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Before, I was only vaguely aware of the Final Destination series and that Super Smash Bros stage that shares the same name. I knew about the premise of how a group of people have premonitions of impending disaster. But even as they avoid death, the Grim Reaper comes knocking. It's fascinating how the series began as an X-Files spec script written by creator Jeffrey Reddick.

On the surface, it looks like one of those cheap horror slops solely made to make a quick buck. The acting is wooden, and the production looks like a TV movie. But the premise is too much fun. It's actually creative for a horror movie, where the villain is figurative rather than being a monstrous slasher. There aren't any jump scares, but struggles against fate itself can be just as disturbing. There's a bigger emphasis on solving the mystery of Death's plans, and the kills are fun to watch. Going into this franchise, I just know they're going to rehash this premise to exhaustion.

Ballerina is the first spin-off in the John Wick franchise. Knowing Lionsgate, they needed this since John Wick and The Hunger Games are the only reliable IPs they have. This is the first film in the series not directed by Chad Stahelski, but rather by Len Wiseman. There are rumors that Stahelski ghost-directed the reshots, but I'm inclined to believe this is indeed Wiseman's film. The entire production felt cheap, something akin to a TV movie. The action is servicable and fun, but it lacks Stahelski's special sauce. The fight choreography is more of the same, with barely any new additions or scenarios. I was also underwhelmed by the lack of meaningful additions to the world, given that the worldbuilding is one of the franchise's biggest strengths.

I do like Ana de Armas in the lead role as she fits the heroine mold well. But Keanu Reeves provides much-needed by reprising his role as John Wick. It was also wonderful to see Lance Reddick one last time. Plus, those flamethrower duels were pretty cool. The question I have right now is if the John Wick franchise can survive without Stahelski, and I'm currently leaning towards no. The John Wick movies need that special flair, otherwise, they're generic action movies.

There aren't many films out there that perfectly convey a stream of consciousness like All That Jazz. The film is a semi-autobiography from director Bob Fosse, based on his overworked experiences editing his 1974 film Lenny and staging the Broadway musical Chicago at the same time. Given his theater background and status as a highly influential dance choreographer, Bob Fosse knows how to make a film that covers the behind-the-scenes aspects of Broadway musicals. Of course, Fosse has the expertise to make the songs and dance choreography work wonderfully.

But what really blew my mind with All That Jazz is the editing. This has to be one of the best edited films I've seen. The way it jumps around time and blends reality and fantasy is so seamless that it never came off as confusing to me. It's very much a stream of consciousness of a drug-addicted womanizing egomaniac who's coming to with his fate. The entire film is an extension of the Fosse-insert Joe Gideon. It manages to be a personal film without coming off as pretentious. The best way to describe this film is essentially if Fellini made a musical, and it's as amazing as it sounds.

Snow White is the culmination of everyone's frustrations with Disney's live-action remakes. A growing number of people have had enough of the cynical nature of their existence and the soullessness that pervades it all. Snow White had the perfect recipe of things to piss people off. Lead actresses Rachel Zegler and Gal Gadot (who can't fucking act or sing) were both caught up in political controversies, so the film managed to piss off both sides of the aisle. Then we have the CGI monstrosities known as the Seven Dwarfs, characters so hideous they disturb everyone on a primal level. Leave it to Disney to make it harder on themselves when they could've saved money in the budget by casting dwarf actors.

There are several things I can nitpick about the cringy artificiality and soullessness, but what really made me livid was the songs. My God, are they awful! It sounds fucking terrible and has all the worst traits that piss me off about modern Broadway showtunes. Disney actually cut out many of the songs from the original, probably because the difference in quality would've been too humiliating. Removing "Someday My Prince Will Come" and replacing it with an instrumental version that I barely noticed should be a crime. Thank God this bombed.

Here it is, the Disney animated film that started it all. It's amusing to think about how Snow White was made back when Disney was still a small studio, being distributed by RKO. In fact, there's a lot more antique vestiges from the 1930s than I expected. The production credits are placed at the beginning, the audio is rustic, and the singing is operatic. Snow White was a significant technical achievement for its time, being the first feature-length animated film produced in the United States. Unfortunately, the real first feature-length animated film (El Apóstol from Argentina) is lost.

There are a couple of aspects that have aged poorly. Almost all the characters are very one-note, with the Prince especially being barely a character at all. Despite the short runtime, the film still spends a lot of time on the dwarves fooling around. But even with these faults, Snow White has that timeless charm. I guess that's the appeal of fairy tales, they speak to us on themes that anyone can relate to, no matter the cultural background. Plus, the songs are amazing. I still think "Someday My Prince Will Come" is one of the best Disney songs.

This film truly is a precursor of things to come. Not only did it create the formula that every subsequent Disney fairy tale film would follow, but it also demonstrated the emotional storytelling that animation is capable of.

Not going to lie, I had low expectations going into The Phoenician Scheme. Like others, I have expressed my frustrations with Wes Anderson's continued self-flanderization. What used to have wit and charm has been reduced to a stubborn orthodoxy for a specified aesthetic identity. His films have become so repetitive and rarely deviate in any serious manner, essentially devolving into a one-trick pony. Another big gripe I have with Anderson's recent films is how emotionally distant they have become. He treats his characters like plot devices rather than actual humans. Anderson got so lost in his imagination that he lost sight of his humanity.

Even though some of these issues rear their ugly heads once again, The Phoenician Scheme was surprisingly enjoyable. Granted, I may be saying this because I didn't find it pretentious and boring like Asteroid City. The vibe is more reminiscent of The Grand Budapest Hotel, where the film is primarily a comedic caper involving corporate espionage, albeit it's undercooked and doesn't have anything profound to express. The characters are also a noticeable improvement, as they have some charm in them, although the rigidness of Anderson's direction is still an issue. There isn't much else to say about The Phoenician Scheme other than that I had fun, which is more than I can say about Anderson's recent projects.

Watched on Monday June 2, 2025.

The way the film begins with sprawling views of the Bavarian Alps, followed by a shot of a young woman on a hilltop, and then cuts to Julie Andrews singing her heart out with her operatic voice. This might be the most emotionally swelling start to a musical. The Sound of Music is an adaptation of the Rodgers and Hammerstein musical of the same name. It's a fictional retelling of the Trapp Family Singers. Maria is recruited as a governess to the seven children of Austrian Navy Captain Georg von Trapp. Maria would eventually marry Georg, but their lives were quickly upended following the Anschluss.

What's amazing about the music is the poetic smoothness of Hammerstein's lyrics. The songs often serve the purpose of character development or evoke emotional responses in the audience, whether that would be joy or melancholy. Of course, Julie Andrews' performance carries the entire film with her beautiful voice. It has that comforting quality to it. I do have several nitpicks that I can go on about. The film has that kitschy feel that I found off-putting. There are also historical inaccuracies in regards to the Anschluss and the Trapp family history, and the geographic distance between Salzburg and Switzerland.

Even though I didn't grow up with the film like many Americans did, I still see the appeal. It's no surprise that this film is a bigger draw for Salzburg's tourism than being Mozart's birthplace. Perhaps one day, I'll get around to watching the two German films on the Trapp family made a decade earlier.

James Mangold really knows how to ooze this sense of coolness and charm in a sports movie; I'm still surprised at how versatile he is. Ford v Ferrari is based on the true story of Carroll Shelby and Ken Miles, two men recruited by Ford to design a race car that can defeat Ferrari at Le Mans. Matt Damon and Christian Bale have amazing chemistry together as the two leads, as their camaraderie is so charming to watch. They endure challenges on multiple fronts, not only tasked with defeating Ferrari but also grappling with corporate interests. The technical aspects are also top-notch, with the thrilling races enhanced by the brilliant cinematography, editing, and sound design. The film knows how to hook you in immediately, and the pacing is wonderful at 150 minutes. It's the quintessential dadcore movie.

Karate Kid: Legends is yet another attempt from Sony to turn a franchise out of their classic IPs. This time, the big selling point is the union of Ralph Macchio and Jackie Chan, effectively canonizing the 2010 remake. But that's not all, the film introduces a new lead character, Li Fong. The premise is essentially an inverse of the 2010 remake, where a teenager moves from China to NYC, meets a girl, and gets into a conflict with the local bullies. If you can't already tell, it's a formulaic rehash of the previous movies. Seeing the same plot beats play out again gets tiring and repetitive. Plus, the otherwise good fight choreography is let down by the choppy editing.

Even with the main selling point of nostalgia, the film underwhelms. Ralph Macchio doesn't show up until the third act, and even then, he barely does anything in the plot. I was also surprised the film barely included any tie-ins to Cobra Kai (besides that one cameo at the end). It's like Sony did the bare minimum and expects fans to go nuts by the character's very appearance. More than anything, Karate Kid: Legends makes me wish I spent my time watching Cobra Kai instead.

Empire Records is relic of the 90s in more ways than one. It's a coming-of-age comedy-drama centering around young record store employees, fighting off an acquisition and hosting a washed-up 80s pop idol, over an eventful 24 hours. It has very similar vibes to 90s sitcoms like Friends for both better and for worse. There's this comforting feeling of forming bonds with your colleagues, an itching yearning for friendship. But it also features obnoxious melodrama and nonsensical fantasies. Empire Records is a type of film that is very dependent on one's ability to identify with these characters. It sure is a time capsule of the mid-90s, isn't it? It reflects the attitudes of Gen Xers, and record stores like these are extinct nowadays, thanks to Napster. It does make you wish for simpler times.

How in the world did this movie get made?! You literally have the Wayans brothers donning whiteface to go undercover at the Hamptons. It's a concept that goes to the absolute limits of human decency. It's so shamelessly offensive that it actually becomes hilarious. The movie never takes itself seriously, which invites the audience to laugh at all the absurdities. It's shocking how I find myself laughing at all the low-brow humor when I'm usually annoyed by such jokes. White Chicks had enabled something in my psyche to lose all inhibition in my funny bone.

However, there's a significant issue holding White Chicks back, and it has to do with how one-note it is. The film essentially takes one big joke and squeezes out as many little jokes as it can. The end result is a concept, fit for a 90-minute movie, being dragged for almost two hours. Several running gags are dragged for too long and lose their initial luster. Dare I say, the film starts to feel repetitive. Let's just say the script would've benefited if the frequency of gags were denser. Despite my misgivings, White Chicks is still a blast. No wonder it's a cult classic, people still can't believe such a film exists!

The premise of The ant is absolutely bonkers. An autistic savant who makes a living as an ant, uncooking the books for criminal organizations, finds himself in a situation where he's hunted down by hitmen after discovering a massive embezzlement scheme. Oh, and he happens to know pencak silat. This has to be conceived in a Hollywood exec's coke-induced fever dream. Even with this wild premise, the film still bores me. The pacing is too slow, the characters aren't intriguing, and the action doesn't go far enough. I could complain about the convoluted plot, but financial frauds tend to be byzantine to begin with. They hooked me with a promising premise, only to waste my time at the end.

Despite having seen the first two movies when I was a kid, I never got around to watching The Voyage of the Dawn Treader until now. What you need to know about The Chronicles of Narnia is that it's pretty much LOTR for kids but with heavy Christian undertones. Having read the book in high school for a sci-fi/fantasy literature class, I can tell you that Will Poulter (and his permanent frown) is perfectly cast as the bratty Eustace. Narratively speaking, Voyage of the Dawn Treader is the weakest of the three as the story is very episodic. It becomes clear that the series is losing its initial luster. I was also surprised by how noticeable the Christian references are compared to the previous two installments. Once you recognize those religious references, they're very heavy-handed. It's a shame Voyage of the Dawn Treader ended up being the last film in this Narnia series as C.S. Lewis' estate declined to renew Walden Media's contract. On the bright side, it serves as a convenient endpoint, as it marks the narrative conclusion for the Pevensie children.

Watched on Monday May 26, 2025.

Terry Gilliam is the perfect director to portray a drug trip gone wrong. Fear and Loathing in Las Vegas is an adaptation of Hunter S. Thompson's novel of the same name. What I instantly loved about this film are the aesthetics and vibes. Terry Gilliam replicates the experience of hallucinations to great effect, and Johnny Depp's gonzo journalism narration gives the film so much personality. Speaking of the cast, Johnny Depp is excellent as the Hunter S. Thompson stand-in Raoul Duke. Benicio del Toro is also great as the film's co-star, along with the surprisingly stacked ing cast of recognizable actors. Even though I loved the feel of the film, the story leaves something to be desired. After the excellent start, I gradually became less captivated as the plot became unfocused and repetitive. It could've been better, but seeing Hunter S. Thompson's ethos play out on the big screen is an exhilarating experience.

It pisses me off to see all the effort put into the costume designs and make-up wasted on a sci-fi film that is this uncaptivating. Jupiter Ascending feels like a last-ditch effort from the Wachowskis to recreate the success of The Matrix, only to create an incoherent mess. They throw in a bunch of ideas that don't form a cohesive vision, and the excessive camp actively undermines those ideas. Mila Kunis and Channing Tatum are dull as the lead actors, and Eddie Redmayne delivers an embarrassing performance where he switches between mumbling and ridiculous yelling. It's an ambitious project that only ends in humiliation for the Wackowskis.

I my first attempt watching The Princess Bride in class during 5th grade. Unfortunately, we never finished watching it, so I went by for years without seeing the ending. But I finally got around to watching this film in its entirety and appreciate this 80s classic. What I didn't expect was the film's feel-good quality. Sure, the story itself is nothing special, and barely anything extraordinary happens for a fantasy/fairy tale movie. But that's not the source of its appeal. The real source is how it mixes swashbuckling adventure, romance, and comedy that freshens up an age-old damsel-in-distress tale. By wrapping this in a bedtime story metanarrative, it exemplifies the childlike joy of fairy tales in a postmodern fashion.

I'm sorely disappointed in Mission: Impossible - The Final Reckoning. The Mission: Impossible series has been the gold standard for spy action movies lately. They have a lovable cast of characters, mindblowing stunts and action set-pieces, all carried by the star power of Tom Cruise. The 8th installment continues where Dead Reckoning left off, where Ethan Hunt and the gang fight to prevent an evil AI from destroying the world. As it turns out, the plot isn't captivating when the primary antagonist is an AI that can be defeated by installing a computer virus. If ChatGPT came pre-installed with McAfee, it would be unstoppable.

Besides the disappointing plot, another big issue is how lethargic the pacing is. This film really didn't need to be nearly 3 hours long, as the first two hours are so needlessly drawn out. They constantly cut away to recaps of previous movies, take too long to set up the action, and introduce a minor character from the first movie that they expect everyone to recognize. The pacing of this movie reminds me of a streaming show, where they pad out the length with needless filler to fulfill an episode count quota. It's all so indulgent, and easily could've been trimmed down. The best part is that biplane set piece at the end, showcasing the death-defying stunts the franchise is famous for. Despite the highs of the finale, the rest of the action is flat. That thrill of danger is largely gone.

What makes it more disappointing is that this could be the last Mission: Impossible movie starring Tom Cruise. The guy is in his 60s and getting older. Cruise's body will eventually stop keeping up with these demanding stunts. Even some beloved side characters have their conclusions. Even if a new lead actor takes over, things won't be the same. Tom Cruise is Ethan Hunt, just like how Harrison Ford is Indiana Jones.

This movie is bad. I'm surprised Capcom financed most of the film because they tried to transform Street Fighter into this cliched macho action movie where our cast of heroes stop M. Bison from taking over the world (of course). Jean-Claude Van Damme is a peculiar casting choice for Guile, an American colonel who speaks with a Belgian accent for some reason. In fact, most of the cast can't act to save their lives. The only exception is Raul Julia in his final theatrical role. He's clearly too good for this movie, and the only reason he accepted this role was because his children were fans of the game. No wonder Hollywood struggled to get video game movies right, because they have no idea what to do with them when working with limited stories.

What astounds me with The Brutalist is the ion that director Brady Corbet gave to this film. He's an upstart director who gives his all to create the greatest film he can. The technicals here are just brilliant. The cinematography from Lol Crawley and the score by Daniel Blumberg are all so evocative. They create this disorientating atmosphere, similar to a brutalist building. The story is also novelistic, telling the comprehensive tale of Holocaust-surviving architect László Tóth. The lengthy runtime doesn't feel bad at all, and by the conclusion, you walk away with a satisfying feeling.

The film may be an artistic achievement, but it's also aggressively Oscar-baity. There's this undercurrent of ulterior motives to Corbet's artistry, which is to appeal to Academy voters as much as possible. On top of the technical brilliance, it features themes like the disillusionment of the American Dream, which I personally found overworked, but may play well with of the Academy. But hey, as long as the film is good, perhaps being Oscar-baity isn't always a bad thing.

Watched on Monday May 19, 2025.

You know, I was initially optimistic that Son of the Pink Panther would turn out okay. The intro had that sleek '90s coolness, and Bobby McFerrin's scat rendition of the theme was nice. But then the movie starts. At this point, it becomes apparent that Blake Edwards is out of ideas. Besides introducing a new protagonist played by Roberto Benigni, the film doesn't tread any new ground, and Edwards' direction feels so antiquated. It feels like a '60s movie that was unearthed in the '90s. What's worse is that the slapstick gags are so painfully unfunny. Benigni specializes in physical comedy, but the material he was given is so cringeworthy. These antifunny slapstick mishaps go on for too long, and the film gives you this grumpy look the entire time. The only joy to be found is seeing recurring actors like Herbert Lom and Burt Kwouk one last time. Disappointingly, this would be Blake Edwards' last film as he retired from filmmaking shortly afterwards. It often takes humility to realize when a good thing has run its course.

Continuing the trend of naming these movies like horror sequels, Curse of the Pink Panther attempts to continue the franchise without Peter Sellers. To put it bluntly, it didn't work. The new protagonist this time is an inept American detective named Clifton Sleigh (played by Ted Wass). The problem is that Wass simply doesn't have the same charm or the screen presence to carry the film like Sellers did. In fact, everything about the film feels like a pale imitation of what came before. Not even the return of David Niven (in his final role) could salvage this film. You can tell the filmmakers regret not recasting Clouseau because they bring him back at the end, and he's played by Roger Moore! When the creatives are this indecisive, perhaps it's time to put the panther down Old Yeller-style.

Following the ing of Peter Sellers in 1980, Blake Edwards pays tribute to him in Trail of the Pink Panther. Understandably, Edwards didn't want to recast Clouseau, so what can he do? Well, the answer appears to be a compilation of deleted scenes from previous movies. Yes, you heard that right. It's the cinematic equivalent of a lazy clip show episode. That's not all, the second half of the film focuses on a reporter (played by Joanna Lumley) investigating the disappearance of Clouseau, spliced with even more clips of Clouseau from previous movies. As you imagine, the "plot" is very haphazard. Despite the well-intended purposes, the entire film comes off as disrespectful. They frame the film as a tribute to Sellers, and yet they capitalize on his name by including deleted scenes that he never consented to being released. This entire project feels morally wrong.

For the 6th installment in the Pink Panther series, Blake Edwards goes back to basics. Unfortunately, the previous film gets retconed just so they can bring back Herbert Lom as Dreyfus. This disappoints me because the cartoony nature of the gags plays into Sellers' and Edwards' comedic strengths. By bringing things down to Earth, the gags start to feel tiresome. Even the plot involving Clouseau's presumed death ended up being lame. But Sellers' charm continues to carry the film, and he's still funny as ever. Unfortunately, Revenger of the Pink Panther would mark the last on-set performance from Peter Sellers as Jacques Clouseau.

As it turns out, when you fully focus on Clouseau, you get a more entertaining Pink Panther movie. The Pink Panther Strikes Again takes the franchise in a more absurdist direction and become something akin to a live-action cartoon, which in my opinion, plays into the franchise's biggest strengths. The plot is ittedly thin as Clouseau's former Chief Inspector turned rival, Charles Dreyfus, goes on a quest for revenge against Clouseau. Dreyfus's evil plan is nuts as he kidnaps a nuclear scientist to create a doomsday weapon and blackmails world leaders like Not Gerald Ford and Not Henry the War Criminal to assassinate Clouseau. As it turns out, the only competent assassin was an uncredited Omar Sharif, who dips out after one scene. I live for these absurdist moments as they play into Sellers' strengths as a comedic actor. It's interesting to see how Blake Edwards tinkers with the Pink Panther movies and sees what works and doesn't.

After a lengthy hiatus, Blake Edwards and Peter Sellers return to The Pink Panther franchise. What's great about The Return of the Pink Panther is that it focuses more on what worked from the previous films; Sellers' slapstick humor. It's as funny as ever, and Sellers is a complete natural as Jacques Clouseau. Even Cato from A Shot in the Dark returns. I also noticed that the intro was animated by Richard Williams, which I can tell by the smooth movements. It's amazing the amount of effort Williams puts into his contract work to fund The Thief and the Cobbler.

Unfortunately, Blake Edwards' antiquated direction drags down the film. Christopher Plummer is cast to replace David Niven as jewel thief Sir Charles Litton. Half the film focuses on Charles, and his subplot is so sluggish and uninteresting. I really wish Edwards had fully committed to Clouseau since he's the most entertaining part of the film, as always. It's like the film still had one foot on the door for the '60s filmmaking mentality that most of the industry had already rejected.

Inspector Clouseau is a weird one since it does not involve either Blake Edwards or Peter Sellers. However, the Mirisch Company decided to go ahead and produce the film anyway. Looking back in hindsight, perhaps they shouldn't have. Alan Arkin is cast to play the role of Jacques Clouseau, and I really did not like his performance. It feels like a flanderization of Clouseau, and Arkin comes off as annoying. He does not have the restraint that Sellers has. Also, the plot structure is way too episodic, which gives me the impression that the filmmakers don't know what they're doing.

Despite what the title may lead you to believe, this is indeed a Pink Panther sequel. A Shot in the Dark was originally meant to be an adaptation of a stage play, completely unrelated to The Pink Panther. But then, director Blake Edwards had the bright idea of "Hey, why not include Clouseau as the protagonist?" It's amazing how the Pink Panther series finds its footing with A Shot in the Dark more so than the original. With Clouseau as the protagonist, Edwards gets to fire on all cylinders with the gags. It's significantly funnier, the plot is more focused, and it's more entertaining in general. Going from The Pink Panther to A Shot in the Dark is like a lawyer finding their true calling as a stand-up comedian.

As a kid, my first exposure to The Pink Panther was those old animated shorts starring the titular panther. Then, my next exposure was the reboot with Steve Martin. For a long time, I wasn't fully aware that there was a long-running film series that made Peter Sellers famous. But then I realized that I had a lingering memory of the intro of the first film as a toddler. As it turns out, the Pink Panther has always been in my subconscious.

As for the first film, even after revisiting it, I'm still horribly disappointed by it. The best way to describe it is a very antiquated crime caper. The pacing is sluggish, and half of the film is dedicated to David Niven's and Robert Wagner's playboy escapades in Cortina. Frankly, it's a lot of time-wasting, the plot is convoluted, the humor isn't very funny, and barely any plot progression happens until the third act. The biggest redeeming quality in this movie is Peter Sellers' Jacques Clouseau. He's the only interesting character in this film, and his slapstick charm shines in the third act. No wonder the sequels focused on Clouseau.

I'll it, I watched the original Cats & Dogs multiple times as a kid. Not my proudest nostalgia movie. So when the sequel came out back in 2010, I ignored it because I was already too old for this shit. Even I don't fully understand what compelled me to watch this sequel now, perhaps this innate desire to complete a series no matter how shitty the movies are.

As it turns out, this sequel was indeed shit. It's dull and ugly and treats children like idiots. I'm surprised by the cast they assembled, like Roger Moore and Kiernan Shipka inter-Mad Men. However, there are some unfortunate miscastings. For example, what the fuck have they done to Butch's voice?! Nick Nolte sounds like he smoked an entire cigar factory. I could go on, but this movie wasted my time and ruined my night.

Watched on Monday May 12, 2025.

Bandersnatch was the centerpiece of Netflix's attempt to popularize interactive movies on their platform. It certainly had the most hype, but everyone kinda forgot about it after a few months. The film is formatted as a choose-your-own-adventure centering around a young developer attempting to adapt a fantasy gamebook into a video game.

ittedly, the concept is fun with multiple choices and endings to explore. Some are simple game-over screens, and others are fun fourth-wall breaks. However, you can tell the crew was overwhelmed by the ambitions of this project. It took them the effort of 4 entire Black Mirror episodes and had to cut out a lot of planned choices and features. As a result, multiple choices direct you to the same outcome no matter what. They try to slap a band-aid on this issue by incorporating the illusion of choice into the narrative, but that still doesn't make me feel better. Even with these issues, the special felt underwhelming in general. It's definitely experimental in approach, with several half-baked ideas.

The reason why I'm watching this now, after all these years, is that it's about to be removed from Netflix soon. Interactive movies/shows didn't take off the way Netflix hoped for, and it didn't help that the feature was incompatible on multiple devices. Given these factors, it's not surprising that Netflix execs and its software developers no longer want to maintain old code over a feature barely anybody uses. I can tell it's old code because the Netflix UI was dated circa 2018/2019 when I watched it in 2025. I may understand the reasons for removal, but I'm still worried about media preservation. Even if it returns in a non-interactive format, you'll lose the original experience. Even worse, interactive films are harder for pirates to inadvertently preserve. I wish Netflix's interactive specials never left, but it was a cool feature that never took off.

At the start, I was not impressed with Onward at all. It explores a concept we've already seen before, where a fantasy world loses its magic and transforms into our world following the introduction of TECHNOLOGY. The problem with Onward is that it's not imaginative enough with its worldbuilding; it's pretty much a fantasy-themed American suburbia but without anything creative to distinguish itself. The premise also felt basic, with themes and character archetypes we've seen before.

But once the quest gets going, the film improves. They finally start utilizing magic, and we meet more interesting characters. The story also starts to become more emotional as we grow to ire these characters for their perseverance. The film ends on a very strong note that commits to the characters' sacrifices. It doesn't introduce a deus ex machina for a cheap emotional payoff, the characters actually live with the consequences of their decisions. That is why the ending is so emotionally gratifying.

It's a shame this movie came out at the worst possible time; released theatrically right when the COVID lockdowns began. Onward is weird in the sense that it starts off as a low-tier Pixar movie, but eventually finds its footing and finishes strong.

If I have to give one big compliment to Cars 3, the plot is actually driven by a big idea. It explores themes you don't expect from a kids movie; something that would relate to adults more. Lightning McQueen gets superseded by a new generation of race cars equipped with new and improved hardware (although that does beg the question of how births work in this world). McQueen has to come to with his retirement and looks up to Doc Hudson for guidance on his future. This is high-effort stuff from Pixar, and it plays into their 22 rules of storytelling. However, the entire movie still feels one-note. It's hard to be impressed with the Cars franchise given how conceptually flawed it is. There is some relief that this offers a conclusion to the series (unless Disney has other ideas). At least this is a massive improvement over Cars 2.

The Good Dinosaur is something a Pixar film shouldn't be, bland. I'm amazed by the work the animators put into the environments. They're extravagantly detailed, and the water looks photorealistic. But that's contrasted with these cartoony character designs. It's an ugly clash of aesthetics. Another big issue is that the story is so forgettable. The plot felt half-baked as there's no great concept driving the narrative. The Good Dinosaur is a disappointing low-effort from Pixar

This is it, the one that ruined Pixar's winning streak. For anyone who grew up during Pixar's Golden Age (1995-2010), Pixar was worshipped by millions of kids. They expanded our minds on what kids movies can be. These films don't have to be mindless fodder meant for a cheap buck; they can be profound stories that can teach us about life and the human condition. Pixar raised the standards on feature-length animation and proved that you can achieve box office success with lovable characters and great storytelling. Cars 2 was the moment when Pixar abandoned that ethos.

Besides all the childish gags, what disappointed me the most with Cars 2 is the horribly basic story. Lightning McQueen competes in a World Grand Prix, meanwhile Mater gets caught up in a silly spy subplot that likely only exists to include an Aston Martin DB5. Pixar would know how to create emotional resonance through their 22 rules of storytelling, like iring characters for trying more than for their successes. Cars 2 ignores those rules and opts for something that only appeals to kids and is designed to sell toys. It feels like a betrayal of everything they stood for.

Looking back, this movie was a turning point for Pixar. Going forward, they would produce more sequels and market test their films for maximum audience appeal. This was the ultimate consequence of Disney's acquisition of Pixar back in 2006. Eventually, Disney's higher-ups would interfere more and mandate cynical creative directives. Cars especially was ripe for exploitation given how much of a merchandising behemoth it became. Watching Cars 2 reminded me of what we lost when Pixar sold out.

A Bug's Life is seen as Pixar's sophomore slump nowadays, and it's not hard to understand why. It would get overshadowed by most other movies from Pixar's Golden Age. It also didn't help that A Bug's Life was released just a month after DreamWorks' similarly themed movie called Antz. As you can imagine, Steve Jobs and John Lasseter had a lot of petty bickering with Jeffrey Katzenberg.

The plot revolves around a misfit inventor ant named Flick who recruits a troupe of circus bugs as "warriors" to protect his colony from a grasshopper protection racket. If you can't already tell, it's pretty much a retelling of Seven Samurai. Besides the dated animation, what makes A Bug's Life unimpressive is the basic plot. It doesn't have strong emotional punches like other Pixar films from their Golden Age, and it's full of cliches like the liar reveal. It definitely has this overt kid focus and doesn't feature the refined storytelling methodology Pixar would become famous for. It's a decent movie, but A Bug's Life doesn't have Pixar's je ne sais quoi.

As an NJ native, Action Park is ed like a myth. All the Gen Xers would reminisce about the park like they were military veterans, showing off all the scars they got from the clearly dangerous attractions. For anyone unfamiliar with the park, there's this disbelief that such a park would even exist. Take one look at that looping water slide and you'll go "WHAT WERE THEY THINKING!!!!". You have a park built by a shady businessman with wild ideas and didn't give a fuck about safety. Mix in rowdy teenage employees and a drunk clientele, and you have a recipe for disaster.

As for the documentary itself, it's entertaining. It's great that they interviewed several people to recount their first-hand experiences working or attending the park. A documentary like this can be replicated by YouTubers, so it's great that there's substantial and unique information. However, I do have serious issues with the tonal shift in the last third. Most of the documentary would glorify the insanity of the park, but then shifts to a more serious tone when discussing all the deaths that occurred. If the tone were more focused, there would be fewer moments of unintentional insincerity. With that said, there's a great point to be made about how Action Park was emblematic of the 80s, an era characterized by latchkey kids and lax regulations.

We've been told that this movie will mark the beginning of a new era for Marvel Studios. Given Marvel's recent failures, reforms are desperately needed to reorient the studio's focus on quality storytelling. Gone are the days of bloated budgets and the "fix it in post" mentality. Now, Marvel is moving away from corporate slop. I'm pleased to say that Thunderbolts* is a step in the right direction. What stood out to me is how the characters behave like actual people. There are fewer quips, and the banter is actually funny. This is a wonderful development because one of Marvel's biggest strengths during the Infinity Saga is its characterization.

Even with this optimism, I still felt underwhelmed. The plot is surprisingly low-key, where not much of great importance happens. It's very much a small-scale story centering around side characters we met earlier. irably, the film does tackle issues relating to mental health. Although the execution had this wannabe A24 energy where the film wants to be relatable to the public's mental health struggles without having anything insightful to say. I'm also upset that they wasted Taskmaster yet again. I wish I liked it more. Perhaps I'm still too jaded with the MCU, and Marvel Studios needs to do way more to win back my enthusiasm.

Another improved aspect is that Thunderbolts* sets up the next Avengers movie. The post-credit scene had the most audible hype I've experienced in a long time. It may be too little, too late, but Marvel is finally doing something.

I feel like Ralph Bakshi doesn't get enough credit for trailblazing adult animation. Even today, animation in the West still has the stigma of being childish. But Bakshi has demonstrated that animation can tackle serious topics like sex, violence, and drug use. Bakshi even went so far as to include recordings of actual street conversations to enhance the authenticity of his animated urban world.

Fritz the Cat is Bakshi's directorial debut and is an adaptation of Robert Crumb's comic strip. Let's just say that Crumb was displeased with this film adaptation. Crumb had creative clashes over the film's political satire, which is critical of the 60s counterculture movement. In fact, Crumb hated it so much that he killed off Fritz the Cat in his comics.

As for the film itself, it could've been better. You have to appreciate Bakshi's bravery with his explicit depiction of sex and drug use, especially during a time when Disney had a monopoly on feature-length animation. However, I do find it too vulgar for my liking. My core issue is that it's too concerned with depicting animated debauchery at the expense of its satirical message. The way the film is plotted is also very scattershot; very much a series of vignettes loosely stitched together. Even with these issues, I still have to respect the film for taking the necessary first steps to make animation more mature and adult-oriented.

Imagine yourself in a theater back in 1993, watching a teaser trailer to The Flintstones. The internet wasn't widely adopted yet, so there was this aura of mystery surrounding film releases. Unless you read the trade papers, the primary way an ordinary person would know a movie is coming out is through trailers and posters. Imagine the theater's reaction to the theme sing-along and the live-action reveal of John Goodman as Fred Flintstone. It's an aspect of the movie-going experience that was lost ever since the widespread adoption of the internet and social media.

If only the movie were any good. There are several puzzling creative decisions in this movie. I'm surprised the filmmakers decided to settle on a corporate embezzlement storyline for the main plot. Do they really think audiences would connect with this? The casting is also really bizarre, including the inclusion of my beloved Kyle MacLachlan. It's a shame the production design couldn't redeem this movie. They captured the vibes of the cartoon perfectly and translated the prehistoric gags on classic suburban American life pretty well.

Watched on Tuesday April 29, 2025.

My God, this is a massive improvement over the original in every conceivable way! Guillermo del Toro gets to go all out with his creative strengths here. The creature and production designs are all so imaginative. It's like del Toro is crafting an actual breathing world. Plus, the villains are more interesting, and Hellboy has way more entertaining banter with his BPRD teammates. It's a shame this film got quickly overshadowed by The Dark Knight just a week later.

Sean Baker recently earned some much-deserved Oscar success for Anora, but many would say that The Florida Project is still Baker's greatest work. Much like many other films in Baker's filmography, it highlights the downtrodden of American society, this time on those living paycheck-to-paycheck on the outskirts of Disney World. What makes The Florida Project really fascinating is that the story is told from the perspective of the kids who don't fully understand the bleak reality they're living in. Moonee, the film's protagonist, is mostly doing normal kids stuff with her friends, unaware that her single mother has to resort to prostitution and solicitation to make ends meet. What makes it heartbreaking is seeing Moonee inherit some of her mother's bad traits, unintentionally creating this vicious cycle.

I need to mention the world that Sean Baker has built for this film. Baker captures the vibes of Florida so perfectly with the lush colors and the population of trashy characters. The dichotomy between the outskirts and the supposed happiest place on Earth is so stark, where impoverished residents reside in motels preying on gullible tourists. The standout character is Bobby Hicks (Wilhelm Dafoe), the manager of the Magic Castle motel. He may get annoyed by the kids, but he still acts as the father figure they need by protecting them from creeps and other bad influences. The ending is especially great as Moonee's reality comes crashing down, and we can't tell if it's an actual escape or an imagined reality. The Florida Project sold me on Sean Baker, and I'm very happy to see him experience the success he deserves.

back when Matthew McConaughey had a much hyped career resurgence in 2013-2014? Well, Dallas Buyers Club was the one to launch the short-lived McConaissance. The one thing that immediately stands out with Dallas Buyers Club are the performances. Matthew McConaughey is magnificent in this film as Ron Woodroof, a Texan cowboy diagnosed with HIV/AIDS who would go on to found a buyers club to distribute experimental treatment drugs with his fellow patients. All the while, he fights against the FDA's lethargic and overly bureaucratic response to the AIDS epidemic. McConaughey does a great job of portraying Woodroof's character progression, going from someone who's initially dismissive of HIV/AIDS victims to eventually becoming more sympathetic to them. There isn't too much else to say about this film. It definitely has many of the traits associated with overly polished Oscar-bait films. But I still connected with this film because it does a great job of immersing us in Ron Woodroof's struggles and activism.

Before Across the Universe, there was another jukebox musical featuring the music of The Beatles. Universal went all out with this one, casting the Bee Gees and Peter Frampton as the titular band. There are even musical guest appearances from Aerosmith, Steve Martin, Alice Cooper, and Earth, Wind & Fire. With a set-up like this, you would think this movie would be a slam dunk. So what went wrong?

This entire movie feels like a coke-induced fever dream, in a bad way. It's pretty much non-stop musical numbers that are strung together so mindlessly. There's nothing cohesive about the plot whatsoever. The cover quality is frustratingly inconsistent, ranging from decent to embarrassing. The standout moment for me was Billy Preston coming out as a deus ex machina while singing "Get Back" (the very song he played keyboards on). The only reason why I tolerate this movie is my love for The Beatles. It's such an ill-conceived project.

It's been almost a decade since I last watched Deadpool and it feels like a turning point for the superhero genre. I back then, studios were still skittish over making R-rated superhero movies. But after an overwhelmingly positive response to the leaked test footage, 20th Century Fox finally had the bravery to greenlight a Deadpool movie with the R-rating it deserves. It's fair to say this has enabled further creativity in the genre. Deadpool was also a big turning point for Ryan Reynolds' career. Before, he was seen as a rom-com guy with multiple failed attempts at superheroics. Afterwards, he became Hollywood's go-to snarker. The movie had completely redefined Reynolds' public persona.

This leads into why Deadpool still holds up today: Ryan Reynolds' performance. You can tell he's a fan of the character and is completely comfortable in that role. Reynolds goes all-in on the qualities that made Deadpool a fan-favorite character, from the 4th wall breaks to the constant blabbering of pop culture references. The movie does have a lot of vulgar humor that would appeal to dumb teenagers. But honestly, I still found many of the jokes funny. The movie never takes itself seriously and is widely entertaining. It has the right balance of action and comedy, and has the self-awareness to make a superhero-origin story more delightful than it should be.

Kes is perhaps one of the most harrowing coming-of-age films I've seen. It follows a boy from Northern England raised in a dysfunctional working-class household and with a bleak outlook on his future life, only to find surprising fulfillment in adopting a kestrel that he names "Kes". Director Ken Loach applies a neo-realist approach in his direction, featuring non-professional actors and an emphasis on realistic conflicts. Most of the film can be described as slice-of-life, with the few major plot points being spread out. Something like this can be boring to the layman, but this approach allows us to immerse ourselves with the characters and understand their bleak environment. It allows for comion without relying on sentimentality. Once the ending arrives, the heartbreak and bleak reality hit us like a train. If you can get over the hard-to-understand Yorkshire accents, I would recommend Kes as an introduction to the neo-realist side of British cinema.

Avg. Rating: 6.54/10

1. Toy Story
2. Ratatouille
3. WALL·E
4. Toy Story 2
5. Finding Nemo
6. Up
7. Monsters, Inc.
8. The Incredibles
9. Coco
10. Toy Story 3

...plus 18 more. View the full list on Letterboxd.

These are my rankings of every theatrically released film from the Marvel Cinematic Universe.

Avg. Rating: 6.25/10

1. Avengers: Infinity War
2. Guardians of the Galaxy Vol. 3
3. Captain America: The Winter Soldier
4. Thor: Ragnarok
5. Avengers: Endgame
6. Guardians of the Galaxy
7. The Avengers
8. Iron Man
9. Spider-Man: No Way Home
10. Captain America: Civil War

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

Avg. Rating: 5.6/10

1. One Piece: Baron Omatsuri and the Secret Island
2. One Piece Film: Z
3. One Piece: Stampede
4. One Piece Film Red
5. One Piece Film: GOLD
6. One Piece Film: Strong World
7. One Piece: Dead End Adventure
8. One Piece: The Movie
9. One Piece: Episode of Chopper Plus: Bloom in the Winter, Miracle Cherry Blossom
10. One Piece 3D: Straw Hat Chase

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

Avg. Rating: 7.25/10

1. Spirited Away
2. WALL·E
3. Ratatouille
4. Spider-Man: Into the Spider-Verse
5. Up
6. Finding Nemo
7. The Incredibles
8. Coco
9. Shrek
10. Toy Story 3

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

These are my rankings of every major project from David Lynch. The majority of films on this list are great and I would highly recommend any aspiring cinephile to check them out. David Lynch is my favorite director and his work has inspired me to look at cinema as experiences that defy explanations.

Avg. Rating: 8.25/10

Cinema won't be the same without you
Rest in Peace, David Lynch 🙏

1. Twin Peaks: The Return
2. Mulholland Drive
3. Twin Peaks
4. Eraserhead
5. Twin Peaks: Fire Walk with Me
6. The Elephant Man
7. Blue Velvet
8. Lost Highway
9. The Straight Story
10. Wild at Heart

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

1. La Haine
2. Oldboy
3. Ghost Dog: The Way of the Samurai
4. Election
5. Secrets & Lies
6. Ali: Fear Eats the Soul
7. The Long Goodbye
8. Le Trou
9. Some Like It Hot
10. Anora

Avg. Rating: 6.83/10

1. Oppenheimer
2. Inception
3. The Prestige
4. Memento
5. The Dark Knight
6. Interstellar
7. Dunkirk
8. Batman Begins
9. Insomnia
10. Following

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

Avg. Rating: 8/10

1. Boogie Nights
2. There Will Be Blood
3. Phantom Thread
4. Magnolia
5. Punch-Drunk Love
6. The Master
7. Licorice Pizza
8. Inherent Vice
9. Hard Eight

Avg. Rating: 7.4/10

1. Pulp Fiction
2. Kill Bill: Vol. 1
3. Inglourious Basterds
4. Django Unchained
5. Once Upon a Time... in Hollywood
6. Reservoir Dogs
7. Kill Bill: Vol. 2
8. Death Proof
9. The Hateful Eight
10. Jackie Brown

These are my rankings for every officially-released James Bond film.

Avg. Rating: 5.76/10

1. Casino Royale
2. Goldfinger
3. Skyfall
4. GoldenEye
5. The Spy Who Loved Me
6. Licence to Kill
7. The Living Daylights
8. From Russia with Love
9. On Her Majesty's Secret Service
10. You Only Live Twice

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

1. The Best Years of Our Lives
2. Mary and Max
3. The Battle of Algiers
4. Singin' in the Rain
5. Rear Window
6. Before Sunset
7. The Apartment
8. 12 Angry Men
9. The King of Comedy
10. Phantom Thread

Avg. Rating: 3.94/10

1. The Suicide Squad
2. Shazam!
3. Aquaman
4. Wonder Woman
5. The Flash
6. Zack Snyder's Justice League
7. Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)
8. Aquaman and the Lost Kingdom
9. Black Adam
10. Blue Beetle

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

Avg. Rating: 6.96/10

1. Spirited Away
2. Only Yesterday
3. Princess Mononoke
4. The Tale of The Princess Kaguya
5. The Wind Rises
6. Howl's Moving Castle
7. Grave of the Fireflies
8. Castle in the Sky
9. Kiki's Delivery Service
10. My Neighbor Totoro

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

Avg. Rating: 4.33/10

1. Friday the 13th: The Final Chapter
2. Friday the 13th Part 2
3. Friday the 13th Part VI: Jason Lives
4. Freddy vs. Jason
5. Friday the 13th
6. Jason X
7. Friday the 13th Part VII: The New Blood
8. Friday the 13th
9. Friday the 13th Part III
10. Friday the 13th: A New Beginning

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

Avg. Rating: 4.89/10

1. A Nightmare on Elm Street 3: Dream Warriors
2. A Nightmare on Elm Street
3. New Nightmare
4. Freddy vs. Jason
5. A Nightmare on Elm Street Part 2: Freddy's Revenge
6. A Nightmare on Elm Street 4: The Dream Master
7. A Nightmare on Elm Street: The Dream Child
8. Freddy's Dead: The Final Nightmare
9. A Nightmare on Elm Street

Avg. Rating: 5.46/10

1. Star Trek II: The Wrath of Khan
2. Star Trek IV: The Voyage Home
3. Star Trek: First
4. Star Trek
5. Star Trek VI: The Undiscovered Country
6. Star Trek Beyond
7. Star Trek III: The Search for Spock
8. Star Trek: The Motion Picture
9. Star Trek: Generations
10. Star Trek: Nemesis

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

Avg. Rating: 6.22/10

1. Rocky
2. Creed
3. Rocky II
4. Rocky Balboa
5. Rocky III
6. Rocky IV
7. Creed III
8. Creed II
9. Rocky V

1. Malcolm X
2. Come and See
3. Seven Samurai
4. They Shoot Horses, Don't They?
5. Hoop Dreams
6. Stalker
7. Only Yesterday
8. The Truman Show
9. Sherlock Jr.
10. The 400 Blows

This is my personal ranking of every theatrically-released Star Wars movie.

Avg. rating: 5.67/10

1. The Empire Strikes Back
2. Star Wars
3. Return of the Jedi
4. Star Wars: Episode III – Revenge of the Sith
5. Rogue One: A Star Wars Story
6. Star Wars: Episode I – The Phantom Menace
7. Solo: A Star Wars Story
8. Star Wars: Episode II – Attack of the Clones
9. Star Wars: The Force Awakens
10. Star Wars: The Clone Wars

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

1. JFK
2. Barry Lyndon
3. Boogie Nights
4. There Will Be Blood
5. The Good, the Bad and the Ugly
6. City of God
7. The Shining
8. Citizen Kane
9. Stop Making Sense
10. The Cabinet of Dr. Caligari