This week we watch the latest horror film from the Austrialian brothers Danny and Michael Philippou. While its not turning out to be the sensation that their previous film, Talk to Me was, the film is stil very well made, well acted, and very dark. Bring Her Back (2025).
This week, we start a new segment where we go back through the IMDB top 250 list since we froze it in 2016 and see what has been added. This film is currently sitting at number 40 on the IMDB list, and also is rated the #1 best movie of all time currently on Letterboxd. Harakiri (1962), directed by Masaki Kobayashi.
This week, we watch the classic bottle movie where 12 humans with bias come to realize the baggage they bring to their view of the world. This film is understandably so high up on the list because of its message of understanding, as well as its entertaining thriller vibe. 12 Angry Men (1957), directed by Sidney Lumet.
This week, we watch the sixth film (first in over a decade) in the Final Destination franchise. In these films, death chases those who escape it, and can only kill people in a series of more elaborate ways. This film leans heavily into the camp while keeping the over the top gore in potentially the strongest entry in the series. Final Destination: Bloodlines (2025), directed by Zach Lipovsky and Adam Stein.
This week, we watch the classic that changed the film industry forever. Indie attempts to copy the formula defined most of the rest of the 90s, but nothing came close to what this film achieves. This films iconic status has not diminished over the years, and it remains one of the funniest films of all time. Pulp Fiction (1994), directed by Quentin Tarantino.
This week, we follow up with last weeks episode with another Salles film. Releasing nearly three decades earlier, this film’s documentary feel shows promise from the director. It is also the first Brazilian film to receive a best actor/actress Oscar nomination. Central Station (1998), directed by Walter Salles.
This week, we watch last years winner of the Best International Film academy award. This film is a passion project from renowned Brazilian director, who spent 7 years making this film, which is a true story about a family he knew when he was a child, and the events that unfolded to that family during the military occupation of Rio De Janeiro in the 70’s. I’m Still Here (2024), directed by Walter Salles.
This week, we watch the first original screenplay from writer/director Ryan Coogler in over a decade. After solidifying his reputation with big budget series films (Creed, Black Panther), Coogler returns to original screenplays, and returns to film (IMAX). What results is one of the most wildly entertaining theater going experiences in years. Even if the horror genre generally turns you away, give this one a shot. Sinners (2025), directed by Ryan Coogler.
This week, we move on to Part 3 of the final film of the highest rated trilogy of all time. These films condense Tolkien’s novels into accessible blockbusters that don’t sacrifice depth. They also continues to have a tremendous impact on the artistry in filmmaking as well as in pop culture. The Lord of the Rings: The Return of the King (2003), directed by Peter Jackson.
This week, we move on to Part 2 of the final film of the highest rated trilogy of all time. These films condense Tolkien’s novels into accessible blockbusters that don’t sacrifice depth. They also continues to have a tremendous impact on the artistry in filmmaking as well as in pop culture. The Lord of the Rings: The Return of the King (2003), directed by Peter Jackson.
This week, we finish the highest rated trilogy of all time. These films condense Tolkien’s novels into accessible blockbusters that don’t sacrifice depth. They also continues to have a tremendous impact on the artistry in filmmaking as well as in pop culture. The Lord of the Rings: The Return of the King (2003), directed by Peter Jackson.
This week, we finish with the second film in the highest rated trilogy of all time. These films condense Tolkien’s novels into accessible blockbusters that don’t sacrifice depth. They also continues to have a tremendous impact on the artistry in filmmaking as well as in pop culture. The Lord of the Rings: The Two Towers (2002), directed by Peter Jackson.
This week, we continue with the second film in the highest rated trilogy of all time. These films condense Tolkien’s novels into accessible blockbusters that don’t sacrifice depth. They also continues to have a tremendous impact on the artistry in filmmaking as well as in pop culture. The Lord of the Rings: The Two Towers (2002), directed by Peter Jackson.
This week, we move into the second film in the highest rated trilogy of all time. These films condense Tolkien’s novels into accessible blockbusters that don’t sacrifice depth. They also continues to have a tremendous impact on the artistry in filmmaking as well as in pop culture. The Lord of the Rings: The Two Towers (2002), directed by Peter Jackson.
Part 3! This week, we dive into the highest rated trilogy of all time. These films condense Tolkien’s novels into accessible blockbusters that don’t sacrifice depth. They also continues to have a tremendous impact on the artistry in filmmaking as well as in pop culture. The Lord of the Rings: The Fellowship of the Ring (2001), directed by Peter Jackson.
Part 2! This week, we dive into the highest rated trilogy of all time. These films condense Tolkien’s novels into accessible blockbusters that don’t sacrifice depth. They also continues to have a tremendous impact on the artistry in filmmaking as well as in pop culture. The Lord of the Rings: The Fellowship of the Ring (2001), directed by Peter Jackson.
This week, we dive into the highest rated trilogy of all time. These films condense Tolkien’s novels into accessible blockbusters that don’t sacrifice depth. They also continues to have a tremendous impact on the artistry in filmmaking as well in pop culture. The Lord of the Rings: The Fellowship of the Ring (2001), directed by Peter Jackson
This week, we watch the Academy Award nominated official submission from Germany, that is actually an Iranian made film that was filmed entirely in secret and made it necessary for the director and many of the people who worked on the film to flee Iran. It is a very unique film in the way it was made, it shows some shocking real footage of the 2022 protests in Iran, and is worth a watch for the subject matter alone. The Seed of the Sacred Fig (2024), directed by Mohammad Rasoulof.
This week, we watch a dumpster fire of a film that Netflix managed to buy its way to a nearly record setting number of Oscar nominations. This film is not just poorly made in every respect, it also exploits every topic it decides to shove into its fractured story. This is the opposite of the film we need these days. Emilia Perez (2024), directed Jacques Audiard.
This week, we watch one of the films nominated Best International Films Academy Award. This film is best if you watch without knowing anything about it at all, so we’ll just say this - Watch it, but only if you can tolerate every genre of movie that exists. If you don’t tolerate some genres, then you may have a bad time. The Girl with the Needle (2024), directed Magnus von Horn.
This week, we watch the film that won the the Palm D’or at this years Cannes Film Festival and is also up for 6 Oscars. This film split our opinions, but we could all agree that Mikey Madison is understandably a favorite for the Best Actress award. Anora (2024), directed Sean Baker
This week, we dive into Oscar season! The Oscar nominations are out, and we first dive into a film that received 8 nominations. This beautiful film is certainly a strong contender for production design. Conclave (2024), directed Edward Berger.
This week, we watch the gothic horror / fantasy that was for some reason correctly released on Christmas day. Eggers fourth film is also currently his highest grossing (and climbing), and it might be due to the fact that it is his most beautiful and straightforward. Nosferatu (2024), directed Robert Eggers.
This week, we jump back a bit to a movie we skipped initially to make sure it was discussed at an appropriate time of year. And since its 2025 (happy new year!), lets kick it off by watching Jimmy Stewart and Donna Reed fall in love in Bedford Falls. It’s a Wonderful Life (1946), directed by Frank Capra.
This week, we break into the top 10 best movies of all time. A three hour long western that oozes style, has the best dirty face closeups you will ever see, has some of the worst ADR in film, and also maybe the best score of all time. The Good, The Bad and The Ugly (1966), directed by Sergio Leone.
This week, we are Jack’s mixed film opinions. Being David Fincher’s highest rated movie, we expected maybe too much for our first rewatches in twenty years, but there is still a lot to admire about this very unique film. Fight Club (1999), directed by David Fincher, starring Brad Pitt’s abs..
This week, we may be in November, but thats not stopping hollywood from giving us a late to the party horror movie with everyones favorite romantic comedy actor, Huge Grant. This extremely effective bottle episode of a movie has a trio of great performances, and the horror aspects are slowly and expertly introduced to make it one of the most tense experiences of the year. Heretic (2024), directed by Scott Beck and Bryan Woods.
This week, we watch the movie that famously and with controversy beat out Pulp Fiction and The Shawshank Redemption for best picture at the 1995 Oscars. This film also landed Tom Hanks a second best actor Oscar a year after his first, an achievement that only 4 other people have ever accomplished. Forrest Gump (1994), directed by Robert Zemeckis.
Happy Halloween! This week, we watch the low budget miracle of a horror film thats concept started one of the longest running film franchises in history. With just $57,000 budgeted for effects, this film showcases scene after scene of ingenuity, and images from the film stand among the best the genre has to offer. A Nightmare on Elm Street (1984), directed by Wes Craven.
Our halloween season movie selection moves into the 1990s with the 3rd entry in the Evil Dead series: Army Of Darkness. Leaning more on comedy and action than the previous two entries, it's still fun to see all the different ways Sam Raimi tries to get Bruce Campbell injured -- well, maybe that final action sequence goes on a bit too long. Army Of Darkness (1990) by Sam Raimi.
