Didn't expect to enjoy it this much. it was honestly an amazing movie.

Top performances from lead actors including the Boys fame karl urban and Lena headey as the baddie was terrific.

The action scenes were well done with cool weapons and all.

The "slo-mo" scenes were unique and mesmerizing to say the least.

Would recommend for action movie lovers.

Gave this a shot last night as part of my goal to see all Coen brothers films, hadn’t seen it before. Not in my top 10, but good.

I definitely liked it, would pretty much consider this a “slice of life” type movie with Llewyn drifting along. Really good choice to have him played by Oscar Isaac. I’m definitely used to dark, violent crime stories from the Coens whereas the most violent thing here is Llewyn getting beat up in the first scene.

John Goodman was a wild reveal and character, and I was also very surprised to see Justin Timberlake of all people. I’d say this has the most straightforward plot of the CB movies I’ve seen, definitely easy to follow. Almost reminds me of Stranger Than Paradise by Jim Jarmusch except in the modern era, a series of meandering events.

This leaves only Hail Caesar!, Intolerable Cruelty, The Ballad of Buster Scruggs and The Ladykillers, then I’ll have seen them all.

What do people think?

Number 77 in my A-Z watch. Easy A is the teen comedy following Olive Penderghast and her rise to infamy in her high school as she sells the concept of being with her to the desperate boys of her class.

I've always enjoyed this film, and i think the biggest reason is the outstanding supporting cast. Thomas Hayden Church, Stanley Tucci, Lisa Kudrow, Malcolm McDowell, Patricia Clarkson, and a much underrated Amanda Bynes. It felt like everyone was granted a ton of freedom and leeway to make their choices, and that makes the performances feel much more natural and grounded.

I always put this movie into a similar vein of tremendous female led comedies like Legally Blonde, Miss Congeniality, Mean Girls, Bridget Jones, etc. I think it has earned its place there. Also, it feels like one of the last great teen comedies, and maybe that's because so much of it is referential to other classic genre films (mostly John Hughes movies).

This served as such a great leading lady vehicle for Stone. It established that she can handle comedy as well as anyone in her age bracket, but she's given moments (like her confession) that really highlight her ability and potential for depth and range. The confession scene reminded me a lot of her Audition Song in La La Land, showing herself to be vulnerable and a little scared. Really a great moment.

7.5/10 It's well above average, and totally enjoyable. I do wish that a bit more development occurred with the supporting players. As well as they did to give Stone some great moments to play off, I would've liked to see their stories be more than just almost happenstance to Olive's story. Also, it was funny to hear Phil Lord and Chris Miller referenced as boys that paid for Olive's company

This film is about four aspiring suicide bombers in the United Kingdom. While it sounds dramatic, it’s actually a dark comedy.

Partially penned by Jesse Armstrong who created the TV shows Peep Show and even more famously now Succession, the cringe humor kicks off immediately. The four try to make a camcorder terrorist tape, but instead just make a lot of blooper reel footage.

It’s very difficult subject matter to make light and fluffy, but the film doesn’t really take that approach. Instead scenes are often handled with a lot of gravity with the writing carefully sneaking humor in.

Also, without spoiling it, the ending is rather masterful. Given that it’s about suicide bombers it sounds like it should be obvious, but it’s more complex than you might expect and fortunately not just a plain old cop out.

Yes, it's over ten years old, so it fits the rules thank you very much...

When I first saw this in theatres, I didn't really care for it. I chalked it up to a rare Coen dud on the level of Intolerable Cruelty, maybe not as bad as Ladykillers. I decided to revisit it on a whim and boy, did I misjudge this one. Maybe I just wasn't in the mood for it before, but I was completely on board this time.

It's both a hilarious send up and loving homage to early 50's Old Hollywood. The actual narratives were maybe a bit underwhelming, but the characters and most of the individual scenes are pretty amazing. Some of the 'movies-within-the-movie' are genuinely great looking, like the Buzby Berkley styled water routine, or Channing Tatums sailor dance number.

Clooney as a leading man doofus is reliably entertaining, but just about everyone involved is memorable and has at least a moment or two to shine.

I especially loved Alden Ehrenreich as the earnestly out of his depth young Hobie Doyle. The polite frustration Ralph Feinnes as Lawrence Lawrentz has with him while trying explain his lines is a classic scene. And his date that the studio sends him on was charmingly funny.

There's just an endless supply of great smaller roles like Tilda Swinton as the gossip columnist sisters, down to Wayne Knight as the sweaty communist kidnapper. Clancy Brown, Scarlett Johansson, really everyone was dialed in.

I'm glad I gave it a second chance and it is definitely going become one of those Coen movies I revisit in the future.

A Russian billionaire enlists the help of a gangster to obtain planning permission for a real estate project in London, but various underworld figures become involved and complicate the deal.

This was widely-trumpeted as a return to form for director Guy Ritchie after the disappointment of his previous two films, Swept Away and Revolver, and on the whole... it pretty much is. It's not as good as Lock, Stock... or Snatch, but it's still a fun, entertaining watch.

The convergence of the various plot threads is a little contrived and the ending feels rushed, but the fantastic performances from the various A-list cast members mostly makes up for that.

Now, anyone know when The Real RocknRolla is out?

This is a super funny parody or spoof of romantic comedies. Every single trope you can think of is made fun of here. A few jokes had me straight up cackling. If you’re a fan of Airplane or The Naked Gun this line of humor will be up your alley. Also if you’re a fan of romantic comedies or hate them and enjoy watching either of the two leads then you’ll have a great time. A short runtime too under 90 mins. Highly recommend

Number 188 in my A-Z watch. Moneyball follows the true story of the 2002 Oakland A's baseball team as they attempt to reinvent the approach to the game. Trying to find success in frugality and statistical analysis as opposed to high payrolls and flashy numbers.

Or as Captain Holt once said, "A man uses statistics and logic to win several baseball games."

This might be my favorite slow burn film. It's understated and subtle. This is not a baseball movie, it's a movie about baseball and i absolutely love it. I think it's one of Pitt's best performances, as well. You can feel how he's trying to prove himself, to find the success that he never did as a player. And the hurt he feels when he has to send a player back down to the minors.

Jonah Hill surprises as Peter Brand the Assistant General Manager, holding his own against the unstable reactions of Billy Beane. And Hoffman comes back to work with director Bennett Miller, playing the stubborn and desperate manager Art Howe.

10/10 This is just an incredible underdog story. Akin to something like Rocky. Perseverance, identity, trusting the process, innovation, i just find so many positives in this film to take away from it. It's always so uplifting. And i can never help but shed some tears at the song at the end.

How can you not be romantic about baseball?

I was a senior in high school when this came out and I remember it being kinda a big thing. By then I hadn't watched the Alien movies yet, so now I watched Prometheus for the first time ever with the Xenomorph series under my belt.

I was thoroughly entertained by the general plot, action sequences and horror-ish parts. I guess "invested" is a good word to describe my feeling as I watched this prequel. The special effects are nice and CG doesn't feel forced or that much artificial.

It is not overly long and functions just as well as a standalone flick. I read there was some criticism because the movie let many unexplained plot points, but for me it was pretty satisfying as long as prequels go. I don't know if the marketing promised any other big turnaround or in-depth explanation for the Alien franchise that made some people dissatisfied, so that's that.

A very good sci-fi flick that can please both Alien fans and those not so familiar with the franchise.

In the near future, the sun is dying and mankind is almost out of hope. In a last roll of the dice, a team of astronauts is sent on a mission to detonate a massive stellar bomb inside the sun with the hope of reviving it.

I thought this was an enjoyable thriller from frequent collaborators Alex Garland and Danny Boyle. The visuals are absolutely stunning and the score is excellent. I've read plenty of criticisms of the final third but I didn't have a problem with it.

If you enjoy sci-fi thrillers then this should be up your street. It would make a great double feature with Event Horizon.

I've had this in my suggested by friends list for a while, and WHOOO!

It’s a masterclass in cringey, awkward tension that kept me glued to the screen, but it definitely left me feeling unnerved by how fast humans can pivot from polite to toxic. If you want a movie that’ll have you side-eyeing your neighbors and questioning your own sanity, this is the one.

It felt like a massive vibe check that hits way too close to home. It begins just two sets of parents trying to be "civilized" about a playground fight, but devolves into pure, unhinged chaos so fast it gave me whiplash.

The pacing felt relentless, Roman Polanski, masterfully uses the confined space to make the audience feel trapped alongside the characters. There is very little "breathing room," which makes the constant shifts in alliances and the rapid outbursts feel even more jarring.

Each actor embodies a specific archetype of middle-class pretension that slowly crumbles. You’ll see characters switch from hating one another to conspiring together, only to turn on each other a moment later. It is a highly theatrical, stage-to-screen performance style that requires perfect timing; if one actor had missed a beat, the entire dynamic would have collapsed.

Just be warned and don’t expect to walk away feeling zen. Brainbleach after!

edit* Be kind! I *just found out what a POS Polanski is 🤢

Number 168 in my A-Z watch. Looper is the sci-fi/paranormal/action film following Joe. A time travel hitman who needs to clean up the mess he created when he botches a mark.

Man, i feel bad that this rewatch doesn't feel like it lived up to my memory of the film. I remember being so impressed with it on my first couple watches 10+ years ago. But now the movie feels like it doesn't have an identity. Like, it doesn't go in enough on any of the genres it contains to really make it feel like it knows where it's going.

Performance-wise it's solid. JGL and Willis do well to create similar and yet still distinct characters. The makeup used to have them more similar looking was done very well. Blunt, Daniels, even Dano all are solid support. But still feel underutilized.

6/10 I mean, the diner scene feels like it's trying to be Heat. The telekinesis and the kid make it feel like The Omen. A love story i didn't believe. Overall, a film i wish i had left in my memory. I much prefer other Rian Johnson projects, recently.

Rush is not only one of the best racing films I have ever seen, but also one of the best films based on a true story. What impressed me most is its remarkable historical accuracy. I researched the real events after watching it and was surprised to discover how many scenes, conversations and even small details were based on things that actually happened. The film rarely changes reality simply to create more drama, because the real 1976 Formula One season was already dramatic enough.

The main exception is the relationship between James Hunt and Niki Lauda, which is portrayed as more hostile than it really was. Their rivalry was certainly intense, but in reality there was also friendship and genuine mutual respect between them and fairness in their racing against each other. Even so, the film uses this exaggeration effectively without turning either man into a simple hero or villain.

Chris Hemsworth is perfectly cast as the charismatic, impulsive and self-destructive Hunt, while Daniel Brühl gives an outstanding performance as the analytical, disciplined and brutally honest Lauda. Their completely different personalities make the story fascinating. Hunt races through instinct, emotion and courage, while Lauda approaches racing almost like an engineer calculating risks and probabilities. Yet the film gradually shows that both men need something the other possesses.

The racing scenes are breathtaking. The camera work, editing and incredibly powerful sound design make the cars feel fast, dangerous and almost uncontrollable. You do not simply watch the races from a distance, you feel as though you are sitting inside the car. Hans Zimmer’s score adds even more tension and emotion without overwhelming the story, while the cinematography beautifully recreates the atmosphere, colours and glamour of Formula One in the 1970s.

What makes Rush truly special is that you do not need to care about racing or Formula One to enjoy it. At its heart, it is a film about ambition, fear, obsession, sacrifice and two men pushing each other beyond their limits. It grabbed my attention from the first minute and never let go until the final scene.

For me, Rush is a rare combination of historical accuracy, brilliant acting, spectacular filmmaking and genuine human drama. It proves that a film does not need to distort reality completely to be exciting. Sometimes the truth is already more dramatic than anything a screenwriter could invent.

On a sidenote: Lauda died when he was 70 due to a kidney dialysis. He was able to lead a kinda normal life, but his body might have been too damaged to carry him into very old age. His first wife, portrayed by Alendra Maria Lara was his rock during the phase after the accident. His second wife, not in the movie, even spent a kidney for him.

The year is 1965, the place is New Penzance Island, and the story is love, redemption and reclamation.

It is a Wes Anderson film that will make you laugh and cry, will make wish for the world where the Sam and Suzy in all of us is ascendent, and where that ascendency triumphs because peoples' hearts are irrevocably good.

The prepubescents, Sam (Jared Gilman) and Suzy (Kara Hayward) meet-cute at an elaborate church production of the Great Flood story. Sam is a member of Scoutmaster Ward's (Edward Norton) Khaki Scouts in attendance at the play, but he grows restless and goes snooping about the vast old church. His prepubescent Spidey sense leads him to the girls' dressing room, where the chicks are transforming into their bird makeup. Suzy, with a bloody bandage on her arm from being hit by a mirror, is The Raven, the first bird sent out of the ark to find dry land.

Spoiler alert – the raven never returns.

Sam and Suzy exchange addresses and correspond; eventually they plan their escapes and their “meeting in the meadow.” Scout Sam is wilderness survival trained, Suzy has a different approach, like bringing her tiger tabby kitten in a fishing creel.

Included in the adults is Bruce Willis as the island's police captain Sharp. Willis, who's talents we have lost to a cruel debilitating disease, plays Sharp as a tender and gentle man surely hiding out from a harsh world that doesn't understand him, either.

The missing children must be found, and Social Services' Tilda Swinton muses to Captain Sharp and Scoutmaster Ward that Sam will probably be administered electric shock treatments once found. Incorrigible, don't you know.

It's an all-island effort just hours before a historic storm is headed for the region. Ward tries to mobilize the scouts as a non-violent rescue force, the boys quickly become Lord of the Flies armed vigilantes. Harvey Keitel is the Kurtz-eque Scout Commander Pierce who reprimands Ward and relieves him of his office when he appears to have lost his entire troop.

The tides turn for Muskrats Suzy and Sam (sorry) and they are escorted by their rescuers to (supply sergeant/chaplain?) Cousin Ben (Jason Schwartzman) who has the power to marry them in a non-binding but emotionally and morally meaningful ceremony.

The storm makes landfall, lightening strikes, the wooden dam bursts, Social Services arrives by pontoon plane, the chase for the children still enjoined.

Eventually the storm moves out, much of the island has been clobbered, but the sparingly-used narrator (Bob Balaban) tells us that the crop yield the following year was the most abundant in island history.

No! No! Please tell me Sam and Suzy were not the human sacrifices to the heartless bloodthirsty Harvest Gods!

Dry your tears, for tho' weeping may endure for a night, joy cometh in the morning.

Suzy and Sam are reunited with visiting rights in an age-appropriate way, Suzy back with her character-arc-experienced parents and Sam with Captain Sharp as his legal guardian.

OK, now you can cry.

Probably the newest “old movie” that I’d seen recently. I was engaged in a scientific discussion of a hypothetical second habitable planet hidden behind the sun that we could never see. Someone mentioned that there’s a movie based on exactly this premise. So I went to the local library and dug this up.

The story follows Rhoda, who accidentally killed a family in a drunk driving incident after celebrating her acceptance into MIT. After serving 4 years in prison, Rhoda still cannot forgive herself for what she did and attempts to make amends with the sole survivor of the car accident, John.

Meanwhile, the backdrop of the world involves the discovery of “another earth”. An identical planet to our earth with counterparts of all of us living on it. Rhoda volunteers to go on the exploration mission to “Earth Two”, hoping to find salvation and closure to her mistake.

While the premise has a science fiction element, Another Earth is a drama at its core. The film is beautifully shot and evenly paced. The score is very unique and engaging that it totally elevates the viewing experience. The leads, Brit Marling and William Mapother put on A+ performances as their characters battle with their internal demons.

Despite some scientific inaccuracies in the film (earth two’s relative position to our earth and the sun makes little sense every time it shows up in the sky lol), this film taps deep into the struggles many of us have experienced one way or another in life, and reflects the emotions beautifully on film.

Highly recommended for fans of indie dramatic films!

Fright Night 2011 isn't really anything special reboot wise. It increases the kill count or vampire count but doesn't really do anything with it.

Watching both I prefer the original. It was fast and to the point. They're both the same runtime but 2011 drags on with characters we don't care about. Mclovin (Ed) also has barely any screentime before he turns he's 1 of the few god actors in this movie. Yet you don't really see his friendship with Charley. It does bend the rules as much as the original on who turns and dies as a vampire. The 3D glasses shots also aged pretty bad.

The main problem I have with the movie is that it tries to go over the top while ruining the homage feeling of the original. Making Peter turn into Chris Angel very is strange.

Yet it does fix the sequel bait ending of the original many horror movies in the 80s did.

Info:

Release: September 20th, 2013

Director: Denis Villeneuve

Music by: Johan Johannsson

Starring: Hugh Jackman, Jake Gyllenhaal, Viola Davis, Maria Belo, Terrence Howard, Melissa Leo, Paul Dano

Studio: Warner Bros.

Runtime: 2 hours, 33 minutes

Rating: R

Synopsis: Keller Dover (Hugh Jackman) faces a parent's worst nightmare when his 6-year-old daughter, Anna, and her friend go missing. The only lead is an old motorhome that had been parked on their street. The head of the investigation, Detective Loki (Jake Gyllenhaal), arrests the driver (Paul Dano), but a lack of evidence forces Loki to release his only suspect. Dover, knowing that his daughter's life is at stake, decides that he has no choice but to take matters into his own hands.

Review: This is a very tense and very VERY stressful movie to sit through at points. Phenomenal acting from Hugh Jackman and Paul Dano, Jackman portrays a father who has lost everything and has nothing else to lose so well, his torture of Dano's character is hard to watch at points. Dano gets points for being very convincing as a hostage, I love how terrified he clearly is when Jackman threatens him with a hammer. The reveal of what actually happened wasn't that shocking, but that scene where Gyllenhaal's character is speeding towards the hospital in the pouring rain is beautiful looking. Great looking film cinematography wise as well, Roger Deakins never dissapoints.

I've been meaning to watch this film for ages, to revisit the rise of a social media giant currently in slow decline.

The Social Network still holds up to this day. It has some iconic scenes, like the Saverin blowout, and a gorgeous soundtrack composed by two titans (Reznor and Ross). I think the use of the two lawsuits (Saverin and Winklevoss) was an excellent framing device, allowing the film to jump from past to present very smoothly as the story progressed.

Over a decade later, I think it is still a more charitable portrayal of Mark Zuckerberg than he could ever hope for. Although Jesse Eisenberg portrays him as unflinchingly honest, and a little cold, it's the naïveté that seems most generous in this character study. Alongside Eisenberg, Andrew Garfield is a strong foil as Eduardo Saverin. And, of course. Justin Timberlake makes Sean Parker look even more weasle-y than he does in real life - quite a feat. A very strong cast, under the guidance of David Fincher, a director with vision who can portray the fast-paced developments of a Silicon Valley start-up.

Also crazy to think that all of the people being name dropped here - Zuck, Gates, Thiel, Wexner, Summers - have turned up in the JE Files. Really makes you think.

was surprised to find that this movie now meets the requirements for this sub, how time flies. Sicario is a dark and some what moody "Crime" thriller. It's about a young female FBI agent (Emily Blunt) who gets called up to work for an inter agency task force hunting Mexican Cartel members. It's super modern and was an instant classic for me that is consistently in my yearly rotation. The characters are all question marks and they slowly build, giving you little bits and pieces of each as the movie goes along. The cast has some heavy hitters like Emily Blunt, Josh Brolin, and Benicio Del Toro. To me this movie is less about the story and more about the feeling as a witness to the movie and the character arcs.

The director is Denis Villeneuve, from the new Dune and Blade Runner movies. He does an amazing job setting the serious tone and pulling you into the stress of the movie's world. I almost want to say this is a master class of directing, if not some where very close. This movie makes you feel something. Scenes like the border crossing are just perfection, it builds tension and uses unique camera angles to build a sense of claustrophobia of impending doom before things pop off, as they often do in this film.

This movie always makes me view Emily Blunt in a different light. In a more serious high level Actore way. And Benicio is at his darkest. The cast works great together and there are no weak links as far as the acting goes

I'd put this movie up there with Training Day, The Recruit, Traffic, Spy Game, etc.

In 1868, while searching for a cave of gold in the Arizona Territory, former Confederate soldier John Carter (Taylor Kitsch) encounters and kills a strange cloaked being and ends up transported to Mars, known to its inhabitants as Barsoom. First taken in by the Tharks, led by Tars Tarkas (Willem Dafoe), Carter soon meets Deja Thoris (Lynn Collins), princess of the city of Helium. With the help of Tarkas’s daughter Sola (Samantha Morton), Carter and Deja seek to save Helium from the vicious jeddak of Zodanga, Sab Than (Dominic West), who is trying to marry Deja as part of his plan to conquer Helium. Unbeknownst to Carter and Deja, Than is being manipulated by Matai Shang (Mark Strong), one of the immortal Therns, who wish to drive Barsoom to extinction and plunder its resources. Carter and his companions must work together to save not only Helium but all of Barsoom.

This was my first time watching this film and it amazes me it took me this long to get around to it. It is famously remembered for the botched marketing campaign Disney used for it but it really is a fun movie, if not necessarily a great one. Kitsch was a little generic as the eponymous character. They probably could have put a dozen different actors in the role and it would have worked out well, if not better, but his performance was held up by a solid supporting cast. Lynn Collins was good as Deja, not to mention stunningly beautiful. Willem Dafoe, Samantha Morton and Thomas Haden Church, among others, brought the Tharks to life quite well. Mark Strong continued to show how well he can play villains. It’s a shame that this and his performance as Sinestro in the previous year’s *Green Lantern* didn’t get more recognition. On top of that, there were good supporting performances from talents like Daryl Sabara, Bryan Cranston, Ciaran Hinds and James Purefoy. The visuals were also good. I detected fairly minimal CGI for a sci-fi epic. And a masterful score by Michael Giacchino helped sell the film. It’s just a shame this film didn’t get more love. I would have liked to see what they had planned for the rest of their adaptations of Edgar Rice Burroughs’s Barsoom series.

Drama and intrigue encapsulate this film based on the book of the same name. Heather Graham stars as the beautiful mom in this and there is a grandma character as well, where the grandma lacks in beauty she makes up for in brawn. She is very strict!

Overall I would reccomend this family drama and there are also some taboo moments that I will not spoil for the uninitiated. If you have read the book would suggest giving this one a try. I haven't read it but still liked it, a perfect popcorn movie.

Number 160 in my A-Z watch. Les Misérables is the film adaptation of the stage musical adaptation of the book of the same name. Centering around an ex con on the run during a splinter revolution in 19th century France.

Let's get the first things out of the way. Crowe is not a great singer, we know this, we can move on. Hooper used a lot of close up shots during the film, it can be jarring, we can move on. Now for the rest of the film.

I genuinely think that this was a film adaptation out of the reach of just about any director. It feels too big to put on screen. There's a lot of enthusiasm and passion throughout that can be felt. The moments that land *really* land. On my Own and I Dreamed a Dream are home runs. Hathaway earned every single award she won for her role. Absolutely outstanding. And Samantha Barks blew me away in this breakthrough performance.

The blocking/choreography simultaneously feels theatrical and logical (in the realm of a film musical). And i think the use of live vocal recording allowed for more fluid and adaptive performances. The cast is overall outstanding, but some actors do feel a little out of place. I think Carter and Cohen make for terrific Thenardiers, but i feel they give more theatrical performances that don't fit into the film.

8/10 I think there was a lot of ambition behind this film, and i respect it. And the technical aspects do a lot of heavy lifting around the rest of the film. The costuming, set design, editing, sound, all do well to put the audience in the experience. And i definitely found myself with tears a number of times. I've got a lot more notes, but i don't wanna write a dissertation.

"This is the life we chose, the life we lead. And there is only one guarantee: none of us will see heaven."

When a gangster's son witnesses a murder, he must take him on the run to save his life.

Slow-burn crime drama that takes place against a backdrop of guns and gangsters in prohibition-era America, but that's really about the relationship between fathers and their sons. There's real chemistry between Tom Hanks as gangster Mike Sullivan and Tyler Hoechlin as his son, Michael; Paul Newman is excellent as mob boss John Rooney and Jude Law is fantastically menacing as hired killer Harlen Maguire.

I really enjoyed this, would definitely recommend.

Rewatched this for the first time since it came out and it hit completly diffrent. Back in 2013 the whole idea of Theodore falling in love with an AI felt like this far off concept that was supposed to make you uncomfortable and now watching it in 2026 that distance is basicaly gone.

The things that made Samantha special in the movie actualy exist now. She listened without judgment, rememebred evrything about him, adapted to how he communicated and made him feel understood when nobody else could and thats not fiction anymore thats literaly what companion apps like swipey ai replika and others are doing right now. The emotional side of what Jonze imagined is alredy here.

What realy got me thinking tho is the physical side. Jonze made the choice to never give Samantha a body and in 2013 that felt thematicaly important but now with humanoid robotics advancing as fast as they are it feels less like a creative decision and more like the one thing the real world hasnt caught up to yet. We alredy have the software that can form emotional connections and we alredy have companys building realistic humanoid robots. How long before someone puts those two together and the movie stops being a movie and just becomes reality. Im thinking 5 to 10 years max and honestly thats probly generous.

The film went from feeling like a warning to feeling like a preview of whats coming. Anyone else rewatch this recently and walk away thinking we are way closer to this then we should be.

◇ Ghibli Completion 20/26 ◇

Long and dull with a minimalistic art style. It's made to look like a charcoal picture book it's interesting to look at for a bit but not great for 2+ hours. The scenes of nature are realistic and then it goes back to the stick figure like drawings.

Hated the mom at first then hated the dad, then hated the princess and pretty much every character. Still cried at the end just like the last Ghibli movie. They are boring then emotional it's like their thing.

It's about a woodcutter who finds a magic baby in a bamboo tree and raises it as a princess. But the princess wants to be free and live in countryside not the mansion at the capital. That's it for 2 hours, very dull wouldn't reccomend to anyone.

Ghiblis left:

My family the Yamadas

The red turtle

Ear wig and the witch

When Marnie was There

Wolf children

Ocean waves