady Row
10. Terrifier

...plus 30 more. View the full list on Letterboxd.

1. Enys Men
2. De Humani Corporis Fabrica
3. Coma
4. R.M.N.
5. Smoking Causes Coughing
6. Please Baby Please
7. The Integrity of Joseph Chambers
8. The Five Devils
9. Sick of Myself
10. Broker

...plus 4 more. View the full list on Letterboxd.

Not listed: The Kingdom: Exodus (first two episodes)

1. Aftersun
2. Triangle of Sadness
3. The Worst Ones
4. The Eternal Daughter
5. The Banshees of Inisherin
6. Decision to Leave
7. Glass Onion
8. Return to Seoul
9. Godland
10. Sick

...plus 9 more. View the full list on Letterboxd.

1. Evangelion: 3.0+1.0 Thrice Upon a Time
2. The French Dispatch
3. The Killing of Two Lovers
4. Memoria
5. No Sudden Move
6. Pig
7. Annette
8. The Father
9. Titane
10. The Power of the Dog

**COMPLETED**

ORIGINAL LIST

A film challenge to be completed at your own pace. 24 first time watches anytime over the next 12 months, starting in September 2021 and wrapping up August 2022.

This challenge is designed to expand your horizons and make you do a little research. Share your findings in the notes!

1. VIDEO NASTY (A film that has been banned in your home country)
2. O.G. (A film that has been remade)
3. THE ACADEMY RATIO (A film shot in 4:3)
4. BOMBIN’ (A film that recouped less than 10% of it’s budget at the box-office)
5. AUTEUR THEORY (A film where the director is credited in at least two other significant roles in the production)
6. THE PATRIOT ACT (A film set in the city/state/country of your birth)
7. CAMERA OBSCURA (A film that has less than 500 Letterboxd logs)
8. 👀 (A film that is in one of your favourite follows watchlist that isn’t in yours)
9. WAYANS WORLD (A film that stars a Wayans brother)
10. CINESTHESIA (A film with a colour in the title)
11. EVERYBODY’S A CRITIC (A film with a CinemaScore of F)
12. PATRIARCHY (A film that fails the Bechdel Test)
13. DON’T QUIT YOUR DAY JOB (A film directed by someone in the acting profession)
14. SHORT CUT (A film between 30 and 60 minutes in length)
15. ORIGIN STORY (According to Letterboxd, the most popular film from the year of your birth that also contains your initials somewhere in the title)
16. YOU GOT THIS (A film you own but haven’t watched yet)
17. NEPOTISM (A film with two or more members of the same family tree in its cast or crew)
18. CAPESHIT (A non-MCU film based on a Marvel property)
19. ADAPTATION (A film based on a book, play, TV show, videogame or other source material)
20. HISTORY LESSON (A film set more than 500 years in the past)
21. FUTURE SHOCK (A film set more than 500 years into the future)
22. BIG PUSSY (A film with The Soprano’s Vincent Pastore in the cast)
23. CANCELLED (A film that never received its planned sequel)
24. CALL IT A DAY (A film that takes place within one 24 hour period)

1. Scarface

   VIDEO NASTY
   Banned in several US cities and states at the time of release.

2. Out of the Past

   O.G.
   Remade as Against All Odds (1984).

3. The Assassin

   THE ACADEMY RATIO

4. Heaven's Gate

   BOMBIN'
   Worldwide box-office gross estimated at $3.5 million against its budget of $44 million (7.95%).

5. Mala Noche

   AUTEUR THEORY
   Directed by: Gus Van Sant
   Written by: Gus Van Sant
   Produced by: Gus Van Sant
   Edited by: Gus Van Sant (uncredited)
   Featuring: Gus Van Sant (uncredited)

6. Ordinary People

   THE PATRIOT ACT
   Filmed on location in Chicago, IL.

7. Walden

   CAMERA OBSCURA
   95 views.

8. Come and See

   👀
   On the watchlist of Chris, Lee, Ryan, & Nora.

9. Hollywood Shuffle

   WAYANS WORLD
   Keenen Ivory Wayans

10. Blue

    CINESTHESIA
    Blue

...plus 14 more. View the full list on Letterboxd.

1. Memoria
2. Ahed's Knee
3. Paris, 13th District
4. Petite Maman
5. Vortex
6. Drive My Car
7. The Worst Person in the World
8. In Front of Your Face
9. After Blue (Dirty Paradise)
10. Social Hygiene

A ranking of every film I'm assigned on twitter, updated to include all assignments (excluding my own) from group chats, as well as lottery assignments. Notes included.

1. Man Bites Dog

   @DJ_Keyser [Fab Five]

2. Irma Vep

   @Br4dAstra (rewatch) [Film Club Etc. Chat]

3. Naked

   @Shcmoraaa [Fab Five]

4. Laura

   @realHenryB [JCC]

5. The Third Man

   @realHenryB [Vox Fux]

6. Only Yesterday

   @lukeonfilm [Lottery]

7. The Wages of Fear

   @InViroVanitas [Film Club Etc. Chat]

8. Demonlover

   @Br4dAstra (rewatch) [Fab Five]

9. Killing Them Softly

   @DJ_Keyser [Original Chat]

10. Re-Animator

    @Yinzburghs [Lottery]

...plus 167 more. View the full list on Letterboxd.

31 first watches of horror films for October 2020, ranked.

1. The Night of the Hunter
2. Poltergeist
3. The Blackcoat's Daughter
4. Begotten
5. Diabolique
6. Haze
7. Faust
8. Cat People
9. Oculus
10. Stuck

...plus 21 more. View the full list on Letterboxd.

• Marriage Story
• The Irishman
• Waves
• Knives Out
• A Hidden Life
• The Report
• The Two Popes
• Just Mercy

1. Monos
2. Portrait of a Lady on Fire
3. Ghost Town Anthology
4. Les Misérables
5. Fourteen
6. The Souvenir
7. The Lodge
8. The Grand Bizarre
9. Pain and Glory
10. End of the Century

...plus 8 more. View the full list on Letterboxd.