• The Photograph

    The Photograph

    ★★½

    Lakeith Stanfield sexy. Issa Rae sexier. That’s it. That’s the review.

  • Kajillionaire

    Kajillionaire

    ★★★★

    This is for all my fellow people who grew up in a household where they were never really heard and understood. To the people who had and are still having difficulties trying to withstand the perils of family. To the people who haven’t found this basic familial connection that was supposed to be given at a young age and are left with nothing but business-like relationships; a transaction per se: I gave birth to you and gave you a home…

  • Folklore: The Long Pond Studio Sessions
  • Roald Dahl's The Witches

    Roald Dahl's The Witches

    Anne Hathaway and the Terrible, Horrible, No Good, Very Bad Accent

  • Possessor

    Possessor

    ★★★½

    First of all, I just want to say that Andrea Riseborough is worth praising for in this. She is once again unrecognisable (like another female Christian Bale of drastic physical transformations at this point), and her character is so insidious that it feels strangely immoral to empathise with her, but nevertheless piques the audience’s interest. What is her true motive? Is her family her saving grace, her inevitable downfall? Why did she underwent such circumstances? Does she truly care for…

  • Rebecca

    Rebecca

    Adapting a renowned classic novel into a visual format would of course, essentially require a new perspective on the source material. Otherwise, a film inevitably risks being overshadowed by earlier adaptations. This remake right here is a vivid testament to such unfortunate fate.


    added in: 2020 ranked

  • Rebecca

    Rebecca

    ★★★★½

    “Last night I dreamt I went to Manderley again.”

    How does one measure the shape of fear? A shower-intruding assailant? Nope. How about a dose of ambience? In here, Hitchcock teaches us how fear is drip-fed out of the simplest of premises and digress from there.

    Bringing Daphne du Maurier's novel to life, events within the story centre on the ominous Manderlay. Chilling and gripping, straight from the opening trawl through its towering gates, Hitch has you, well... hitched. As…

  • What We Do in the Shadows

    What We Do in the Shadows

    ★★★★½

    “We don’t want any trouble.”

    “I do! Have I got your heckles up? Huh? Why don’t you go smell your own crotches?”

    “What are you talking about? We don’t smell our own crotches, we smell each others crotches, and it’s a form of…greeting.”

    No you don’t understand, comedy PEAKED because of this film. I was in stitches the whole damn time. With its power punch repartee of incredibly funny one-liners, brilliantly orchestrated and flawlessly executed, it easily becomes a master of understated humour. In all honesty, how does Taika Waititi sleep at night knowing he released this hilariously brilliant masterpiece???

  • The Fly

    The Fly

    ★★★★

    Sometimes it’s okay not to follow a good plot and just stare at young Jeff Goldblum’s body for the first half of the film

  • Shaun of the Dead

    Shaun of the Dead

    ★★★★★

    Revisiting this the second time around and yet it still remains satisfyingly unconventional (and for all the right things, of course). It’s a mishmash of a lot of themes which highlights not just the zombie genre, but has the capacity to support ALL genres— from romance, satire, post-apocalyptic, comedy, action, tragedy, friendship, thriller/horror, tales of redemption, and many more. And for me that makes for a perfect recipe to become such a remarkably great and distinguished film. This takes into…

  • Scream

    Scream

    ★★★★★

    This review may contain spoilers. I can handle the truth.

    *Stu carefully laying his chin on Billy’s shoulders, smiling mischievously and glancing at him from time time as they reveal to Sidney how they’re both actually psychopathic murderers*

    me: [screams in bromance and homoeroticism] jUST KISS ALREADY

  • The Nightmare Before Christmas

    The Nightmare Before Christmas

    ★★★★½

    So you’re telling me this film isn’t just about Jack Skellington hyperfixating for about an hour and a half or not