Reviews

I was expecting a pretty standard '80s comedy, but was pleasantly surprised. Not everything in the movie lands and the pacing is truly baffling, but I bought the heart at the center of the movie because of the three main leads. I definitely wasn't expecting to love Steve Gutenberg so much (or the drug trafficking subplot)

The one that started it all. Some beautiful shots of rural England. But you'll stick around for the humour and Rob Brydon's never-ending impressions.

Crazy that this won the Palme d'Or. It's interesting to watch now, so many years later, to remember what the discourse was like in the early years of the Iraq war. And it asks the questions about Bush's corruption and his ties to Saudi Arabia. Worth a watch, if you like history.

"Come come Mr Bond." So many impressions. Had me loling.

Pretty bizarre, tbh. But Halle Berry is a slay. And, although the movie starts pretty absurd, by the end I had accepted that and I started having a good time. Big lasers. Maybe the biggest lasers ever.

A classic, in my eyes. If you ever plan to travel to Greece, watch this movie! It's funny and the landscapes are beautiful.

Today, "Greed" feels more like a relic than a revelation. Its acclaim is easier to understand historically than emotionally, especially with the heavy use of stills and minimal use of color. Still, its portrayal of avarice and obsession remains piercingly sharp.

A love story that's not merely a love story. The couple's slow undoing under life’s pressures is heartbreaking. King Vidor strikes a balance between bleak realism and optimism: just when the despair seems overwhelming, the idea of a family offers a sliver of hope. It’s an eloquent portrait of working-class struggle, infused with dignity and sorrow.

It’s impossible not to fall for Barbara Stanwyck in this. Her impish charm is magnetic, never grating, and she essentially carries the film. Yet the film remains firmly rooted in its time—its aesthetics, values, and character archetypes unmistakably reflect the era’s conservatism.

Perhaps I lack the life experience to feel the crushing helplessness from the monotony the characters face. It feels simple as a film with a predictable structure and conventional cinematography. Still, final scene where the heroine dashes out to glimpse the train is a masterstroke in expressing suppressed desire and hesitation.

Arguably as great as "The General," if not moreso. While "The General" excels in plot and pacing, this film is more about the mise-en-scene and plot structures. At just 45 minutes long, it packs in a full narrative arc and some of the most creative stunts ever committed to celluloid.

Embracing the anarchic spirit of animated shorts from the era, the film transplants surreal cartoon logic into live-action comedy with startling effectiveness. Unlike other screwball comedies that stretch a single gag over the length of a feature film, this one keeps things inventive and unpredictable. The core story may be a stereotypical romcom, but the barrage of practical effects and creativity makes it stand apart.

A solid 7 out of 10, with most of the credit owed to the breathtaking scale of the cattle drive. The scale of these scenes is remarkable even today. However, the plot feels rather conventional, and the emotional tension between the “father” and “son” characters comes off as unconvincing—perhaps it is because the cowboys of the frontier era are so far removed from us that it is difficult to understand their emotions and behaviors through the lens of modern values.

Ben Affleck is perfectly cast here—his poker face, physical presence, and sharp movements give Christian a dangerous yet oddly magnetic aura. There’s a vulnerability behind his stoicism that keeps you watching. Anna Kendrick doesn’t get much screen time, but her entrance is dazzling—her bright eyes and warmth provide a welcome contrast.

It was a thrill to see Pink Floyd on the IMAX screen—any fan would be delighted. But as a film, the overuse of facial close-ups adds little and feels more self-indulgent than insightful. I would’ve preferred either a pure concert documentary or something with a clearer narrative thread.

Even with David Cronenberg at the helm, adapting a Stephen King novel is never straightforward. King’s narratives are dense and often scattered, making it hard for a film to stay faithful without feeling rushed or incoherent. This one is no exception—without reading the book first, the female lead’s choices may seem puzzling.

Adapted by Francis Ford Coppola from the novel of the same name, the film explores youth crime as a symptom of class division. It captures the volatile beauty of adolescence—the rebellion, the camaraderie, the heartbreak—with remarkable sensitivity.

This might be one of Jean-Luc Godard’s most coherent narratives. The integration of violin performances and crashing waves creates a Brechtian effect, constantly reminding viewers that this is cinema—not a world to disappear into. Godard's feminist perspective also evolves from 'women resisting men' to 'women taking control of them' in this film.

Compared to Dostoevsky’s original, this adaptation trims away many subplots, which tones down the psychological depth and background of the protagonist. The film shifts its focus to his actions and mental state, conveying internal turmoil through subdued expressions rather than extended monologues.

In a jarring tonal shift from the first two entries, this film leans into slapstick comedy, often at the expense of coherence. The humor feels forced and irrelevant to the story, while the rich emotional threads—Superman’s dual identity and his romantic entanglements—are completely sidelined in favor of an awkward buddy subplot.