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  • Paterson

    Paterson

    ★★★½

    I never realized how similar Adam Driver and Ryan Gosling are as actors. This felt like an existential slice of life movie that Ryan would have done ten years ago. Adam’s voice is so comforting reading all of the poetry that strings the story along. It’s a lovely, quiet film.

  • Logan Lucky

    Logan Lucky

    ★★★

    You know...they said it best in the movie. It’s “Ocean’s 7/11“, and it was fun once it got going.

  • The Old Guard

    The Old Guard

    ★★★

    Straight to VOD in the time of COVID is such an interesting experience. I’m glad I watched this at home because it’s more of a couch movie than a theatrical blockbuster. I loved every fight scene. The casting and characters were diverse without feeling ham fisted. And it’s pretty admirable in 2020 to make a coherent superhero movie that works without being based on a known property.

  • Atonement

    Atonement

    ★★★½

    First watch. It was really beautiful, but very slow. Some really long war sequences that didn’t really add anything emotionally to the story for some reason. It might be because everyone in the movie talks SO fast it’s a little hard to catch everything they’re saying. That’s a terrible reason to criticize a movie though...

  • 365 Days

    365 Days

    Zero stars was not a mistake. There are FIVE shopping/makeover montages in this movie. Five. 

    FIVE. 

    I didn’t realize that 14 year old fan fic writers had enough resources to make a movie but here we are.

  • Colette

    Colette

    ★★★½

    What a charming movie. I can only assume this wasn’t more popular because the studios didn’t put enough money behind it. This particular story of gay Victorian women rarely gets told on such a large budget, and I really appreciated the way they handled the subject matter and the venerated persona of Colette. Just lovely.

  • Dogtooth

    Dogtooth

    ★★★

    I will never rewatch this, and I can’t really recommend it to anyone, but it definitely kept me interested. It’s an incredibly unique story that leaves you to make your own assumptions about what happens next. It’s hard to get emotionally or intellectually invested in any of it because it’s so minimal and absurd.

  • Risky Business

    Risky Business

    Did people take this seriously when it came out? Like are there people who genuinely love Risky Business? Has there ever been a movie more hinged on upperclass white male privilege? Why is there no humor whatsoever, and why do these high school boys act and dress like 50 year olds?  

    The car falls in the river 58 minutes into the movie with 40 minutes remaining. That’s 58 minutes of super boring setup for the inciting incident that leads…

  • The Stepfather

    The Stepfather

    Peak 2009 hot Penn Badgley and Amber Heard in this movie, so that’s why I watched it. This wasn’t a truly terrible movie until the last 15 minute. All I can say is this house must be made of balsa wood because people are flying through floors and walls left and right. This is also one of those fictional towns that just has no police force to speak of.

  • Midsommar

    Midsommar

    ★★★

    I imagine if M. Night Shayamalan watched every single Wes Anderson movie back to back and then dropped acid and sat at a typewriter, this is exactly what we would get.

  • Uncut Gems

    Uncut Gems

    ★★★

    What the hell happens to Julia? This movie was WAY too long to end the way it did. I’m upset. I picked up my phone a few times in the middle of this. Adam Sandler’s full throttle energy was exhausting. He started at a ten and kept it up the whole time. It’s not what you want.

  • 68 Kill

    68 Kill

    ★★½

    This is the kind of trash I love. There is literally nothing sophisticated about this movie, but that is 1000% not the reason you pick something like this to watch. Wild ride—hot boy falls for the wrong hot girl, and a bunch of people get killed. It’s classic campy horror with no ghosts or monsters, just depraved southern white people.