#221

Us was one of those films that I didn’t love while watching, and then the more I thought about it the more I disliked it. Just seemed like an average horror film with all the cliches, and I’m not convinced it’s saying anywhere near as much as it/critics seem to think it does. Huge disappointment.

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#222

it makes so little sense, but is posited as being some big social critique. it’s not even particularly scary or original, there are loads of better home invasion films. if anything i found lupita’s changing voice funny rather than actually good. definitely agree on thinking it was worse as time’s gone on.

#223

I spent the best part of 2020 defending The Wrong Missy cause I thought it was just a silly, take it for what it is film. People now judge my tastes in films based on my The Wrong Missy recommendation!!!

I still say it was pretty good. Definitely wouldn’t watch it again though.

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#224

Finally watched Pretty Woman at the ripe age of 32 and feel it was probably for the best that I waited as I don’t think I would have fancied Richard Gere as much if I was a lot younger.

Then my bf was like “but he shoves live Gerbils up his arse” - a swift google later and crush gone

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#225
#226

That’s interesting, cos the one caveat to my opinion was that I’m not a big horror fan so I’d have been prepared to accept it as a decent horror film in its own right if that had been what it was. It not being particularly scary or good on those terms either was definitely the sense I got though. And yeah, none of it makes sense - the whole underground/mirroring thing doesn’t stand up to any scrutiny, and the underground equivalents veered between being superhuman and comically inept depending on what the plot needed.

Don’t think there’d be any great social critique being seen in it if he hadn’t done Get Out (which is still amazing, obvs)

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#227

said it at the time but just felt like I was watching a shit version of Funny Games (which isn’t really a horror film I guess, but it is as much as like, The Purge I suppose - which is also a better film especially the sequel)

#228

Funny Games 2: Who’s Laughing Now

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#229

The Sound Of Metal :face_with_head_bandage: What a harrowing journey. The techniques of disorientation used to try place us in his shoes are flawlessly executed and should hopefully leave you with deep appreciation. It beautifully subverts so many things and creates such a unique piece that I can only partly connect to something like The Wrestler or The Diving Bell and The Butterfly. I went to bed with a renewed appreciation of so much and would love to meet Joe if I was ever in a traumatic situation. 4.5/5

Captain Fantastic :trolleybus: Lovely stuff with lots of vim and vigour. Mixed morals and ambiguity from pretty much everyone made it a tricky puzzle to solve, but an admirable effort. The final song and there being one repeated gag formula knocks a few stars off. 3/5 (Netflix)

A Single Man :necktie: Not a fan and nearing a 4.0 average on Letterboxd is rather perplexing. Way too clinical which made it feel like a perfume advert at times. Beyond tired of the earnest quivering Englishman act that Firth always does. 1.5/5 (Sony Movies)

Clueless :school: Hate to be stuffy, but YiYi was just removed from the 1001 Movies book, but THIS is still in. I think this is trying to poke fun at valley culture, but totally fails - being not funny and not clever the entire painful runtime. Insufferable people, bad caricatures and tired cliches swirling around a flat script, dreadful line reading and poor adr. Also the most on the nose soundtrack choices that the music supervisor from Homes Under The Hammer would be disgusted at hearing. 1.5/5 (Netflix)

Skate Kitchen :banana: Will always have a fondness for Betty as it was one of the first things I allowed myself to watch (and truly enjoy) when my furlough seemed like it wasn’t going to be a short term thing. Obviously this follows similar coming-of-age themes of wide eyed addiction to something you love and the bonding, unity and trepidation that come with it. The quest to fit in and that feeling-out process to eventually find a footing, find a place and find yourself are also wonderfully explored. Felt it meandered a smidgen in the middle, but gets back on track for the third act. Love being in this world. 4/5 (Film 4)

You Were Never Really Here :hammer: I often find the ‘hitman with a heart of gold’ idea a difficult hurdle to overcome and sadly that was the case here. It also veers on the well-trodden ground of haunted masculinity + impassive female victim. Overall it lays out a rather unique concoction using a high level of visual storytelling with minimal script and tell don’t show…playing with that in rather interesting ways. The use of editing and switching focus away from the atrocities to character introspection and reaction was admirable and executed well enough. Liked not loved. 3/5 (Film 4)

#230

Oh man this is a scorching hot take to me. Flat script!

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#231

Way harsh, tai.

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#232

is this ‘available’ now? (i will pay for it if i can!)

#233

I liked Clueless. Saw it first time only about five years ago. Enjoyed it far more than the recent Emma with Anya Taylor-Joy.

#234

That’s was the period take on clueless yeah?

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#235

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#236
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#237

Clueless is genius in how it manages to make the main character likable, the other adaptations of Emma struggle with that I think.

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#238

Silverstone in Clueless seemed like a nice person in her own small bubble.

Anya Taylor-Joy seemed too controlling and behaved like she knew far better than those around her. I think she was needlessly rude to Miranda Hart somewhere in the film.

They’re the only two adaptations I’ve seen and haven’t read the book and so my comments aren’t exactly from a point of knowing what I’m talking about. I’m more an expert on Stone Cold Steve Austin than Jane Austen…and that’s the bottom line.

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#239
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#240

I hope Rocks cleans up here. Would love to see Kosar Ali win her category.

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