I was gonna give this three stars, but Monica and the perspective of 24 hours convinced me to go a bit lower.

It's a fun, pleasant movie. Revels in the aesthetic metaphor of an authentic representation of the time (the soundtrack is really nice but I'm pretty sure one of the songs in the second act is anachronistic), but doesn't do anything with its setting or the time period. Wait, no, that's not true. The movie's plot generally hinges on…

This is a good movie about how adults don't understand and don't want to understand.

I think this movie works best as a standalone story, divorced from the context of its sequels or even reading its ending as a sequel hook—the entire movie is bizarre and dream-like, and might be read as one long nightmare that the protagonist is having. The ending rolling back the deaths of the protagonist's friends certainly suggest that. I like Freddy best not as a…

There is a moment in this film where the protagonist, having witnessed tragedy against the backdrop of a mushroom cloud, is on his knees, screaming his anguish and fury. It's a very standard scene—until rain begins to fall, carrying nuclear ash. Our hero keeps screaming, now dotted in running black, his voice rising, almost tearing, as liquid death disfigures him.

It is a moment of real, genuine horror. It makes you forget the mediocrity of the writing through the power…

A relentless pastiche of every non-crossover Alien movie.

At the start of the film I kind of assumed this was going to be a character drama, a sort of new genre take on Alien in keeping with how each of the (at least first three) other movies are each in their own genre. It's not, though; it's every Alien movie in sequence.

At its best, Alien is mostly about the proletariat being subjected to circumstances not of their choosing, caught…