movie

Rated Insidious: Chapter 2 3/10

Rated Iron Man 3 7/10

Rated Hedwig and the Angry Inch 7/10

Rated The Odyssey 7/10

Entertaining movie. The dialogues felt a bit generic and unrealistic, but the acting was good and the production and costumes were amazing. I enjoyed it!

Rated Tenet 10/10

...obsessed

Added Open Season 3 to Watched Movies

ALT

Rated The Odyssey 10/10

Rated Cinema Paradiso 10/10

A beautiful film...

Rated The Talented Mr. Ripley 6/10

I don't think I was prepared for as much of a psychological thriller film as this was! Damon's acting was unnervingly good and I thought it was definitely unpredictable for me in the many fantastic twists and turns of the plot (though much of the credit for that are likely following from the original book). Some elements of the editing, like the transitions, seemed surprisingly low-tech and almost to the point of bad-its-corny level.

Rated Spider-Man: Brand New Day 10/10

Rated Shin Godzilla 10/10

Rated Disclosure Day 6/10

It's fine, I guess. I'd say it's really well put together (as you’d expect from Spielberg and crew), looks gorgeous, top notch acting, and brings up some interesting questions about faith, life outside of earth, and empathy. But is this one I need to watch over and over? I probably don’t think so. It’s a lot of chasing from here to there, and then a lot of dialogue, and some more chasing. By the end, I was left with a few questions, but nothing deal-breaking. I enjoyed it enough and I know my mother will love it, but there were just a few too many questions left with me that I couldn't explain.

Rated Look Back 9/10

Added 964 Pinocchio to Movie Watchlist

Rated The Lost World: Jurassic Park 6/10

Added From Dusk Till Dawn to Watched Movies

Added 101 Dalmatians to Watched Movies

Rated 2 Fast 2 Furious 8/10

Rated The Grey 5/10

Liam Neeson is the only watchable character among the survivors. Part of this is because he gets the opportunity to wax philosophical, but it's also because the remaining crew never become useful characters. If you've seen The Edge you'll realize this is a poor entry in the survivor genre since it, too, follows the formulaic trope of the last man standing. There's plenty of man vs. nature symbolism, but not enough depth about other things--family, masculinities, and the relationship(s) between capitalism and conservation, for starters. As a film it's about as barren as its wintry landscapes. Neeson is great, there's just nothing new here.

Rated Loev 6/10

There's something incredibly shocking about being confronted with the passing of the actor playing a character you feel you know--that you feel is you in some ways. LOEV captures with piercingly uncomfortable awareness the conditional topology of love--its ebbs and flows, crests and troughs--and shows that it is in many ways not some abstract and external thing that one can possess, have, or own, but is a thing that each of us births and shapes, something whose definition changes when how we feel about ourselves--who we believe ourselves to be and what we believe others should feel about our actions--changes.Director Sudhanshu Saria displaces us in much the same way queerness disrupts and dislocates by intentionally avoiding characterization through outright description of his cast. What his characters do to and for each other, it appears, is more important than who they appear to be. The result is a layered film that relies primarily on touch and gesture as it depicts its two leads, jet-setting businessman Jai (Shiv Pandit) and musically timid Sahil (the late Dhruv Ganesh), attempting to find meaning in a relationship engraved with uncertainties of time and feeling.What the film does right is set up its premise: a brief weekend reunion between two men that could be (and seem to want to be) lovers. The problem is that neither has yet figured out how to bridge the gap between the realities of their attractions and the fancies of their imaginations. In this the film reveals through slow, almost stately plotting in its first third that a certain kind of projection or self-deception is required for love. Jai seems to be attracted not to Sahil, per se, but to his carefree nature and flights of whimsy, Sahil to Jai's order, gravity, and discipline. Along the way there's a great deal of bumbling around as both try to exist beyond their constructed facades and embrace their vulnerabilities and each other. All is well until it isn't, until whimsy intrudes on order and gravity steals what once held boundless inertia. The fantastical decelerates; reality sets in.There is a scene in this film that is unquestionably a rape scene. This is unique not only because many films feature or position rape as a source of transformation (particularly for female or feminized subjects), but because precious few situate rape within the context of a relationship or as an example of intimate partner violence (IPV). Fewer queer films acknowledge it at all. In a film whose structure and timetable suggests a conventional drama akin to Andrew Haigh's WEEKEND, it's significant that the film dares us to empathize with both the brutal and brutalized. In doing so it asks us to confront and think about violence and its continuities. Is the violence "intimate" or domestic if neither person lives with the other? If the best either can utter is "I like you" defensively? If neither person fits neatly into the expansive vagueness of "partner"? And then, most importantly: how and why do we participate in and enact similar violences, of vagueness and noncommunication?That a film can be this personal and metaphysical with the thinnest of plot set-ups is honestly invigorating. And it mostly succeeds thanks in no small part to the chemistry of Ganesh and Pandit. Where it falters, however, is in writing that in many cases--particularly with side characters--feels like it exists as filler. One might also see problems in its narrative turns in the third act, which feel reasonable, but which are not set up properly or which result in conclusions that are not entirely earned because it isn't clear what characters value and what motivates them. This lack of definition undermines some of the film's credibility. With that being said, I found myself appreciating the film's subtler moments and even its musical ones (the song running over the credits is particularly beautiful). The film makes legible the difficulties of translating feeling (attraction) and action (violence) into something intelligible. What we get is a story of love told through violation and shattering, that survives battering and fragmentation. We get LOEV.

Rated Bilal: A New Breed of Hero 4/10

This was really disappointing. There are definitely moments of brilliant direction, stunning character design, and impressive uses of the score and soundtrack, but the script needed a lot more polish. For the entire film there wasn't a single character that I felt I could latch on to and it made this viewing a slog. (I actually fell asleep during the first 40 minutes on my first viewing.) This movie is easily half an hour longer than it needs to be and I still don't have a clear understanding of why--not everything that was included needed to be and the film's plot turns feel as though they are pilfering pretty unabashedly from THE PRINCE OF EGYPT. I really like films in this genre, especially when animated, so this, while not awful, was definitely a letdown.

Rated Luca 10/10

Rated The Green Knight 10/10

Rated Dolittle 2/10