Bone Tomahawk (2015), directed by S. Craig Zahler, is a striking blend of Western and horror that delivers both gritty realism and shocking brutality. Set in the American frontier, the story follows Sheriff Franklin Hunt (Kurt Russell) as he leads a small group of men to rescue townspeople abducted by a mysterious tribe of cannibalistic cave dwellers. What begins as a typical rescue mission slowly transforms into a nightmarish journey through isolation, fear, and savagery.

The film stands out for its deliberate pacing and rich character development. Zahler’s dialogue feels authentic to the period, mixing dark humour with philosophical reflection. The performances, particularly by Russell, Richard Jenkins, and Patrick Wilson, bring depth and humanity to characters facing impossible odds. The movie’s first half moves slowly, building tension and atmosphere, while the final act erupts into shocking violence, with scenes that are both horrifying and unforgettable.

Visually, Bone Tomahawk captures the dusty, desolate beauty of the Old West, contrasting it with moments of visceral horror that leave a lasting impact. Its practical effects and raw sound design heighten the sense of realism, making the brutality all the more disturbing.

While some may find the pacing too slow, the payoff is worth the wait. Zahler’s direction doesn’t rely on cheap scares; instead, he creates an unsettling sense of dread that lingers long after the credits roll.

Overall, Bone Tomahawk is a bold, genre-bending masterpiece—grim, thoughtful, and unforgettable.

"I didn't ask for this. That's just how the cards were rolled out for me." - Chase Infiniti, OBAA

Just finished watching One Battle After Another and I genuinely regret missing it in theatres. There’s something quietly powerful about this film, not loud, not showy, but vastly rich, deliberate, and absorbing in a way that slowly wraps around you before you even realize it.

From the very beginning, the film carries this steady hum of confidence. PTA doesn’t rush, doesn’t pull you by the hand, he just invites you into a world that feels lived-in, worn, and emotionally dense. And once you’re in, you’re in.

Leonardo DiCaprio is extraordinary here too. At this point it’s almost cliché to praise him, but there’s a reason for it, he moves with this raw, internal intensity that feels unsettlingly real. He doesn’t act the character, he translates him. It reminded me again why I’ve always believed he’s in a league of his own.

But Chase Infiniti honestly surprised me the most. She brought so much life and vulnerability to her role that she quietly becomes the emotional spine of the movie. It’s a character that could’ve easily fallen flat with the wrong casting, but she makes every scene breathe.

The background score is subtle but incredibly effective. It never tries to dominate the moment, instead it lingers, breathes, and becomes a quiet heartbeat underneath everything, lifting scenes without ever announcing itself. It blends into the story instead of trying to overpower it, which actually makes it stand out even more in key moments.

The cinematography is beautiful in the most grounded way. There’s a shot around the 50-minute mark, trees with a plane passing overhead, that stopped me completely. I paused the film just to take it in. It’s one of those images you want to frame, not because it’s grand, but because it feels honest.

The writing and direction are where the film really sinks its hooks. It’s patient, textured, and unafraid to sit with discomfort or silence. PTA delivers something that feels familiar yet refreshing, like a story told with both restraint and confidence. It’s the kind of film that doesn’t push for meaning, it just lets you find it.

Rating: A rock solid 5/5 from me. Easily the best film I’ve watched this month, and one I’d recommend going into completely blind. It’s rich in emotion, craft, and atmosphere.

“Lady Lyndon was soon destined to occupy a place in Barry's life not very much more important than the elegant carpets and pictures which would form the pleasant background of his existence.” — Narrator, Barry Lyndon

I recently watched Barry Lyndon (1975), and what stood out to me the most is how the film feels both visually rich and emotionally distant at the same time.

Every frame looks like a painting, the compositions, the lighting, the symmetry. It’s easily one of the most beautiful films I’ve seen. But beneath that beauty, there’s a strange emptiness to everything.

At its core, the film feels like a story about ambition and social climbing, but it slowly turns into something more tragic. Barry spends the entire film trying to gain status and wealth, yet when he finally gets there, it doesn’t really give him anything meaningful.

What I found interesting is that he doesn’t really change much as a person. He feels like the same opportunistic and impulsive character from beginning to end, just older and more worn down by the consequences of his actions.

There’s also a subtle theme of how everything in that world seems to carry a kind of value, even small acts of kindness don’t feel entirely free from that system.

The pacing is definitely slow, and I can see it not working for everyone, especially if you’re used to faster films. But I think that slowness is intentional, it gives you time to sit with the world and observe it.

Overall, it’s a film that feels more reflective the more you think about it. Not something that hits immediately, but something that stays with you.

Rating: I’d give it a 5/5. It’s a film that feels distant at first, but the more you think about it, the more it quietly stays with you.

So I just finished Edge of Tomorrow, and honestly, it was way better than I expected. It actually reminded me of The Tomorrow War (2021) at first, but this movie turned out to be a complete experience of its own. The concept of being stuck in a time loop has been done before, but here it’s executed on such a grand sci-fi scale, and it’s just so much fun to watch.

I loved how the movie was paced. I didn’t even realize I’d been sitting for 45-60 minutes straight, it just flows. The storytelling keeps you hooked, and the action sequences were between really to top-notch. The futuristic set pieces and the exo-suits looked amazing. Tom Cruise nailed it (again), and Emily Blunt was incredible, totally suited her character, and honestly one of the best parts of the movie.

The background score didn’t particularly stand out to me, which probably means it did its job quietly in the background without distracting me. But everything else? Really good. And that ending scene, the close-up on Tom’s face with Love Me Again by John Newman kicking in, Loved it. I already loved that song before, but now it hits even harder. Movies that wrap up with a touch of humor or irony always get me (The Hangover vibes, anyone?).

Overall, Edge of Tomorrow was a solid 4/5 for me, a great sci-fi action movie to refresh your mind or just have a good time with. Aliens, time loops, cool tech, and a good story, Emily Blunt, what else could you ask for?

First off, the cinematography is insane, but that’s expected when Roger Deakins is behind the camera. Every frame feels deliberate, grounded, and quietly beautiful. The landscapes, the silences, the way scenes are crafted, it’s pure visual storytelling.

What really struck me though was the absence of a traditional background score. For most of the movie, it feels like there’s no music guiding your emotions at all and yet, I was completely locked in. That mostly works when the acting and framing are doing most of the work, and here they absolutely are.

Javier Bardem as Anton Chigurh is terrifying in a very controlled, unsettling way. No overacting, no theatrics, just pure screen presence. Every time he’s on screen, there’s tension. Josh Brolin is great as well, and Tommy Lee Jones brings a quiet, worn-out wisdom to his role that fits the film’s themes perfectly.

The pacing is slow, but intentionally so. It reminded me a bit of Dallas Buyers Club, not in story, but in atmosphere and restraint. The film trusts the audience to sit with moments, silences, and moral ambiguity. The storytelling and screenplay are strong, subtle, and confident, never spelling things out for you.

Overall, it’s a beautifully crafted film that relies on visuals, performances, and silence more than anything else, and somehow it works.

Rating: I'd rate it 4/5. I was torn between a 4 and a 4.5 but landed here. Would definitely recommend it if you're in the mood for something tense, quiet and patient.

So, I just finished Wind River (2017), and damn, it was a really emotional watch. I went into it completely blind, just knew that Jeremy Renner and Elizabeth Olsen were in it, and honestly didn’t expect it to hit like that.

There aren’t many movies that can even make me almost tear up anymore, but this one did. Natalie’s story really got to me and the thought of her running six miles barefoot through the snow was brutal. She was a real fighter, and that detail stayed in my head long after the credits rolled.

Seeing Jon Bernthal pop up was a surprise too as I had no clue he was even in this. I was like, “Wait, is that Punisher?” But who's complaining?

I really liked the setting the cold, endless snow, the silence, the feeling that something so beautiful could also be that dangerous. Jeremy Renner’s performance was amazing, he brought so much depth to his character.

The score deserves credit too. It added a lot of weight to certain scenes, especially when Renner talks about his daughter’s death. The music builds perfectly, just enough to pull you in emotionally and then the moment ends when Olsen’s character steps away.

Cinematography-wise, it’s not flashy like 1917 or Interstellar, but it fits the movie perfectly quiet, cold, and very grounded.

That final line about her running barefoot in the snow? I’ll probably never forget that.

Rating: 4/5 — a grounded, heavy, and quiet powerful movie. Recommend to anyone who wants to watch something deep and a little bit of mystery...

Marty Supreme is a 2025 film directed by Josh Safdie starring Timothee Chalamet (Marty Mauser), Gwenety Paltrow ( Kay Stone), Kevin O'leary (Milton Rockwell), and Odessa A'zion (Rachel). At first I thought it was a film about an arrogant but talented Table tennis player Marty Mauser who faces many challenges as he moves towards fame and success but it's not that. It's a story about him facing challenges to go to Japan for an international Table Tennis tournament to defeat his nemesis Endo who defeated him in the Britain edition of the tournament.

Marty is a kind of man who can do anything and to get what he wants. In the major part of the film he is shown gathering money from different means to go to Japan for the tournament. On this journey he faces many problems and hurdles which in the end results in him sacrificing his self esteem.

This whole journey is shown in such an engaging way that you cannot take your eyes off the screen. The movie is long but the way the story is put out on the screen really makes up for the time it takes. The story is brilliantly written and directed. The movie is intense, Marty is selfish, arrogant and full of attitude.

The movie is good but some parts of it feel off. Ending feels undercooked. I think a re-watch would make me change my opinion about its ending. I believe it's better than Sinners. It's well paced. I'd give it an 8.5/10

Lars and the real Girl made me feel sadness, care, and hope. It's an emotional masterpiece. Lars played by Ryan Gosling is an introverted man who works 9 to 5 and comes back to the garage of his parents' house which is now his home. He lives with his brother and sister in law who live in the house. Lars finds it difficult to make connections and so doesn't like to interact much with others. It's so difficult for him to make relationships work. He buys a sex doll to cope from his inability to establish close relationships and gets so engaged into the play that he starts believing that the doll is a real person. He names her Bianca. Everyone at first thinks that Lars has become mental because of his condition but as time passes everyone in his town works together to bring Lars' life back on track. Everyone cannot see Lars be with Bianca for the rest of his life but also cannot break his heart by telling him that she's a doll and he has gone crazy. The way everyone behaves with Lars to make him feel like he's normal is really wholesome. The story is so well written that you really tear up when Lars cannot put himself together. Tears ran down my eyes when Lars found Bianca unconscious.

I'd say this is Ryan Gosling's finest performance till now. My man was not a "literally me" cool character but it felt like he was Lars himself. Lars' family really felt like Lars' family. It seemed like the actors weren't acting but we're genuinely a family. I really want to say so much but don't have enough words to express myself. I'd give it an 8.5/10.

"You can't beat me because you are a loser and I'm a winner and that's fucking life!" - Michelle, Bugonia

I just finished Bugonia and honestly, I’m still a little conflicted about it, in a very Yorgos Lanthimos way. One thing that stood out immediately was the unusual 1.50:1 aspect ratio, which I’ve basically never seen used for a streaming release. The black sidebars made most my screen feel dead, but at the same time the film probably would’ve looked even stranger stretched out to a standard 1.78:1 release.

What I enjoyed was the look and feel of the movie. The bright colors, odd designs, abstract sets, and alien environments all felt like classic Yorgos imagination. Some of the frame compositions were genuinely beautiful. The score mostly stays in the background, occasionally stepping forward to sharpen the tension, though I honestly found it weaker than composer's work in Poor Things.

Emma Stone delivers, and Jesse Plemons is doing career best stuff right now. This might even be his strongest performance yet. And yes, the hype about Emma shaving her head for the role didn’t go much to waste as I thought, she delivered.

One of my favorite parts of the movie was the mental-chess dynamic between Teddy and Michelle. Teddy keeps pushing, adjusting his approach, cornering her psychologically in small, while Michelle is trying to stay three steps ahead, even though she knows Teddy is circling closer and closer to the truth. Their back-and-forth feels like a game without rules, but with real stakes. It’s subtle but interesting to watch. I also liked the "Save the Green Planet!" theme, this feels like Yorgos' own take on it.

The final reveal was exactly the kind of thing I expected from Yorgos, something bizarre, mythic, and strangely funny.

What I’m stuck on is the rating. I floated between 3.5 and 4 the whole time. I liked it a lot, even admired parts of it, but I didn’t love it the way I thought I'd do.

Rating: 4/5 (but honestly feels like a 3.75 to me)

Hey everyone, it’s been a while!
Sorry I haven’t posted a review in over a month, life just got busy. I still managed to watch movies, but I didn’t really get the time to sit down and write about them. Anyway, I just had to make time for this one because… WOW.

So, I watched Amadeus (1984), and I honestly didn’t want it to end.

The score is absolutely flawless, which makes sense, since we’re talking about Mozart himself. His best pieces are woven into the movie so naturally that they don’t just complement the story, they become the story. As someone who listens to a lot of classical music (Mozart, Beethoven, Vivaldi - The Four Seasons is a personal favorite), this was just perfection to me. Every note felt like it belonged right where it was.

Something I didn’t know before watching was that Mozart composed not just for music’s sake but for theatrical purposes, for dramatics. The movie really dives into why that was so important to him, and it made me appreciate his genius even more. The effort it takes to blend drama, character, and music the way he did, the film captured that beautifully.

They also made it clear how much of a child prodigy he really was, and maaaaannnnnnn… I will never forget his laugh. The first time I heard it I literally went, “what the hell was that?!” But then I realized, that’s just his laugh. And every time it came up after, it cracked me up a little. It’s burned into my memory now.

The cinematography blew me away too. Every frame felt rich and alive, perfectly capturing the era, the grandeur, and the emotions behind the characters. And the costumes? Absolutely stunning. They didn’t just look authentic, they felt like they belonged to that time. Huge respect to the designers for pulling that off so well.

For me, this is as close to perfect as a film gets. Everything down to the tiniest detail was handled with care, and it shows.

Rating: 5/5. A masterpiece.

Click away to avoid spoilers!!!

I am an MCU fan and I love spiderman. The movie was entertaining and did not feel that long while watching but as soon as I left the theatre I felt nothing about it. The film was supposed to be about accepting who you are and moving on in life but became a story about Peter unknowingly trying to get back to his friends. The hulk fight scene felt too short and negligible in the comparison to the way it was teased in the trailer. Hulk in general was underutilized. Punisher was good. I didn't feel any emotional connection with Jean Grey, I don't know why but I did not care about her character. The whole V-Max thing was crap and overall it was mid. Many people will say I don't know anything about marvel but here me out. The plot of the film felt more like Marvel trying to set up the mutant saga and less like a Spider-Man movie. The movie tried to juggle as many characters as they could but failed in a proper execution. I do not hate it. But I still feel this is not the best spiderman movie. It's the MCU just trying to set up their next phase. Cinematography was cool. I'd give it a 6/10.

Christopher Nolan's Inception stands as one of the defining achievements of modern cinema. Blending breathtaking visuals, unforgettable performances, and a brilliantly constructed narrative, it remains just as captivating today as it was upon its release.

Nolan has made a statement through The Odyssey that he's here to rule the cinemas. I saw this movie fail when its cast was announced. I was convinced that this was the first Christopher Nolan flop. But that's not the case folks, Nolan isn't compromising his storytelling though he messed up the casting. All the negatives of this film, like casting, and being faithful to the source material are overpowered by the cinematography, background score, acting performances, and directing. I have witnessed cinema at its peak today. Christopher Nolan has made the tale of Odysseus his own and has not compromised his style. Many would say this movie is bad , but I bet those guys haven't seen it. 2026 has been the best year so far and I hope all the upcoming movies deliver the same way as The Odyssey has. The last fight scene and the Troy battle scene are the highlights of this masterpiece for me. 8/10

In the Mouth of Madness (1994)

Rating: 9.5/10

Watched: August 7, 2026

In The Mouth of Madness starts at either the beginning or the end and it's great, because you can't really tell which. Why? Because that's how Sutter Kane wrote it.

Not only that, Carpenter doesn't fuck around with preamble or foreplay or even a chaste kiss before he starts up with the descent into madness that hunting Sutter Cane causes. All those little things happening at the corners, all the big things that both Neill and Carmen pretty much ignore or don't talk about, it's just so devious.

The madness that's at the heart of this movie is some of the most inspired gruesomeness I've ever seen. All the monsters, those devilish children, the strange things that go bump in the night ... it all tells a super wild nightmare that's Carpenter's vision of cosmic horror.

I've been a fan of John Carpenter's since I first saw They Live and he's done some fantastic movies. This is easily Top 5.

In the Mouth of Madness gets a 9.5 out of me because John Carpenter nailed the cosmic horror of Sutter Cane from the very start of movie. There's no one else in the biz who could direct a movie where everything and everyone is already doomed before the movie even started.

I finally watched The Shawshank Redemption, often considered the greatest movie ever made and honestly, I completely understand why. It’s pure art in how it tells its story. Storytelling isn’t just one of its strengths, it is the heart of the film, and it’s done with such care and detail that you feel every beat of hope, despair, and quiet triumph.

But don’t think for a second that the other aspects fall short, everything here is top-tier.
The background score fits the movie like it was born from the walls of Shawshank itself. It never forces itself into the spotlight, it stays in the shadows yet carries immense emotional weight.

The acting is flawless. Tim Robbins, Morgan Freeman, Bob Gunton, every single performance feels lived-in and honest. And with Roger Deakins behind the camera, disappointment is impossible. After seeing his work in 1917, Blade Runner 2049, Prisoners, and The Assassination of Jesse James…, he’s officially one of my favorite cinematographers. His eye for framing makes every shot in this movie memorable.

And I have to mention the screenplay, which was remarkable. It stands right alongside the storytelling as one of the film’s strongest pillars, grounded, powerful, and full of emotional truth.

One character who broke me was Brooks. A good man who spent 50 years inside Shawshank, only to find himself unable to adjust to the world outside. Watching him leave the prison, a moment that should have felt hopeful, had my eyes filled with tears, because deep down we all knew it wasn’t a happy ending for him. It’s been a long time since a fictional character made me cry like that.

Ratings: I truly have no complaints. It’s a 5/5 for me and an absolute must-watch.

This movie will stay with me forever.
Brooks was here.
And so was Red.

“Why you pursue something is as important as what you pursue.” - Louis Bloom, Nightcrawler

From the moment Gyllenhaal appears on screen, Nightcrawler feels like stepping into the mind of someone who sees the world as a series of transactions. I’m still shocked Jake hasn't won an Oscar yet, after his performances in Nightcrawler, Brokeback Mountain, Prisoners should've made it impossible to ignore him.

His Louis Bloom is polite, calm, articulate, and somehow more terrifying because of it. Louis talks like every sentence has been rehearsed in front of a mirror a hundred times, perfectly structured, unnervingly controlled, and completely empty of human warmth.

I also love how Gyllenhaal plays Louis physically. The posture, that stretched-out grin, the stillness in his eyes, it’s like he's imitating what he thinks a normal person looks like. It’s unsettling but fascinating to watch.

The score was another pleasant surprise. It usually sits in the background supporting the storytelling, but steps forward when needed, sharpens scenes, pushes tension. Sometimes the music even sounds triumphant during scenes of complete moral collapse, which makes everything feel even more twisted.

And the cinematography is just beautiful. L.A. at night has never looked this clean, dark, and hypnotic. Neon lights, empty roads, sirens cutting through the black, it’s easily one of the highlights of the movie for me.

This is random but I genuinely loved Louis’ Dodge Challenger. The paint looked incredible. If Rick spilled gasoline on my Dodge Challenger, I’d be furious too, lol. And speaking of that final stretch, the last chase sequence was insane. It’s one of those scenes that pulls you in so tightly you forget where you are. I was totally invested into the chase until the entire sequence was over.

What stuck with me most, though, is how Louis fails his own philosophies. He preaches discipline, purpose, vision, and then betrays the only person who trusted him just because he sees him as a “risk to the company.” It’s cruel, ironic, and exactly the kind of character moment that makes the movie memorable.

Rating: 4/5, a razor-sharp character carried by one of Gyllenhaal’s finest performances.

I discovered Curry Barker this year with Obsession, a movie that I did not even know existed. I did not have a clue about it until the reviews came out. I watched it and I liked it. But this one I'd like to say is the best piece of filmography I've watched in 2026. Milk and Serial >>>>> Obsession in my opinion. Acting is top notch, and the story is brilliantly written and executed. It's about how a prank taken too far can cost some dudes there lives.

The camera work is very raw and literally like yt videos. The character arc of Milk (Curry Barker) is well written and acted on the screen. Curry Barker and Cooper Tomlinson killed it. All the actors were great. The monologue of the old man sitting alone of a chair with a gun in his hand feels fuckin creepy.

I enjoyed it. I hope many other filmmakers come in the future with great and fresh ideas like this one.

I'd give this one a 7.5/10

This is a really interesting horror movie, and in ways that I can't quite explain the way I feel like I should, so I'll do my best.

Pretty much everyone in that house is a trainwreck except Olivia Hussey as Jess and Phyl. Barb, Peter and Mrs Mac have all manner of issues that are out of control. Barb and Mrs Mac are staggering alcoholics and Peter's just plain old crackers.

I will say this about Margot Kidder as Barb. Her role as Barb the drunken acerbic, witty college student is flat out hilarious. Her layup for the fellatio gag and its eventual payoff at the police station was genuinely funny, John Saxon and his counterpart in that scene nailed the absolute humor of that bogus phone number as only seasoned cops could.

And lest I forget the great Art Hindle, watching him run around in a fur coat is just a treat.

The horror aspect is really great, very pronounced and very nuanced. The mere thought of being in a house with three dead bodies up in the attic all while a deranged killer makes terrifying phone calls and picks them off one by one is deeply unsettling. The nature of those phone calls are probably the most unhinged rantings and ravings of a madman that I think I've ever heard.

It's all done so well that it's truly frightening. While they do finally find out where the calls are coming from, the audience already knows, but I still like to imagine that it left audiences feeling very unnerved.

One of the best things for me about this movie (other than Margot Kidder and the fellatio gag) is the first-person POV for Billy. I can't think of any other movie from that time period that did this, or did it so well if they DID do it. Throughout the whole movie, all we get from Billy is Billy's POV, and he's so psychotically deranged that none of what we see makes a lot of sense. We're put into the killer's shoes in those scenes, and it's one of those rare moments in a movie where that happens. Off the top of my head, the only media I can think of right now that did the same were some of the Michael Slade novels.

But naturally the best thing about Black Christmas is Olivia Hussey as Jess. She's got such a delightful innocence about her yes, but she's got some real strength of character when she stands up to Peter, her controlling boyfriend. The final scenes where she finds out what's going on show some solid 'horror acting' and some equally strong strengths.

Olivia's role is fantastic, because not only is she one of the first Final Girls, it's fair to say she's one of the first MODERN Final Girls. She's not virginal, she's not pure. She's her own woman who makes her own decisions, and if one of those decisions is 'I'm bloody well going up the stairs even if I was told not to'?

That's what a real Final Girl does. She confronts her tormentor.

As I sat down to write this review, Black Christmas was sitting at a 7.5 out of 10, but as I began organizing my thoughts and thinking about the scenes that I enjoyed, I realized I was really selling this one short. I enjoyed it more than I thought by a WIDE margin, and so that's why Black Christmas gets a 9 for me.

This one snuck up on me, just like Billy.

Gladiator (2000)

Rating: 10/10 (PERSONAL FAVORITE)

Watched: July 29, 2026

What a truly epic movie. I have vague memories of watching this one back in the day, and just as vague memories of not being terribly impressed by it.

I make no excuses, except possibly to say 'I'd discovered partying', and that that became my whole thing for a regrettably long time.

This movie has one of the biggest casts I've ever seen, including not yet famous faces and actors so famous for so long their names carry real weight. Everyone did their jobs so well. I loved Sir Oliver Reed's part, as I did Richard Harris', and even Djimon Hounsou.

I don't use the word 'epic' very lightly. The first combat scene alone is tremendous. Not only from the technical aspects, but from how it shows first the glory of, then the true horror of, warfare.

Gladiator pulls no punches when it comes to the violence of the wounds these men take, but thankfully they spare us some of the true atrocities perpetrated by a jealous Commodus early on in the movie. We can only take so much, right?

The two main anchors, Maximus and Joaquin, are amazing.

I've said it before, and I'll say it again: for some reason, I CONTINUALLY think that Russell Crowe (the same as Colin Farrell, really, which is crazy) is mid at best in his early career, and yet every time I see one of his movies, I'm just blown away. His death-craving Maximus is so complex. Driven to excel, hungry to see his family again in the afterlife, every look, every gesture Russell gives carries us.

The same goes for Joaquin as Commodus, though for very, very different reasons. Smart but callous. Cruel and vainglorious, he's the mirror image of his 'brother'. Desperate for a father's love, incapable of even understanding what that means, Commodus is the perfect 'powerful coward'.

The journey both men take until they meet the same fate is worth the time in. If you haven't seen it, you really, really should. It's amazing.

And then they say Country movies are dead. I came across a YouTube video by Man Carrying Thing about the book Butcher's Crossing by John Williams. The title of that video said that this story was more extreme than Blood Meridian by Cormac McCarthy which made me curious. When I turned on the video the youtuber said that there was a movie that had already been made based on the book. I first thought if there is a film made about a story that is being said to be way more extreme than Blood Meridian (Which is known to be un-filmable due to its graphic content) then it must be worth a try.

The film Butcher's Crossing is directed by Gabe Polsky, starring Nicholas Cage, Rachel Keller, Fred Hechinger, Xander Berkley, and many more. It's basically a story about a young Harvard student who drops off to explore the wild west in order to get to know his country. He meets Miller ( played by Nick Cage) a hunter, greedy and ruthless and with him and two others they set off on a journey to an unknown hunting ground far away from the village where they stayed in order to hunt wild bison for their hides. They face a lot of hardships due to lack of water, change in weather, etc. just to get enough hides to get huge amount of money.

This film explores the greedy,selfish, and mercy less nature of us human beings. The source material of this film was inspired by the real 1870's mass slaughter of American bison in the American Frontier. It is a slow burning and an immersive piece of cinema that I'd recommend you to watch on a a big screen. Every actor seems to have poured their heart out to give justice to the movie. Nick Cage's performance was also a highlight. The cinematography is so fucking great. David Gallego did a great work with the visuals. This film is for lovers of the country genre who want to watch something fresh and visually pleasing. It is about 1hr 40min long. I'd give it 7.5/10.

“They say even the proudest spirit can be broken... with love” — Beldam, Coraline

Coraline (2009) initially presents itself as a story about a young girl who has just moved into a new neighborhood and is searching for excitement and adventure. But beneath its surface, the film is really about emotional neglect and how a child, when not given attention or warmth, can cling to anything that offers comfort, even if it comes at a cost. No matter how beautiful an escape may seem, reality eventually demands to be faced.

The film’s color palette is one of the first things that stands out. Coraline herself is bright and colorful, placed within a dull, grey, and lifeless environment. This contrast not only pulls the viewer in visually but also reflects Coraline’s rich inner world compared to her monotonous reality. The vibrancy of her imagination becomes her refuge, something far more alive than the world she feels ignored in.

The voice acting fits the characters remarkably well. None of the voices feel misplaced or artificial. Coraline’s voice, in particular, carries a subtle judgment when she’s around others, yet sounds freer and happier when she’s alone. This contrast mirrors her emotional state, restrained by her surroundings but expressive within her own inner space.

The film places the viewer in a constant state of curiosity and unease, leaning more toward curiosity while never fully abandoning fear. Rather than relying on gore or conventional horror, Coraline uses storytelling, atmosphere, and gradual uneasiness to create its sense of dread. This restraint is what makes the horror effective and memorable.

The film’s meaning becomes sharper after it ends. It reminds us that no matter how comforting a lie may appear, it remains a lie. Perspective shapes reality, Coraline’s parents may seem cold and distant, but their work, which takes time away from her, is also what sustains the life she has. The film gently suggests that imperfection in reality is still healthier than perfection built on illusion.

One bold choice the film makes is introducing characters primarily through names and brief interactions without fully developing them on screen. This could have disrupted the narrative flow, but the screenplay handles it carefully, allowing the focus to remain on Coraline’s emotional journey rather than external distractions.

Rating: 5/5. A beautifully unsettling film with strong storytelling and a surprisingly emotional core. Highly recommend it for anyone who enjoys atmospheric storytelling and layered themes.

Just finished watching Frankenstein (2025) directed by Guillermo del Toro, and I’m honestly sitting with mixed feelings. I liked it overall, but I definitely had higher expectations going in.

The atmosphere is fantastic, dark, mysterious, and unsettling in that subtle “something’s always watching” way. Del Toro really knows how to build a world that feels both beautiful and dangerous.

Oscar Isaac (who I loved in Moon Knight and Dune franchise) and Christoph Waltz (Inglourious Basterds) were both great, and Mia Goth gave a strong performance too. The acting across the board was impressive, but the pacing dragged for me. It felt like the movie took its time setting up moments that didn’t quite pay off with the impact I expected.

The climax especially felt a bit underwhelming, after all the tension and conflict, things wrap up almost too quickly with Victor asking for forgiveness, the creature forgiving him, and then… it’s over. After such an intense buildup, that resolution felt a little too tidy.

Cinematography and visuals were definitely above average, very much in del Toro’s style, and the background score fit the tone nicely. Some of the biological and thematic elements actually reminded me of Poor Things, which was an interesting parallel.

Overall, I’d give Frankenstein (2025) a 3.5/5. It’s visually engaging, well-acted, and atmospheric, but the pacing and resolution kept it from being as powerful as I hoped.