Rarely seen a movie set up a character and a tone more effectively than “I don’t think we have enough hot dogs.” To be so absorbed in the utterly mundane as to feel even the slightest inconvenience as a devastating set back in the shitty melodrama you see your own life as—what a perfect and hilarious little moment.
At a certain point I realized Julianne Moore really isn’t in the movie a whole lot, which feels pretty pointed considering what…
First watch since 10th grade English class, and oh boy are there a lot of conflicting feelings here.
It's an undoubtedly powerful film--I cried at the end, which is extremely rare for me. But as I watched the credits roll, I couldn't help but feel like the ending would have hit just as hard without all the graphic recreations of real life atrocities. There are several images from this film that have been burned into my mind ever since I…
Was not very into this 😬
The attempt to sort of recreate the second act exposition dump trick that the first one pulled really fell on its face for me. Watching Johnson test the limits of the murder mystery genre in Knives Out—decidedly presenting the audience with an abundance of information when we’re expecting to be left guessing—felt fresh and exciting. Here it’s downright laborious. Everything feels too obvious and literal, and I’m not swept up in the drama or…
Cameron understands that a great sequel goes lateral, fundamentally upending the status quo of the over-arching narrative while staying true to the core tenets and rhythms of the story. It's WILD to imagine going into this in 1991 and not knowing that the T-800 will be the protector (even if one of the trailers somewhat spoiled that). That "Get down" in the hallway with John and the T-1000 is an all-timer cinematic moment as far as I'm concerned, right alongside…
