Jose Miguel Giovine's Movie Ratings - Rotten Tomatoes

Movie Ratings and Reviews

Girl, Interrupted
½

James Mangold's psychological drama is filled with intense and captivating performances, special mention to Angelina Jolie's iconic role, and while there's plenty of elements to admire worthy of the themes its genre so proudly handles, the film never really possesses a particular sense of identity, being mostly a girls-version of One Flew Over the Cuckoo's Nest, but without the uniqueness or hypnotizing-poetic take on the psychiatric approaches.

John Wick: Chapter 3 - Parabellum
½

Blasted by top-notch-quality action sequences, twice as dynamic and dazzling as its predecessors, but improving over the expansion of the world presented, the third installment in the now-promising-further John Wick franchise is just as good as expected, with the blessing of Keanu Reeves magnetic action-performance and the several A+ stars all around the film offering their best, it improves and delivers the experience expected of a surprisingly consistent action-series.

Constantine
Constantine(2005)

Keanu Reeves supernatural thriller benefits from the actor's charm and charisma in the brand new take on the iconic comic-book exorcist, and while the script clearly differs from the Vertigo-source material, it has enough strength and identity to shine as best as it can on its own, with decent special effects, unexpected thrills, and a script that splits from the comic and, at the same time, pays its own respect to it, Francis Lawrence first full length feature works just as enough as it needs to.

The Animatrix

With several distinctive animation styles, delivered and crafted by several talents behind these stories, Animatrix expands the Matrix universe with style, fashion and though-provoking themes, just as this franchise should, creating clever connection within the franchise itself, and delivering entertaining, visceral and attractive short-tales, although some of them might not work as effectively, making this a worthy anthology-entry, and a visual delight for both, fans of the films and anime in general.

The Matrix Revolutions

Revolutions might possess strong moments directly connected to the franchise's unique elements, but unfortunately, narratively speaking, it throws away plenty of potential, as well as the anticipated conclusion of the trilogy being wrapped in such an extravagant way, without the originality and freshness of the first one, nor the blasting action-bonanza from the second, the Wachowski's gave their best onto the closure of their trilogy, by forgetting the best out of the franchise, turning it into an average sci-fi mix bag.

The Matrix Reloaded
½

Unquestionably, there isn't much substance as focused, constant and creative as its predecessor, but this sequel does its best to carry the reputation of the first one, attempting a vast storytelling arc, heavier action and thrills, as well as an overdose of overweight-dated special effects that works at times, but never mind the film's inferiority, Keanu Reeves keeps shining as the One, Hugo Weaving remains indisputably a worthy foe, and the Matrix universe continues its unavoidable expansion.

The Matrix
The Matrix(1999)

Dazzled and imaginatively thrilling, the Wachowski's masterpiece is a terrific and solid neo-sci-fi flick with all the great elements out of its genres, including a powerfully thought-provoking story, deep and hypnotic dialogue and compellingly unique characters, handed by Keanu Reeves in what it'll ought to be his definitive role, not leaving behind the wits and defying presence of Hugo Weaving inside an action-packed, superb filmed jewel of its generation.

Jason Bourne
Jason Bourne(2016)
½

More spontaneous and random than fresh, Paul Greengrass leads the directional chair, again, for this new installment in the now Bourne-franchise, delivering the expected action-packed thrills as the previous four films, and with Matt Damon back in the lead role, the film truly offers its best, as a Bourne film could, but inevitably, as unnecessary sequels go, this one clearly doesn't possess either the freshness nor the wit and storytelling quality of the first three.

The Bourne Legacy
½

Not following enough of the formula from the previous three, this spin off-sequel feeds inside the world build by Doug Liman and Paul Greengrass, having Tony Girloy in the director's chair to offer some freshness and distinctive aspects to the expanding franchise, also with Jeremy Renner in the lead role to change the perspectives, Legacy doesn't live up to the quality of the previous films, and truly misses Matt Damon's presence, but delivers just enough.

The Bourne Ultimatum
½

Fueled by the same effective tone, pace and exhilarating action that improved the second one of the first entry, Ultimatum finds Paul Greengrass delivering a dedicated and thrilling flick that offers some good-although-hyperactive-action moments and, most of all, the engaging suspenseful plot that has Matt Damon giving his best as the action-espionage hero could give, with direction, fast paced rhythm and a satisfying conclusion to the Bourne trilogy in the storytelling department.

The Bourne Supremacy
½

Following the previous installment's effective system of action-filmmaking, this time the directorial task to craft a sequel of the spy-thriller goes to Paul Greengrass, and while the films still suffers from some of the first's camera sins in regards of the action-performance, but with even more wit and exhilarating chase sensation, as well as the continuously pleasant main presence of Matt Damon, this installment delivers as much thrills and intrigues as the first one did, only with a slight improvement in the dynamic area.

The Bourne Identity

Doug Liman clearly succeeded at crafting a smart-fast paced action thriller, with enough brains and smart storytelling to apart itself from the standard inside the genre, and offering a surprising debut from Matt Damon into the action roles, with a smartly directed and paced film that is both: intriguing and dazzling, complementing an appealing cast, performances and well performed action sequences, all in all to live up to the literary source material.

Prospect
Prospect(2018)

Admittedly not a regular sci-fi, at first, but it's intriguing plot never advances to any interesting places, never mind its original concepts nor aspects in its setting, and maybe its low budget may justify its production flaws, the story is nowhere near as engaging satisfying enough to provoke any sense of attention, considering how average and non-thought-provoking it progresses, but thankfully Pedro Pascal compensates the lack of depth of newcomer, Sophie Thatcher.

Pokémon Detective Pikachu
½

Blessed by the compellingly hilarious-cute presence of Ryan Reynolds, as well as an ideal and proper environment that celebrates (as well as it respects) the original games and the anime, this adaptation of the celebrated Nintendo property might travel a little too odd for its own good, but fans of the trademark would be more than pleased with the treatment given to these creatures and the world around them, even if the human side of the flick lacks the same appeal.

The Wandering Earth
½

Its premise navigates slightly between the interesting and the absurd, making it at times a solidly intriguing sci-fi, others, an over-the-top cartoon, and arguably its characters and interactions helps the most to notice the second, becoming a rather potentially engaging idea that, at a certain point, in the middle of all its stylish production value and designs by Weta, loses focus and seriousness, only to turn full space-extravaganza surrounded by poor Netflix-level special effects.

The Fifth Estate
½

Benedict Cumberbatch mixes properly along Daniel Brà 1/4hl, in an ordinary biopic that approaches an actual fresh event in regards of the most recent "boom!" in the WikiLeaks topic, with a decent script and standard professional direction by Bill Condon, and why the film respects the themes presented, with a fair general performance by every relatable presence, the script lacks the proper interest and captivating other films on the genre had succeeded, with more style and dept.

Unleashed
Unleashed(2005)
½

With an odd combination of story-debt and dazzling and stylish action, Louis Leterrier serves as the direction of this action-packed, fully extravagant crime-drama, with a breathtaking martial arts performance by Jet Li, and the comfortable presence of Morgan Freeman and the over-the-top antagonism of Bob Hoskins, the film might feel to all over the place in certain aspects, but in all fairness, Luc Besson's script helps offer a certain aware-substance that gives this action flick, strangely enough, a purpose.

Us
Us(2019)

Jordan Peele continues offering a rather interestingly unconventional horror flick, with his style attached to it and a strong sense of meaning and, as the director proved before, a highly effective thought-provoking theme into what it seems a particularly random thriller, with some good suspenseful moments and great dedication towards its characters, having Peele established as an already great exponent of the genre, accompanied suitably enough with Lupita Nyong'o in one of her most dazzling performances so far.

The Adjustment Bureau
½

At times creative, at times generic, this drama-sci-fi struggles in keeping point with its original idea, supporting itself with an adorable and effective couple with Matt Damon and Emily Blunt, but ultimately falling certain clichà (C)s from the genres that belongs to, never trying anything truly innovative or fresh for that matters, wasting its potential with an indecisive direction by first timer director George Nolfi, the film never goes beyond the "good" barrier.

Snowden
Snowden(2016)
½

Director Oliver Stone delivers a solid real-event drama that benefits from its fresh memory and an empathetic stellar performance by Joseph Gordon-Levitt, maintaining an effective sense of attention and importance towards its subject, unfortunately, the film is not entertaining or engaging enough until a certain part of its script, which in certain measures could qualify as another of the director's forgettable recent entries.

Justice League vs. Teen Titans

Some cool DC-moments and a practical flow doesn't live up to the already high reputation the animated DC films used to have, instead, we settle for a compelling but ordinary and standard story, that lacks the full potential of these flicks and feels more like a typical animated series episode in the shape of a full length feature, nevertheless, it's entertaining value is still present and the cool action in it, shame on the lack of the highly effective adult themes that keeps the film from going further.

Hell or High Water

There are few suspenseful moments in this crime drama, but even when its setting is more than appropriate, its clichà (C) factor determines the film's irrelevance, so much that even its stellar trio of Chris Pine, Ben Foster and even Jeff Bridges can't do much to lift this dry and wasted flick, without either innovation or freshness behind it, it hardly offers an excuse to exists without any relevant or, for that matters, entertaining elements behind it.

The Handmaiden (Ah-ga-ssi)

Park Chan-wook offers a particular insight of sexual liberation and identity with the help of a splendid production and strong performances, as we're all already used to from his work, crafting material that for other filmmakers could be considered "overly-complex" or too explicit in terms of storytelling, this dated drama might just be his lightest in regards of these categories, not to forget an hyperactive edition that often messes with the rhythm, but we have Kim Tae-ri and Min-Hee Kim to compensate for these little flaws.

The Girl Who Leapt Through Time

Mamoru Hosoda's drama-comedy is engaging and beautifully animated, with great score to accompany it and a concept that intrigues and refreshes the time-travel concept already wasted in the genre, even when the plot at first takes its own time to become truly captivating and leaving aside the typical "anime conventionalisms", but in the end, the film demonstrates its own substance and complexity, always aware of its character's appeal, and successfully mixing humor with sentiment.

Rampage
Rampage(2018)
½

Not even Dwayne Johnson in all his muscle-glory nor Jeffrey Dean Morgan's charmingly sassy presence are enough to give sense to this uneven and dumb kaiju blockbuster, and while one could argue these sort of focus doesn't need that much dedication or production, but taking itself way too serious and lacking the proper logic behind its dull concept makes for a film that, thankfully, doesn't lasts that long, but that possess its best part towards the third act.

Shazam!
Shazam!(2019)
½

With charm, fun and highlight comic book props, DC finally establishes a film that's both: self-aware and understanding of a character's possibilities, offering an old fashion vibe worthy of the genre, as well as modern approaches in characters and storytelling, never mind the also dark themes the film is filled with from times to times, making it a vintage entry as well as a fresh one, David F. Sandberg crafted a satisfying superhero flick, only without a satisfyingly enough villain.

Pet Sematary
Pet Sematary(2019)
½

Not groundbreaking or particularly excelling in its subject, this reinterpretation of Stephen King's classic novel has its own small liberties that some fans may find either refreshing or unnecessary, but even with its differences towards the source material, the film already has the advantage of being aware of its potential, offering good suspense and enjoyable performances, unlike the previous film, Kevin Kölsch and Dennis Widmyer new take on the horror story is effective enough, although, not particularly scary.

U.S. Marshals

As constructed attempted as its successful predecessor, this sequel (or perhaps, soft-reboot) never accomplishes what the previous one delivered; great thrills, iconic moments or the intriguing pace and memorable antagonistic chemistry between the main leads, leaving behind most of the uniqueness of the first one and trashing the potential for medium âokayâ? popcorn spectacle, with the advantage of its cast and formulaic plot devices.

The Fugitive
The Fugitive(1993)

Thrilling, exhilarating and powerfully suspenseful, this action-drama is fueled with what is possibly one of Harrison Fordï¿ 1/2(TM)s greatest performances, attached wonderfully with Tommy Lee Jones in a show-stealer presence, Andrew Davis delivered a highly effective chase flick, with a formula and pace and strongly iconic moments thatï¿ 1/2(TM)ll remain in posterity, The Fugitive is intense, properly directed and positively addictive, making it one of the 90s memorable action flicks.

Son of the Mask

Sadly, for this continuation of the 1994 classic, this new take on the slapstick character forgets the essence, humor and appeal that made the original the film we all remember and love, instead, it replaces the great elements with forgettable and odd plot, cartoonish but mediocre special effects, and a downright unbearable approach to a unique and extravagant comic book character, but whichever the issue with the film might be, it wonï¿ 1/2(TM)t escape to its urgent need for Jim Carreyï¿ 1/2(TM)s comeback.

The Mask
The Mask(1994)
½

The over-the-top spectacle and cartoon satire brought to life is only the cakeï¿ 1/2(TM)s cherry pop in Charles Russell memorable take on the Dark Horse character, and even if its focus is entirely comedic (with a little mob style) unlike the source material, thereï¿ 1/2(TM)s plenty of gags and slapstick moments to hold on to, complemented with dated special effects that mixes perfectly to the filmï¿ 1/2(TM)s tone and, not to forget, having Jim Carrey at his bests in all his extravaganza glory.

Magnolia
Magnolia(1999)
½

Random, self-aware and deeply intriguing throughout the several inter-connected stories, Paul Thomas Andersonâ(TM)s drama is unique and different, two elements already providing the best from the genre, and while the filmâ(TM)s runtime is considerably long for mainstream audiences, it is the treatment of these characters, their emotional development and, why not? The amount of unexpected humor mixed wonderfully with the filmâ(TM)s music, Magnolia is a unique piece of filmmaking with a great cast behind it.

Beetlejuice
Beetlejuice(1988)
½

Tim Burtonâ(TM)s dark ghost-comedy is a blasting of cool moments, imaginative scenarios and creative characters, the director could only be capable of imagining, aside of that, being the random flick it is, the film is filled with good ideas taken advantage with a strong cast, leaded by the always enjoyable Michael Keaton as the memorable character, and a hilarious mix between creepiness and fun, Beetlejuice is a cult classic, and undoubtedly, one of Burtonâ(TM)s bests.

A Perfect Murder
½

Definitively, Michael Douglas, Gwyneth Paltrow and Viggo Mortensen shine the best way they can in this drama-thriller, but their histrionic portrayals arenâ(TM)t enough to carry the majority of this dry and flat flick, without the proper passion that something out of this genre deserves, and not being worthy of its casting selection, Andrew Davis does his best to provoke and deliver surprising moments, but all in all the film canâ(TM)t help but to feel forgettable and enjoyable at the same time.

Lost in Space

Stephen Hopkinsâ(TM)s sci-fi adventure flick lacks the actual intensity, intrigue and treatment proper for the genre, in a simulation of mediocre production and cartoonish esthetics, not to mention the all-over-the-place plot lines attempting to be cleverer than what actually ended up, in addition to a wasted cast-members, along Gary Oldman and William Hurt, and including a series of awfully looking special effects, worthy of the 90s-CGI decadence.

Inspector Gadget

The film, in a way, is completely self-aware, and while most of the time it doesnâ(TM)t take itself too seriously, from time to times it turns way too bizarre, way too dark, becoming instantly messy, even for its own good, and while being 100% childish and having complete fun within its cast, its humor is way too dumb and way too all-over-the-place for everyoneâ(TM)s entertainment, David Kelloggâ(TM)s comedy is a rare mess that could be only enjoyable as a guilty pleasure.

How to Talk to Girls at Parties
½

Weird, odd, and somehow, uninteresting and uneven; this random flick plays one of Neil Gaimanâ(TM)s stories without a certain focus or an identity on its own, making a huge effort to be its own thing, never succeeding, neither because of poor direction, or messy script, nor Ellen Fanning or Nicole Kidmanâ(TM)s bland and forgettable presence, resulting in a wasted and pretty much avoidable Gaiman-experience, which for his cinematic standards, is pretty low.

Teen Titans Go! To the Movies
½

With plenty of gags and humor to celebrate and mock DC, this full length film of the well-known Teen Titans cartoon offers tons of childish approach perfect for the toddlerâ(TM)s entertainment, and while its themes might hit and miss the grownups audience, thereâ(TM)s plenty of fun-extravaganza to enjoy and pop culture reference to the comic books trademark to spare on its own, making it an okay flick and a solid enough stand alone animation.

At Eternity's Gate

While Willem Dafoeâ(TM)s lead role and personification of the immortal painter is mesmerizing as his portrayals always are, and surely having Mads Mikkelsen and Oscar Isaacâ(TM)s presence are enjoyable enough as well, but Julian Schnabelâ(TM)s direction lacks the proper professionalism to handle such complicated and artistic subject, never mind the insecure script that tries hard to writes on its own, without a proper result, Van Goughâ(TM)s film-last days is captivating but dull in the end.

The Lego Ninjago Movie

The trademark is there, yet, Ninjago offers the minimum out of what the previous LEGO films provided, whether it is the defining touching randomness of the first one or the hilarious extravaganza of the Batman one, there is very few value inside the jokes, the plot of even the regular characters, becoming a simplistic and almost hollow entry in the uprising franchises from the toy brand, one that not even the presence of Jackie Chan nor Dave Franco could improve.

The LEGO Movie

Top notch animation in both fields; stop-motion and 3D, as well as an A-class voice-casting and a peculiar concept that has all the good traits out of a product that its selling itself along tons of pop-references and an effective rhythm that never stops being hilarious, Chris Lord and Phil Millerâ(TM)s take on the toys brand exceeds expectations in its premise and its concept overcomes the appeal for both, children and grownups, with unique and original ideas all the way in.

The LEGO Movie 2: The Second Part

Lacking the same quality that the first one provided in regards of its surprisingly fresh substance and pop-humor, this sequel offers a variant dose of cool-appealing colorful characters and random-reference-like situations that add for a unique and funny-enough rides, with good moments and enjoyable adventure-extravaganza, this new installment in the brand new Lego-franchise is worthy of its likeness, even when Mike Mitchellâ(TM)s direction is not as neat as Lord and Millerâ(TM)s.

Alita: Battle Angel

Overwhelmingly filled with story and with noticeable all-over-the-place-plots, James Cameron production, as well as Robert Rodriguezâ(TM)s newest installment, might sin in the same way plenty of other manga/Anime-American adaptations have, but given a colossal production budget the film makes no mistake into condensing all its resources to craft a most-impressive visual spectacle, with astonishing special effects and great action everywhere, enough to sustain plenty of quality on its own.

Man of Steel
Man of Steel(2013)

To its credit, the film presents some interesting ideas, and visually it offers a unique approach for the iconic hero never seeing in a film, but Zack Snyder adaptation never finishes to provide an appealing identity to both, its main character and the universe it means to quick start, failing to do a faithful or even respectful product to its comic book counterpart, becoming in the end just an experiment saturated with hordes of special effects and a colorless take on the DC Comics property.

The Count of Monte Cristo
½

For a considerable amount of its first half the film tries its best to respect and perform as a true adaptation of Dumasâ(TM)s masterpiece, but given the forced Hollywood treatment it ends in an ultimately chaotic decision to remove the elements that made the book the timeless classic with certain doses of unnecessary development, changes towards the characters that completely lose the point in them and, while some good production value, a poor replica of the universal literature work.

Green Book
Green Book(2018)
½

Viggo Mortensen and Mahersala Ali shine as the best elements inside this by-the-book subtle drama that, for the themes used, utilizes an oddly-effective amount of humor to gear its spirits, creating an effective chemistry between the two stars in the middle of a great recreation of the 60s, and while the film might fall into the pretenses of the typical âbased on true eventsâ? that has the rightful amount of quality, the filmâ(TM)s charm is blessed by its performances and the effectiveness from Peter Farrellyâ(TM)s direction.

Batman: Bad Blood
½

This DC-animation brings an interesting and raw premise which overcomes quickly its intrigue with a heavy sense of self-awareness and without any particular effort throughout its story, struggling between being a considerably mature comic-book film and, ultimately, another standard comic-book flick with all the expected elements from it, and being a Batman film that depends almost the entire time in the sidekick characters, thereâ(TM)s not much value on it in the end.

Velvet Buzzsaw
½

More pretentious than ambitious, Dan Gilroyâ(TM)s latest offers the anticipated comeback of both, Jake Gyllenhaal and Rene Russo in an original flick, but being a movie without much of a focus and a strangely out of place mixing art-approaches with supernatural-horror influences, there is plenty of writing and direction wasted in search for an identity, without forgetting the noticeable missing opportunity to take advantage of good cast in a mediocre product of a former great director.

Roman J. Israel, Esq.
½

Denzel Washington gives his best in this standard law-advocate drama in which, while we never get to see anything genuinely original or thrilling, Dan Gilroy gives a solid direction towards his average script, exploring hard themes with solid characters, but while the film is never considerably âbadâ? in its own conception, it is truly a missed opportunity to take advantage of a great directorâ(TM)s talent and a superb actor providing a worthy performance

Nightcrawler
Nightcrawler(2014)

Dan Gilroyï¿ 1/2(TM)s extravagant thriller is a love letter to films in which the locations plays a major part in its story telling value, including a story that is not afraid of delivering what its needed to be provided, and with great characters to support a raw but engaging plot that explores the sense of morality and determination towards a protagonist deep focus on his obsessions, and of course, all backed up by arguably Jake Gyllenhaal's best performance of his career.

You Were Never Really Here

It guards a certain obvious pattern and similitude with Taxi Driver, that's not unknown, but the fact that the films feels at a certain degree a re-take on the 70s classic takes away no merits in what is one of Joaquin Phoenix best performances, taking the ï¿ 1/2 1/2silent heroï¿ 1/2 1/2ï¿ 1/2? treatment, and offering a deep-though-provoking drama with few action elements that, at times, seems to restrain themselves, but at the end of the day, provides writer-director Lynne Ramsay plenty of cinematographic accomplishment

Groundhog Day
½

Bill Murray shines as he should inside Harold Ramis direction on a completely original and thought-provoking comedy that, although odd, it provides one of cinemaâ(TM)s common subjects to explore, as well as an iconic and memorable plot that granted the actor one of his all times favorite roles among fans, nevertheless the clever writing and flow throughout every possible option available for our character to explore, something a little bit thrown away by the predictable and cheesy conclusion

BlacKkKlansman
½

Often political and filled with commentary, Spike Leeâ(TM)s newest film navigates the deeps of Americaâ(TM)s eternal racist believes, as well as the strength of the ideology presented in its own time period, in regards of the black community and the need of a freedom-uprising of minorities, all combined with great sense of awareness, some effective dark humor and actual thrills every once in a while, never mind the filmâ(TM)s unnecessary run time.

A Simple Favor

It might be Paul Feig's most differing and daring film so far, but as oddly-evolving as it goes, stellar roles has Blake Lively and Anna Kendrick in what it could seem the actresses most interesting performances to date, inside a story that keeps toying with the viewer, turning from a weirdly-enough-fun dark comedy, to an interestingly-random thriller with enough turn of events, appealing cast and gags, all to craft a weird-but highly entertaining-hybrid.

Thoroughbreds
½

Director Cory Finley is able to offer an interesting point of view of the teenager world with the support of Anya Taylor-Joy and Olivia Cooke presence as the lead roles, with interesting ideas mostly well-developed and an effective sense of intrigue of this small thriller, but while the main characters possess a certain decent chemistry, the film struggles to obtain its own identity in the main ideas which it looks to craft, and not taking enough advantage of the actual intriguing set up in the plot.

Bad Times at the El Royale
½

Drew Goddardâ(TM)s newest flick offers a great deal of random-pulp spectacle, fueled by strong character build-up and presence, taking advantage, for the most part, of its A+ cast, including the directorâ(TM)s strong and stylish direction and fashion-quality script, divided in the first half by a clever time-paced plot, ending in a second half powered and thrilled by Chris Hemsworth surprising show-stealer performance, competing only with Jeff Bridges shining presence.

Last Days In The Desert
½

With a polarizing perspective in regards of the mythos behind the Christ persona, this slow-paced but gorgeously looking film takes a risky and overly interesting take in the iconic historical character, with a different approach towards the theological themes behind the main character and his days spending in the dessert, open to temptation, offering as well Rodrigo García detailed direction and Ewan McGregor as one of the most original Christâ(TM)s depicted in films, as well as a very interesting view on the Devil.

The Lobster
The Lobster(2016)

Yorgos Lanthimos possess a strongly bizarre vision, plasm in an inventive-creative indie-drama, with all the benefits of an author's work and completely unconventional in its performance, this film might cause a conflict of connection for mainstream audiences, but the excess of unconventional themes works in favor of an oddly crafted work, that explores the constant lust for acceptance, love and identity in such original ways, most of them guided by Colin Farrell and Rachel Weisz.

She's All That

Freddie Prinze Jr and Rachael Leigh Cook star in a corny and completely submerged-in-its-own-time chick flick, with all the sins of its time and all the crazy ârad-extravaganzaâ?, combined with cheesy dialogue plagued with the typical clichà (C)s of the genre, nevertheless, there is no denial in the charm and self-awareness this humble teen-romance possess, making it an enjoyably-enough film by Robert Iscove, that may not outstand in its own field, but is good enough for what it is.

How to Train Your Dragon: The Hidden World

Succeeding at crafting not just a fairly entertainment flick, but a worthy successor and closure of the now officially beloved trilogy, DeBlois, once again, delivered a touching, exhilarating and thrilling adventure, with all the best elements of the previous ones, improving over the already established ones, this final entry possess strong animation, a powerful sense of maturity on itself and self-awareness, and fully developed characters all to serve the end for a proper and closer-to-perfection finale.

How to Train Your Dragon 2

Dean DeBlois continuation of the epic first installment is an animated jewel, with an almost perfect balance of intensity and emotion, providing superb action and flight sequences, as well as the amazing animation that shined in the first one, but now offering a vaster look at this beautiful world and great character, with passion, humor and though-provoking moments that'll offer sentiment, thrills and the promise of a third part as groundbreaking and unique as these films.

How to Train Your Dragon

Chris Sanders and Dean DeBlois epic, based on the book series by Cressida Cowell, is a heartwarming and exhilarating little adventure which represents one of DreamWorks most pleasant surprises, accomplishing characters, story and plot, beautiful animation and a touching take on family, honor and believing towards an effective and unconventional friendship between the two main characters, making this one of the studios most satisfying flicks of to this date.

Polar
Polar(2019)
½

Its esthetic design and over-the-top extravaganza might give it quite the cartoonish atmosphere, but being an already graphic action packed thriller, those elements work in favor and against the final experience, being a pleasant one, at the end of the day, thanks to Mads Mikkelsen terrific take on the action hero stereotype, combined with tons of great action sequences and gory moments, Polar might be small and far from outstanding results, but its surely effective enough.

Fargo
Fargo(1996)

Everything works in favor for Joel Coenâ(TM)s dark comedy; from the terrific and hilarious performances, to the iconic environment of frost-extravaganza and the constant evolution towards the scriptâ(TM)s events by the Coen Brothers, there is no doubt this crime-comedy has the filmmakers at their best, with an amazing cast, memorable lines and non-stop random extravaganza, it is arguable weather or not this particular flick could be considered as the Coenâ(TM)s ultimate experience.

Glass
Glass(2019)

While visually attractive and inventive in certain aspects, accompanied by Shyamalanâ(TM)s stylish direction, this long-term third part of the spontaneous trilogy possess a weak sense of purpose, considering the high stakes on it, thanks to a slow-pace meaningless progression inside its storyline, which it feels potentially wasted, it doesnâ(TM)t matter how appealing its cast is, Samuel L. Jackson and James McAvoy shine one their own, but ultimately are not enough to rescue this mix-bag from a disappointing conclusion.

Unbreakable
Unbreakable(2000)

Unique and appealing to a different approach to a genre that didnâ(TM)t have an identity in its time, M. Night Shyamalanâ(TM)s take on the superhero world adds the directorâ(TM)s elements such as suspense, intrigue and pacing, with Bruce Willis in one of his most under look performances of his career, complementing with Samuel L. Jacksonâ(TM)s amazing portrayal of what arguably could be Shyamalanâ(TM)s best character ever written, all to serve for a filmic love letter-satire of the Comic Book world.

The Sixth Sense

M. Night Shyamalan's supernatural thriller possess an intriguing setting, a wonderful set of deep and relatable characters and a charming chemistry-performance between Bruce Willis and Haley Joel Osment in what it was meant to become an inevitable classic that'll combine atmosphere, thrills and drama in a unique approach over the ghost-take in horror, with great direction and technique that'll end up crafting one of the most effective and memorable twists in modern cinema.

Pete's Dragon

Don Chaffey attempts to recapture the success of some Disney cartoon-live action hybrids, but without succeeding after performing a cornily-boring and overly cheesy musical without any charm, non-catchy songs and obnoxious characters that never quite connect, this bizarre flick falls by never live up to its concept, although its animation and design might outstand on their own, they're enough to keep this film for being oddly flawed.

Slow West
Slow West(2015)
½

Michael Fassbender easily shines in this indie-western flick plagued with, as its title suggests, a slow pace towards its very simple story-aspirations and directional performance by John M. Maclean, with enough elements from the genre to survive and, fortunately, with a strong enough third act that provides a pretty much decent shoot out sequence, nevertheless, plenty might not find the proper substance for this to overcome what we have already experienced in much more quality-worth ways.

Bird Box
Bird Box(2018)
½

Director Susanne Bier manages to perform an, at times, acceptable direction in what it ends up being pretty much a standard and average post-apocalyptic flick with all the ingredients we all are familiar with, taking in consideration its original premise but wasting its potential into cliché corners, in a film almost rescued by Sandra Bullock's performance and some intense scenes, but the movie never goes any further to deliver something truly unique, and wasting its best elements such as the presence of John Malkovich.

Rocky
Rocky(1976)
½

It has all of the ingredients to fall flat into forgettable corners, but Sylvester Stallone's wonderful charisma and action-pack performance, as well as his writing bathed with simple but heartfelt moments, as well as John G. Avildsen effective direction, Rocky is an immortal classic that represents the cornerstone of every underdog-rising story, combining with exhilarating training sequences, a beautiful score and a breathtaking third act, all to accomplish pure classic material.

Rocky II
Rocky II(1979)
½

Not as fresh as the original, this sequel excels at delivering more development in almost every single aspect the first one provided; characters, plot, focus and, overall, the same passion that made the first one the unforgettable classic it is, with a more depth towards its main fight, in a more epic and exciting way thanks to Stallone's writing and direction, never mind the noticeable formulaic progression that, who would've known, will become one of the best elements out of this franchise.

Rocky III
Rocky III(1982)
½

It may lack the quality spirit from the first two, and as a third part it isn't strong enough when it comes to character and story delivery, but it surely delivers enough charisma, drama and heavy emotional moments, along some great thrilling fight sequences to be title-worthy, Sylvester Stallone delivers once again a great testosterone performance, this time with the blessing of Carl Weathers by his side, and the immortal Burgess Meredith in his last performance as Mickey.

Rocky IV
Rocky IV(1985)
½

The fourth continuation of the Italian Stallion satisfies in levels reached by the first installments, for its excitement is big enough in its two big fights, but while it does take advantage of some of the time's phony elements on its favor, it also falls in its own game when it comes to maintain the same level of quality without seeming cartoonish with its forced politician approach, however, Rocky IV is a solid enough flick, with the combo Stallone VS Lundgren to power up the saga to titanic heists.

Rocky V
Rocky V(1990)

Ironically, the entry that seems to back away from the exhausted formula is the one that seems to corrupt the franchise in cheesy, annoying and conventional-goofy ways, lacking the emotional effectiveness of Stallone's previous scripts, and adding a poorly ineffective directional comeback route from John G. Avildsen, and removing the previous film's sense of passionate joy, never mind Richard Gant's obnoxious presence, this fifth installment has very few to genuinely enjoy.

Rocky Balboa
Rocky Balboa(2006)

The film in the franchise with the less fight sequences or formulaic structures, it's also the most heartfelt and emotionally strong so far, with plenty of development and focus towards the immortally beloved main character, adding Stallone's amazing take on his most iconic character, digging deep into his own personal journey with proper progression and devotion in its script, Stallone crafted what is the least dynamic of the saga, but nevertheless, the most spiritually effective yet.

Creed
Creed(2015)

Revitalizing the franchise cornerstone-underdog-feeling with amazing direction by Ryan Coogler, a great script that respects the saga's legacy and, by all means, the great addition of Michael B. Jordan in the lead role, combining with Sylvester Stallone's immortal character in an epic and heartfelt chemistry, this seventh installment in the boxing odyssey brings back the freshness of the original, as well as superb production value and style that feels both, new and familiar all at once.

Creed II
Creed II(2018)
½

Ryan Coogler's direction is a noticeable missing element, but this sequel owns nothing to the previous installment in the ongoing franchise, adding pretty much the same elements from the 7 films, but finding its own way of revitalizing a passionate sports flick, with great characters and their respective development, provided by Stallon's script, as well as exhilarating fight sequences and a tremendous sense of epicness and heart, all performing what it could become a worthy potential saga-finale.

Mary Poppins
Mary Poppins(1964)

Walt Disney's take on P.L. Travers novel, as well as with Robert Stevenson's directions, sets for one of the most memorable musicals ever created for the big screen, with an outstanding leading performance by Julie Andrews in her most iconic roll, along the astonishingly charming Dick Van Dyke, among others in a well assemble cast that mixes perfectly with the timeless musical numbers, beautiful songs and a highly emotional-yet-marvelous childish approach that represents the best out of Disney.

Spider-Man: Into the Spider-Verse

Sony Animation is finally able to craft the definitive Spider-man experience, in an overwhelmingly satisfying comic-book experience that'll define how to adapt the best out of a character with certain specifics, and while the experience might be bizarre for some, there is no doubt that Bob Persichetti, Peter Ramsey and Rodney Rothman directed a dazzling experience that has a perfect balance between both; a great story and amazing visuals.

Home Alone 2: Lost in New York
½

It makes the typical sequel-sin of delivering almost the same concept and premise that made the first one so iconic and memorable, adding little extra-refreshing material but offering a recycling experience, nevertheless, "Lost in New York" still possesses some power behind it, as well as the always delightful presence of Macaulay Culkin, and serving itself of the amazing-but short-addition of the always great Tim Currry.

Home Alone
Home Alone(1990)
½

Macaulay Culkin shines as the main star in this childish-yet-dazzling and intrepid Christmas adventure by the hand of writer John Hughes and director Chris Columbus, delivering a funnily enough family flick that, although cartoonish and over-the-top in its execution, has the advantage of offering a worthy product of its time, and one of the most memorable concepts behind a kids-film that mixes almost perfectly with the holiday it is celebrating.

Bumblebee
Bumblebee(2018)

Director Travis Knight offers a breath of relief on the over-saturated franchise with an action packed-self-aware small adventure, reminiscent of the retro time in which it is set, and with actual care for its own production, bringing the Transformers trademark to a fun-yet-heartfelt adaptation of the Hasbro characters, and although its feeling could take us back to the typical structures of the genre in the 80's, great action and delighting characters makes this the best out of the live-action franchise.

Aquaman
Aquaman(2018)
½

Director James Wan provides a much more distinctive signature than previous DC installments, and while some of its trademarks could be spotted, it is a more lighthearted and a much more liberal towards the fun the film is having that helps this flicks be as enjoyable and thrilling as expected, even when its visuals are as beautiful as they are dazzlingly exhausting, and the movie's consistency falls for a suspiciously familiar, nevertheless, effective depiction.

Roma
Roma(2018)

Alfonso Cuarón regresa al cine mexicano después de una racha de éxitos extranjeros con una simple, personal y, sin embargo, intensa historia que sitúa un México totalmente nostálgico y melancólico con una gran ambientación, una dirección impecable y estilos únicos que complementan la efectividad de una historia complicadamente desgastante que utiliza convencionalismos completamente a su favor, sobre todo gracias a un reparto que se siente plenamente natural, y un gran descubrimiento en Yalitza Aparicio.

The Quick and the Dead
½

Sam Raimi, oddly enough, first time directs a spaghetti-western that, with all the elements of the genre, and plenty of its own style, manages to really capture the best out of the style and esthetic elements, with Raimi's typical over-the-top vision to provide an eloquent and highly entertaining, complemented by a great cast and old-school techniques, but mostly Sharon Stone's strong lead presence and Gene Hackman's great antagonism, The Quick and the Dead is a misunderstood little gem.

The House That Jack Built
½

Matt Dillon steals the show in what could be considered his most complete and memorable performance, nevertheless, even if the film expresses a great desire to accomplish something bigger and unique in its potential, director Lars Von Trier, once again, lets himself be driven by a powerful but exhausting sense of pretentiousness and self-awareness that can only provokes the film's downfall for what otherwise could've been an uncomfortably-explicit but hilariously-raw ride.

Mowgli: Legend of the Jungle

With enough differences in its tone and style to justify its existence, along a great cast selection offering appealing voice performances, but while the film is, at times, visually gorgeous to admire, and its gruesome and darker tone matches some of Kipling's original book material, this new take on The Jungle Book lacks the heart and wanderlust most of its previous adaptation offered, and while Andy Serkis direction is neat, it cannot help but to feel heavily inferior to Jon Favreau's previous achievement.

The Jungle Book
½

Jon Favreau's modern take in the Disney classic possess all the great elements out of a remake; improvement over the original in almost every aspect such as direction, story, characters and development, supported by an amazing voice casting and impeccable production, it might differ (again) from Kipling's vision but as a new take on the original it works in almost every way, as well as setting the standard for upcoming versions of this title.

The Jungle Book

Wolfgang Reitherman's take on the Rudyard Kipling's classic novel is a simple-yet-charming enough animation, without any of Disney's usual epicness or grandeur, nor Kipling's approach, nevertheless, as small as it is it's also quite enjoyable and iconic, especially as a product of its time, showed in memorable-enough moments, great and tasteful musical numbers and plenty of spirit, all to provide one of Disney's most harmless and delightful entries.

Treasure Planet
½

Rob Clements and John Musker's Disney version of Robert Louis Stevenson's homonymous masterpiece may lack the book epic tone and timeless appeal, nevertheless, its conceptual designs and steampunk-vibes are strong enough to sustain what could've been one of the studio's most stunning and visually impressive flicks, never mind the forgettable set of characters and the overwhelmingly-exhausting use of dated CGI.

Widows
Widows(2018)
½

Slow and predictable, yet, persistent in delivering the best in its quality, direction and performances suitable for its great cast, Steve McQueen's latest entry is a worthy addition in his filmography, and in collaboration with Gillian Flynn's properly crafted script, this heist-drama has enough action, enough moments and enough substance to endure an almost artistic value on its own, resulting in one of the year's most complete films.

The Ballad of Buster Scruggs

The Cohen?s western anthology is fresh and original, and that alone sets a good standard for the genre, and while some of the stories works better than others, the originality and humorous approach to the different experiences are constant reminders of the directors? classic style and unmistakable tone that has defined them ever since, adding great characters and some oddly enough-dark tones that fulfill most of this film?s value.

First Man
First Man(2018)

Damien Chazelle's newest film takes a much more different approach compared to his previous works, providing a solidly paced drama that, although familiar for biopic standards, delivers the rightful doses of moments, performances and a satisfying direction, and while its technical achievements and suspenseful sequences clearly outstanding, it is Ryan Gosling lead role as the historic astronaut what gives this flick its soul.

Ralph Breaks the Internet

With some of the effectiveness that defined the first one as one of Disney's most successful installments from this decade behind it, this sequel finds the style and substance on its own, enough to be just as enjoyable for both, kids and adults, with a little more of an over the top tone that'll give a kind of an exploitation feeling, substituting some of the cleverness and heart of its predecessor, nevertheless, Wifi Ralph is a fairly fun ride altogether.

Wreck-it Ralph
½

The concept behind this little Disney flick may be familiar already, but given a lot of heart to Rich Moore's direction, along a great voice-casting leaded by John C. Reilly and Sarah Silverman, gives this videogame-mash up-fest the proper treatment and fan service strong enough for all ages audiences, making this both, one of Disney's most compelling and innocent projects from their new wave of animated entries.

Rear Window
Rear Window(1954)

Humorous and suspenseful in all the right measures, Hitchcock's little-but-effective masterpiece delivers the perfect suspense and thrills in a film that also delivers great characters, whether it is the cocky-sarcastic presence of James Stewart or the gorgeously delightful Grace Kelly, the movie isn't just visually attractive or superbly directed, but it all goes down to the addition of John Michael Hayes cleverly ingenious script.

Fantastic Beasts: The Crimes of Grindelwald

Uneven as it is messy and all over the place, Crimes of Grindelwald finds itself struggling in between a pretentious excuse of a story by Rowling, mixed with a standard and dry direction by David Yates, resulting in a film that's not very clear what it is or what it tries to accomplish, being mostly a mediocre-but visually stunning-entry in the Potter franchise that'll bore the casual viewer, and mildly satisfy the die-hard fans.

Harry Potter and the Deathly Hallows - Part 2

Emotional, powerfully engaging and non-stop thrilling, the second installment in the series finales delivers what it promises; a worthy conclusion that settles the series inconclusive narrative devices, with grandeur moments, dazzling action and the ultimate dark approach all for the sake of the effectiveness of its ending, adding the already amazing cast performances and beautiful visuals, Deathly Hallows part 2 comes 10 years after the first one in the best of ways.

Harry Potter and the Deathly Hallows - Part 1
½

Fast paced and more action packed than the previous six installments, this first part in the series finale does its best to respect the book, or at least the basics, and it continuously grows in rhythm and story, delivering thrills and emotional elements as predicted in the penultimate chapter, but certain plot elements approached so suddenly to the script and an hyperactive edition keeps us from being truly engaged with this episode, craving for what's coming instead.

Harry Potter and the Half-Blood Prince

David Yates, once again, provided a regularly entertaining direction to the Harry Potter franchise, this time, with a more comically romantic approach proper of the teenagers the film is approaching, but unfortunately and while it is unquestionably a beautiful looking film, and engaging at times, the film feels dry in its progression and disrespectfully short in its adaptation level towards its source material, turning this in the most weak installment in the saga.

Harry Potter and the Order of the Phoenix
½

Fast paced and excessively progressive inside a summarized plot, in comparison to its book counterpart, David Yates is the newest addition as a director in the franchise, leaving behind great part of the charm, complexity and excitement of the previous films for a much more grounded story and a complete darker approach, but the film seems to run in an rush flow, and while the presence of Imelda Staunton steals most of the show, the movie inevitably falls in its quality.

Harry Potter and the Goblet of Fire
½

A more dynamic and engaging installment than its predecessors, this fourth installment in the Wizardry World elevates the stakes and the thrills with the double of action and fantasy extravaganza, with a great concept behind its plot and an enigmatic resolution, Mike Newell's direction may not be as smooth or humble as his predecessors and his film may differ from the source material in some elements, but Goblet of Fire is an exhilarating non-stopping ride.

Harry Potter and the Prisoner of Azkaban

With improved production value, a complete new esthetical approach and a much darker and grittier environment towards its plot, this third installment in the Harry Potter saga finds Alfonso Cuaron as the new director adding a more artistic and smooth approach on the Wizardry world, and with the tone and visuals that'll redefine the saga, including the addition of David Thewlis and Gary Oldman into the already great cast, the film it's as compelling as it is stylish and substantial.

Harry Potter and the Chamber of Secrets
½

Improving upon the set up that represents the first one, Chris Columbus's follow up to the series has more of the same effective and successful material, even when some of its technical production may be dated, and just as its book-counterpart, Chamber of Secrets finds itself expanding the Wizardry world with a much darker-yet-intense approach, with the return of the familiar faces and the addition of new ones, all in all to deliver a truly worthy installment in the uprising series.

Harry Potter and the Sorcerer's Stone

Strong in its ingenuity as a child's film, yet, respectful enough of its source material, Christopher Columbus managed to craft a solid fantasy-adventure flick, providing the esthetics and production design that'll define the franchise for its unavoidable further entries, with a great cast behind it including the rising star Daniel Radcliff, and intriguing direction, but with a constant sense of wanderlust and whimsical discovery proper enough for a series quick starter.

Overlord
Overlord(2018)
½

J.J. Abram's production offers a stylish and tribute-like approach to a B-series concept, combining two effective elements, Nazi-war with zombie, mixed in enjoyable gore fest and even approaching drama and commentary at some points, Julius Avery directs this action-horror flick, maybe a little too much for what it meant to be, and while it clearly takes its time more than necessary, characters and great production value are present to save the day.

The Night Comes For Us

Exhilarating, dazzling and gory action combined with superb action sequences, Timo Tjahjanto writes and directs this crime-action extravaganza which continues the always welcome tradition of Indonesian movies being hardcore and overly violent with their punch, and this is another fine entry not just as a foreign film, but as the newest Netflix installment and one of their best in the catalogue, ending in a gruesome but touching flick.

Batman Ninja
Batman Ninja(2018)
½

Powerful in style, and exaggeratedly attractive in its concept and art department, Batman Ninja is, unquestionably, a visual delight, but Junpei Mizusaki's take on the Dark Knight as a Japanese version of its own is over-the-top and bizarre, mostly due to a lack of actual focus and proper representation of this culture for a more classic anime-like approach rather than an actual imaginative Japanese-folklore representation, which only increases the action-exploitation of this animated flick into brainless territory.

Bohemian Rhapsody
½

This biopic seems to truly pay the well deserved respect to the legendary band and its iconic lead singer with some genuinely enjoyable moments and a couple of humorous takes in its performances, but Bryan Singer direction never seems to go further along the overly-familiar script by Anthony McCarten, nevertheless, the time set and devotion for its subject its more than enough to carry on this flick, including a show-stealer lead role from Rami Malek's as the immortal Freddy Mercury.

A Star Is Born
½

Bradley Cooper's directional debut is accompanied by a blasting show in Lady Gaga's presence in favor of a modernized but effective retake of the 1976 classic, this new version respects the basics but offers new takes and new types of talent, combined an unexpected musical talent in Cooper and the already delightful voice of Gaga in a weird but effective musical duo, and while the story points might fall in the cliché territory, the soundtrack is enough to please average audiences.

The Cabin in the Woods

Drew Goddard's horror-dark comedy-satire-commentary of the genre is filled with scares, clichés and stereotypes that managed to provide a bizarre but effective entertainment that mocks what it is but most certainty celebrating its self-awareness with a nonstop dynamic direction and a funnily but clever-enough script, all in order to craft, more than just a parody, a well settle hybrid flick, with one of the best monster mash fest in movie making.

Don't Breathe
½

Gruesome but tense and suspenseful, Fede Alvarez newest might not fit into the horror genre as a whole, but its thrills and excellent combination of a simple idea-scenario and an excelling execution that's only improved by both, Jane Levy and Stephen Lang in a combination of both, scream queen and antagonist, with all the good elements a thriller should possess, and complemented by the addition of an over-the-top twist.

The Forest
The Forest(2016)
½

Natalie Dormer shines not just as the eye-candy but rather a surprisingly effective protagonist in the horror genre, unfortunately, and while the film quite looks beautiful and creepy, the film never manages to effectively turn atmospheric or scary, and while some interesting and gruesome takes place, Jason Zada's film about the classic Japanese legend of the Aokigahara forest struggles to provide a satisfying horror experience.

The Institute

Interesting pacing and surrounded by a gorgeously Victorian setups, this little psychological thriller looks gorgeous and James Franco is enjoyable as always in regards of his direction and performances, returning the genre into a fancy old-school scenario, but even if its production is pretty decent and there are some particularly good ideas, The Institute struggles with being controversial, scary and atmospheric, accomplishing it only from times to times.

Horns
Horns(2014)

Joe Hill's best seller is adapted by Alexandre Aja in fancy-modern style and some of the source material strengths are present, but even with the enjoyable presence of Daniel Radcliffe as the lead character, the film struggles to find its own identity in between teenage drama and horror, with some touches of gore and dark humor on its tone, its potential is hidden in between the misplaced original elements and wrong interpretations of the book.

The Similars (Los Parecidos)
½

Isaac Ezban parece haber creado un autentico tributo al cine de antaño que tanto glorificó la ciencia ficción y el horror de los años cincuenta, y a pesar de que el tono y el estilo son tanto originales como clásicos, la cinta viene muy tarde en una época en la que el cine de este género no funciona, y la cinta no aporta gran ayuda al no tomarse enserio, desperdiciando una idea original dentro de un concepto risiblemente absurdo.

Evil Dead
Evil Dead(2013)

Completely self aware of its tone and its production, Fede Alvarez accomplished what at times seems to be a straight forward reboot of the franchise, others, a standalone re-take of the 80s classic, but inevitably the overly-aggressive and brutal violence ends up becoming too much, even if this could be considered the film's strength, and even if the film delivers what promised, none of the original's passion and naïve extravaganza is reflected in this gruesome and uneven gore-fest.

Army of Darkness

Sam Raimi's third part of the Evil Dead franchise leaves the entire tone and gruesome gore-fest of horror of its two predecessors in order to open the gates of a more straight-forward dark comedy with plenty of fantasy-adventure touches, but still preserving Campbell's presence and a bath of great old-school special effects and bizarre action and style that defined the director, Army of Darkness is far from being scary, but it is a non-stop funnily extravagant ride.

Evil Dead 2: Dead by Dawn

Rather than a sequel a straight forward rebooted continuation of the iconic 80s horror, Sam Raimi's newest installment in the Evil Dead series is blessed by everything that made the original so great; cheap scares with dozens of horror-extravaganza, combined ridiculously with timeless dark-slapstick humor and gore, great special effects and a pure sense of self awareness and careless spectacle, combined with the always great Bruce Campbell, Dead by Dawn has everything the genre could ask for.

The Evil Dead
½

Sporadic, random, over-the-top and creatively scary, Sam Raimi's iconic horror-extravaganza is full of top notch crazy moments, and while flawed with newcomer technicalities, the production's passion is noticeable in its atmosphere, environment and continuously use of dark humor with an almost perfect combination between gore and suspense, The Evil Dead represents a step further for the genre, and a mayor influential 80s cult classic.

Scream 4
Scream 4(2011)

Unnecessary and forced in an attempt to revive the franchise after 10 years, this fourth and definitive last installment brings some familiar elements from the original, and while its progression and depiction are way better than the last, and even when Neve Campbell is still as enjoyable as the protagonist of this series, it's almost impossible for this to overcome the exhaustion of the genre, never mind its constant use of the clichés naively exploited on its own.

Scream 3
Scream 3(2000)
½

More uneven than the rest and falling in the deepest context of the slasher-flick, Wes Craven's Scream 3 tries depicting the trilogy third installment commentary without either the essence or the over the top horror-elegance of the first two films, becoming the subject of its own satire and exploiting pretty much all effectiveness out of this series, but still delivering a couple of scares and enjoyable killings throughout its run.

Scream 2
Scream 2(1997)
½

Maybe a little bit slower in pace and with a noticeable forced follow up-plot line, this sequel, just as before, utilizes plenty of satire towards the genre, but with a bigger body count, the same style preserved from the original, and Wes Craven's delightful horror signature all over its cheesy but clever focus, Scream 2 pretty much delivers enough from what worked previously, even if it doesn't possess the same strength and meaning as the first one

Scream
Scream(1996)

Wes Craven's love letter-satire of the horror and slasher genres plays for some funny gags on itself and its delightful self-awareness, combining a fine good dose of violence, tension and teenage atmosphere, falling for the cliché it also tries to exploit, but becoming more clever than a flick of this kind has the right to be, Scream accomplishes being several things, including a product of its time and a proof that the genre can always be better than its meant to be.

Halloween
Halloween(2018)

Blessed by a much more centered vision, a good cheesy-but-effective script and a surprisingly focused direction by David Gordon Green in his first horror take, this rehash of the disappointing sequels benefits the effectiveness of the first film, paying both tribute and respect, rewarding the audience with authentic thrills, great haunting environment and worthy esthetics to one of the genre's most iconic faces, never mind the inevitable clichés and useless plot points, but offering the best of Jamie Lee Curtis to enjoy.

H2: Halloween II
½

Completely self aware of its over-the-top performance as a slasher, but careless nonetheless, Rob Zombie delivers a worthy successor of the Halloween sequels, with all their elements hidden behind an absurd vision towards a twisted and senseless approach in both, direction and script, as well as its exaggerated performances and enjoyable-yet-mindless violence and gore, makes this a disposable entry in the destroyed saga, with almost zero to no promise of a further follow up.

Halloween
Halloween(2007)

With a much grimmer and visually interesting approach than most of the sequels, Rob Zombie brought back the franchise as both, writer and director, to reboot the iconic film with more character development and a more deep focus on Michael Myers, however, even with the addition as Malcolm McDowell as the new Loomis, the film is more interested in offering blood, gore and cool-yet-empty moments, making this an okay entry in a franchise exhausted with its own clichés.

Halloween: Resurrection

Following the events of H20 without caring too much about the subsequent continuation or sense towards it, Resurrection is a clear example of when a franchise simply left all coherence, effectiveness, value or respect for its source material, wasting the character of Jamie Lee Curtis in favor of a more boring-yet-hilarious teenage take, worthy of its era, and exchanging all for pointless and random gore-killings, representing the newest disposable step down for the franchise.

Halloween H20

Steve Miner established a brand new installment in the Halloween franchise in the shape of a reboot, erasing all five poorly received sequels by providing a brand new follow-up, again, with the presence of Jamie Lee Curtis, this time the film acquires all the bad elements from the late 90s flicks, with dull script and zero to no suspense, pretty much downgrading itself to the same quality as any other of the sequels, including the abuse of clichés and poor pacing to complement.

Halloween - The Curse of Michael Myers (Halloween 6)

It offers more thrills and familiar eerie feelings in regards of its atmosphere, but even if Curse of Michael Myers is a more focused and less ridiculous entry than its predecessors, its far beyond the success and accomplishment of the first one, again being a forgettable slasher-sequel maybe enjoyable for only one experience, but at the end of the day, Joe Chappelle addition to the franchise is week, expendable and significantly dry.

Halloween 5: The Revenge of Michael Myers
½

Not a poor rehash as the previous one was, but this sequel follows the Halloween franchise in a dull and cartoonish approach that downgrade the saga into weird-supernatural levels, lacking complete respect out of the character of Michael Myers, and not even with enjoyable killings or gory pleasantries, the film seems to go, literally, nowhere, Dominique Othenin-Girard managed to craft an overall absurd and ridiculous fifth installment.

Halloween 4: The Return of Michael Myers

Not particularly terrible or troublesome as presumed, Dwight H. Little tries its best into providing the same effective atmosphere from the first one, but its overly-forced plot and lack of actual uniqueness in its story makes this another failed attempt to deliver the same style and scares as Carpenter did, being Jamie Lee Curtis's absence the most damaging of this harmless but forgettable fourth installment in a series already tired of itself.

Halloween III: Season of the Witch

An interesting premise and a potentially good idea done all the way wrong, Season of the Witch continues the franchise in an odd-yet-cartoonish way, removing the iconic character from the story and presenting an absurd scenario filled with poor performances, dull direction and ridiculous script by Tommy Lee Wallace, making this an involuntary hilarious horror flick, unworthy of the title it wears, even if it takes advantage of the same subject.

Halloween II
Halloween II(1981)

Rick Rosenthal's follow up to the impactful 70's slasher surely tries, and while it isn't as bad as many sequels of this style, it never manages to live up to the effectiveness provided by the first one, neither with the presence of the great Donald Pleasence and Jamie Lee Curtis in the lead roles or with the actual detailed continuity, Halloween 2 in the end abuses of the clichés its predecessor admirably established in the first place.

Halloween
Halloween(1978)
½

John Carpenter co-wrote and directed one of the most influential and popular flicks the genre could offer, with such simplistic and humble story and plot, it managed to influence a whole new sub-genre that'll be exploited to death for future generations, with a great sense of suburban atmosphere, a good doses of scares and the proof that a little budget can do wonders with enough creativity towards a very basic concept, even if it's a little dated nowadays.

The Others
The Others(2001)

Poetic and frightening in just the right moments, Alejandro Amenábar brilliantly writes and directs this small and claustrophobic supernatural drama in a great fashion, with a sense of classic old-school gothic environment and effective atmosphere, the scares are completely in favor of a progressive character development that benefits from great performances and, especially, thanks to a terrific main portrayal by Nicole Kidman.

The Amityville Horror
½

It possess certain style on the visual department, and while the cast certainly tries its best, the film falls into every cliché element and formulaic stereotype from the genre, and even when the film has the opportunity to embrace those clichés and do something effective, it falls short into a generic plot thanks to Scott Kosar's script and Andrew Douglas regular direction, not being able to help this remake from feel as a poor The Shining attempt.

Amityville: The Awakening
½

While not as bad as it surely could've been, Awakenings gives few innovations and little freshness to what the original Amityville concepts possess, and although it acknowledges the poor treatment of previous installments, the lack of atmosphere and true horror in its script and direction, both by Franck Khalfoun, affects in big measure the final reception of its results, making it a disposable and forgettable entry in the genre.

Apostle
Apostle(2018)

It gets overexcited with its use of gore and some over the top sequences that mixes both, action and violence, but Gareth Evans latest, while far from his comfort zone, delivers what it means to, a perfectly solid supernatural thriller with surprisingly good production value, stylized direction and satisfyingly enjoyable performances by Dan Stevens and Michael Sheen, all to accomplished an old-fashioned gruesome horror tale that stands amongst Netflix's strongest originals.

Watchmen
Watchmen(2009)

Respectful of its source material, at least for the most part, Watchmen finds the iconic graphic novel by Alan Moore and Dave Gibbons adapted in a beautifully-impactful-visual fest, with great esthetic and style upon its script, but Zack Snyder's direction lacks power enough to separate its plastic conception from the cartoon elements that'll only work in an overall mechanic progression, making this a faithful but flawed take on the DC Comics masterpiece.

Hold the Dark
½

Struggling between an art house stylized drama and an action-thriller, Jeremy Saulnier once again intends to offer a rather unconventional substance strong enough to maintain a general interest thanks to the general performances and a neat direction, and even with the lack of a properly crafted and polished script to carry on the film's main focus, it should do as a solid indie film and one of Netflix's overall good productions.

Green Room
Green Room(2016)

Small and concentrated in a single subject, Jeremy Saulnier small suspenseful flick is the best the genre could offer, and being its performances along already known faces like Patrick Stewart and the late Anton Yelchin, its thrills are powerful enough to never dispose any interest, and while certainly it could've been more than it showed, in the end, Green Room is a solid and small-but effective- raw flick that takes a while to start, but it definitely pays off.

Venom
Venom(2018)
½

Silly, all over the place and dully crafted, Ruben Fleischer stand alone (spin off?) of the Marvel Comics iconic villain doesn't seem to live up to its potential, blaming it maybe to a hyperactive-broken action, corny and mediocre script or the fact that not even Tom Hardy was able to deliver a decent-but visually faithful- take on the character, demonstrating again the lack of quality and creativity showed by Sony at the moment of producing comic book flicks.

A Nightmare on Elm Street
½

Another unnecessary horror-reboot, this time, with the unpleasant experience of the CGI treatment, replacing the 80s environment for modern-boring Millennial take in what clearly shows almost as a closure of the decade, in which films were uninspired and doll, with gore replacing suspense and atmosphere, not to forget the poor personification of Jackie Earle Haley as the legendary horror icon, nor Rooney Mara's wasted potential as the new Nancy, all crafted thanks to Samuel Bayer lack of vision.

Wes Craven's New Nightmare
½

Rather than a follow up, this plays more as a spinoff of the character in an outside-the-box-scenario, but Wes Craven returning as both, writer and director, helps the film go back into its own roots, with a much more haunting atmosphere and the much needed evil-horror persona of Englund's Freddy missing in the previous installments, all in all to offer a far more decent conclusion for the character than its predecessor, with also a strong performance from Heather Lagenkamp to carry on the movie for the most part.

Freddy's Dead: The Final Nightmare
½

Cartoonish, sloppy and dull, Rachel Talalay came too late into providing an actual decent departure for the character of Freddy Krueger, but even when the film serves as a sort of "origin story" and a closure at the same time, it fails completely by the lack of enough gore to even entertain and an actual sense of dread from the main character, in exchange, having Englund playing entirely for comedic purposes makes this the weakest and tiresome entry in the inconclusive saga.

A Nightmare on Elm Street 5: The Dream Child

Interesting ideas with poor execution, never mind the fun but trashy gore moments along the absurdity that only seems to be escalating within each entry, Stephen Hopkins's direction serves as both, a true instatement of this franchise lack of substance and the reminiscent of the time in which these films were conceived, also demonstrating, aside of the great special effects deployed and Englund's portrayal of the killer, this saga need for a definitive ending.

A Nightmare on Elm Street 4: The Dream Master
½

As an opportunity of being a definitive closure, Dream Master fails to provide a proper conclusion to the already tired franchise, and while Renny Harlin direction establishes it's obvious intentions of having a hell of a fun ride, praising its great use of practical effects, the lack of suspense and true horror for the sake of the slasher extravaganza, confusing re-casting, and Englund's memorable character put into involuntary-dark humor makes this fourth entry a forgettable (and unnecessary) one.

A Nightmare on Elm Street 3: Dream Warriors
½

Again, creative and visceral, just as the original, Dream Warriors finds, once again, the involvement of Wes Craven as the writer, along Frank Darabont and the directional view of Chuck Russell to deliver a surprisingly effective follow up to the first Nightmare, and even though at the very ending the film sacrifices its horror feeling for a more over-the-top spectacle, it is its combination of Englund's presence and gore-slasher fest what makes this works when other installments wont.

A Nightmare on Elm Street 2: Freddy's Revenge

Suffering from the shadow the first one generated, and without Craven's signature in it, Freddy's Revenge finds director Jack Sholder following up the uprising franchise with plenty of cool special effects and the fair amount of proper slasher-gore, but in the end, it's the overall absurdity and poor characters what makes this flick fall flat, limiting its own creativity and wasting Robert Englund's potential as the iconic character.

A Nightmare on Elm Street
½

Wes Craven's wrote and direct this imaginative-yet-frightening slasher with a considerable creativity celebrated by its time conceived and haunting retro atmosphere, this dated horror flick still possess a strong-enough vibe of eerie dread, and while its performances reflect the lack of self awareness, there's plenty of production and special effects delight, providing us, also, with Robert Englund's memorable portrayal as Freddy Krueger.

The Exorcist
The Exorcist(1973)

Atmosphere, suspense and tension inside its superb production, William Friedkin successfully offered a memorable direction out of William Peter Blatty's acclaimed novel, turning a basic concept and spinning its own wheel with psychological themes that'll eventually escalate into deep-supernatural corners not other film has managed to overcome, and even when some of its compositions are considered nowadays cliché, The Exorcist still is a film that hasn't grow old neither in its value nor its effects.

John Carpenter's Vampires
½

Carpenter's vampire flick has all the right old-school elements from a retro style of his own roots, and while it approaches a certain western-Mexican-esthetic (similar to a certain 1996 Robert Rodriguez film) it couldn't help itself on throwing away a perfectly digestible popcorn-gorish tone opportunity, avoiding actual horror elements that Carpenter used to manage so well, even when the film has James Woods's bad ass charm in the lead role.

Virus
Virus(1999)
½

John Bruno never wastes his time in deliver every B-movie-cliché possible, and although the practical effects are surprisingly good especially for a low budget flick, the rest of the movie falls flat, lacking originality inside an interesting idea, with zero character development and the presence of both, Jamie Lee Curtis and Donald Sutherland completely wasted for the worst, Virus is another late 90s forgettable sci-fi film.

Brooklyn
Brooklyn(2015)
½

Overall well directed by John Crowley and well performed by its leading star, Saoirse Ronan, this drama crafts a great epoch-production and an appealing atmosphere, unfortunately, its themes are already too familiar and the premise and plot never seem to go anywhere innovative or interesting enough, offering in the end a mixture of Oscar-worthy-like-elements just for the snob eye to fully appreciate, lacking a true genuine hook for average audiences to truly appreciate.

The Predator
The Predator(2018)

The characters at times are appealing and enjoyable, as well as some of the action and gore offered in the shape of a continuous non-stop sci-fi absurdity, but that sole absurdity ends up consuming the film's progression into an hyperactive-mindless entry in the franchise, wasting potential and offering a misplaced humorous focus, sacrificing the suspense and pure horror the alien used to provoke in the past, all thanks to Shane Black's hollow direction.

Predators
Predators(2010)

Lacking the effectiveness of the first film in regards of substance and characters, Predators finds director Nimród Antal and producer Robert Rodriguez in a small but properly produced continuation of the franchise, and while neither the action or suspense compare to McTiernan's classic, the film still grabs plenty of potential and its R-rating-gore fest, making it enjoyably-entertaining enough, offering fans also a surprising revelation of Adrien Brody as an action hero.

Predator 2
Predator 2(1990)

Its new urban setting is interesting, and its clearly not afraid of exploit the R-rating, but this follow up to McTiernan's iconic first installment plays itself for an over-the-top gore and action extravaganza without much focus, and while Danny Glover's lead role is enjoyable, he can't fill the gap left by Schwarzenegger, neither is Stephen Hopkins random and absurd direction, which for a film with a few good ideas, seems to be all over the place.

Predator
Predator(1987)
½

John McTiernan's sci-fi-action-horror hybrid possess the strength of all them genres, as well as the always welcomed presence of Arnold Schwarzenegger and Carl Weathers, accompanied by a fun testosterone-filled cast and a campy over the top "macho" tone, Predator finds itself a place among cult classics thanks to its simple and effective suspenseful rhythm, as well as one of cinema's most iconic and memorable alien designs by the great-late Stan Winston.

The Iron Giant

Brad Bird directional-animated debut dazzles with charm, creativity and vision, never mind its simplistic development towards the plot, but the substance in the film is as big as its main character, and filled with great characters and even a low-key amount of mature but clever humor, this little sci-fi tale overcomes the test of time with enough effectiveness and iconic themes, representing a step forward for Warner Brothers Animation.

Silent Mobius
½

While generally beautiful to admire and originally conceived inside its intriguing and unique premise, Kazuo Tomizawa's theological-Lovecraftian-sci-fi hybrid is gorgeously looking and superbly animated, possessing the strong-vintage anime style of the decade, and the same quality in its technique, unfortunately the story, while original, keeps us from an actual developing approach, being conceived exclusively for the audience of the anime series.

Carol
Carol(2015)

Carefully directed and with a poetic and passionate script derivate from an acknowledgeable source material, but what really steals the show are Cate Blanchett and Rooney Mara's terrific performances and powerful chemistry, the film turns from a heartbreaking drama onto a solid and unconventional love story, with the proper elements, great acting, and Todd Haynes particular tone, all to craft a successfully touching romance.

Death Becomes Her
½

While unique and funny at times, Robert Zemeckis twisted dark comedy glorifies the over-the-top tone and performances of Meryl Streep, Goldie Hawn and Bruce Willis, taking away a series of comfort zones to offer a different and bizarre product which, in the end, its originality and uniqueness is its main weakness, being overly-edited and visually distracting, as well as plot-exaggerated, in the end this turns far from being one of Zemeckis bests, but surely an enjoyable addition to his works.

Anomalisa
Anomalisa(2015)

With deep thought-provoking dialogue and hypnotizing stop motion animation, Charlie Kaufman delivers a unique piece of emotional cinema by offering several themes not conventional for average animation, such as love, the seek for identity and the human quest for loneliness and affection, all together with beautiful style and tone, which only left us craving for more of this exploration in a way only Kaufman could manage to create.

Robin Hood: Men in Tights
½

Mel Brook's spoof take on the legendary medieval hero offers his typical amount of slapstick, humor and jokes as we all are used to, and maybe not being as effective 100% of the time, this little flick has enough appeal and hilarious extravaganza to endure the watch, and even the rare but unique use of pop culture elements and references to its dated concept, Men in Tights is an acceptable comedy far from being remarkable.

Zero Dark Thirty
½

Kathryn Bigelow returns to what end up being a solidly-yet-suspenseful espionage drama with all the good doses of intense elements of the genre, adding gruesome moments and properly edited war themes within interesting and well crafted characters, special mention to show-stealer Jessica Chastain in one of her most professional roles, all in favor of deliver a detailed-yet-effective post-9/11 tale of the hunt for Osama bin Laden.

Ana and Bruno (Ana y Bruno)
½

Mientras que su premisa se encuentra adherida a un concepto interesante y, en parte, creativo, Carlos Carrera intenta dar un paso atrevido y por demás riesgoso dentro de la animación mexicana, proveyendo de un contexto oscuro al que la audiencia poco podría estar acostumbrada, pero a pesar de ello, Ana y Bruno no deja de ser un experimento que termina decayendo dentro de su saturado humor infantil, sin mucha substancia para satisfacer a un público más universal.

Lupin III: The Castle of Cagliostro (Rupan sansei: Kariosutoro no shiro)
½

Hayao Miyazaki's first full-length animated feature offers a good engaging-enough doses of action-adventure, combined with what it would end up becoming his stylish signature in his future Ghibli installments, this dated but effective flick might not possess a particular astonishing animation, nor a hundred percent focused plot, but its innocence and creativity, as well as its appealingly charming characters, makes for a enjoyably enough ride.

Grease
Grease(1978)

Filled in extravagant and dazzling 50s themes, Randal Kleiser directs the first cinematic version of the iconic musical with energy, humor and pleasant catchy songs with musical numbers that continuously pass the test of time, not to forget the over-the-top sexualized subjects in John Travolta and Olivia Newton-John satire of the time period they're celebrating, combined to offer a memorable-teen comedy strong enough to stand through decades to come.

Dark Crimes
Dark Crimes(2018)

Jim Carrey delivers another odd-yet-dramatic performance inside what it seems to be an art house-like crime thriller that starts promising enough but, subsequently, falls apart with a notorious lack of concrete and solid narrative, unattractive focus for its genre and over excessive pretentiousness, and cero to no effective direction by Alexandros Avranas, delivering an uncomfortably-explicit flick, with only Charlotte Gainsburg to stand out as the positive aspect of this film.

The Guest
The Guest(2014)

Dan Stevens steals the show in this violent-yet-smart thriller full of self awareness and enough suspense, as well as a surprising amount of well performed action to maintain a general interest, mostly thanks to Adam Wingard's stylish direction and a small-but-effective script, all mixed with a pleasant retro-vibe and the strangely use of typical clichés that'll benefit the film's general focus and tone, delivering another fine entry in the director's filmography.

The Big Short
½

Adam McKay dramatic comedy about the world wide economical crisis in 2008 has a strange amount of charisma, character and humor to compensate for a lack of universality towards its complex script, but a great portrayal from Steve Carrell and Ryan Gosling, as well as an impeccable direction and solid detailed-edition makes The Big Short a must-watch real-event flick, taking advantage of its great cast and passion in its story.

Christopher Robin
½

Simple, familiar and charming, this continuation of the classic characters captures their original feeling, maybe without any mayor improvement aside of the special effects, but even when Marc Forster direction keeps itself inside an evident comfort zone, it is the respect towards A.A.Milne's little world and the already cliché "inner-child-trapped in adulthood" subject what makes this small tale worth the watch, for kids and grownups alike.

More
More(1969)
½

Dry and significantly uneven, Barbet Schroeder's independent directional-debut lacks tone and approach towards its subjects, which they're never really clear behind the pseudo-artistic esthetic surrounding an hybrid of a love story and a drug-addiction take, accompanied by bland and uninspired performances by its protagonists, but the weakest aspect of the film might relay on the general uninteresting-story progression that never really seems to go anywhere.

Ben-Hur: A Tale of the Christ

Fred Niblo directed the first official adaptation of Lew Wallace's iconic best seller, with unique and groundbreaking style and production, considering the time period in which it was crafted, and while as a whole Bible-epic it lacks the beautiful dialogue proper of the genre, its themes and tones, accompanied with beautiful timeless score, just fulfills what it's still, after almost a Century, an impressive piece of filmmaking.

Ben-Hur
Ben-Hur(1959)

Charlton Heston shines as ever in this overly-romanticized Hollywood epic, with brilliant direction by former William Wyler, combining style, amazing production value, superbly memorable performances, and a story progression worthy of a big-Biblical Odyssey, Ben-Hur sets the standards not only for big productions, but for movies as a whole, being a great example of a true classic, and passing the test of time unlike any other piece of cinema.

Mr. Holmes
Mr. Holmes(2015)

Ian McKellen shines in this small but humble and focused take on the world's most famous detective, delivering a more than solid performance inside a heavily dramatic but touching spiritual sequel of Sir. Arthur Conan Doyle's beloved literature classics, and although Bill Condon's direction is always in the right point, the script lacks the intensity of Holmes's tales, which is immediately compensated with a strongly faithful vision with characters and emotion.

Sausage Party
½

Dumb, silly and excessively offensive, this R-rated animated flick escapes conventionalisms in casual mature content, offering a solidly absurd comedy with all the elements from a Seth Rogen production, adding a familiar but effective cast selection, and while this also represents the movie's biggest weakness, its humor might be pleasant for some but awkward and uncomfortable for others, but in the end Sausage Party is a unique socio-cultural-religious satire.

Warcraft
Warcraft(2016)
½

Duncan Jones directs and co-writes this videogame adaptation taking advantage of a great production value, cool special effects, the faithful esthetics and beautiful visuals of Blizzard's successful best selling game, and while this is the perfect example of style-over-substance, there's plenty of eye-candy fan service enough to satisfy hardcore fans of the source material, but not necessarily the proper cinematic approach to grab moviegoers nor casual audience members.

Top Gun
Top Gun(1986)

No wonder why this romantic-action flick has become a complete pop culture phenomenon, not just for the charismatic eye-candy presence of Tom Cruise as the narcissistic Maverick, or Tony Scott's constant 80s esthetics and cool aerial-jet shots, this teenager extravaganza might work, for the most part, as a product of its time but unfortunately the drama and cheesy environment does little to no good to the film's substance.

Vanilla Sky
Vanilla Sky(2001)

Not even Cameron Crowe's artistic direction, nor Tom Cruise-Penelope Cruz's eye candy-romantic presence were effective enough to carry on a blunt-visually weak, overly dramatic semi-art house flick, Americanizing a potentially great concept, but never reaching Almodovar's signature and style, proof that not even a decent cast nor an odd focus can do any good to an overall pretentious film that's not able to offer a true effectiveness in what it tries to accomplish.

The Firm
The Firm(1993)

Sydney Pollack tries its best to pull together a complex advocate-crime drama with certain thrilling elements and all the charm and talent its cast could bring, including a solid Tom Cruise in the lead role, but an over length plot that keeps expanding, and the lack of genuine suspense and wit does cero help into compensating for its familiar themes and almost boring takes on its own plot, something not even Gene Hackman was able to improve with his pleasant presence.

Collateral
Collateral(2004)

A powerful and intense crime-drama with plenty of styled action and enough substance to keep it out from the shadow of dumb-action flicks, having Jamie Foxx in a strong main presence along the surprisingly effective Tom Cruise's villainous performance, and with a truly effective visual development of L.A. this thriller gives a genuinely suspenseful and intriguing take to the genre, Collateral is easily one of Michael Mann's best films.

War of the Worlds

Steven Spielberg's re-interpretation of H.G.Wells timeless sci-fi classic is full of big-time Hollywood blockbuster spectacle, and even when the drama and deep themes reach the highest pit, even for its own good, the film never loses focus of what to offer, having the best out of an apocalyptic alien-flick, with enough disturbing moments, stylish visuals, and the unexpected presence of young star Dakota Fanning offering Tom Cruise an appealing company.

Oblivion
Oblivion(2013)
½

Beautiful visuals and stunning production design, Joseph Kosinski's sci-fi thriller is full of great imagery, and while its blockbuster factor is quite present in great part of its conception, the film ends up losing itself in its constant quest for identity, delivering both, familiar themes of the genre, and some innovative concepts that'll use star Tom Cruise as a solidly appealing presence, even if the film lacks the enough substance for posterity.

Jack Reacher
Jack Reacher(2012)

The film struggles in finding its own identity, having both elements of thrilling-crime drama and action, but the actual lack of focus in between them keeps this particular flick from being great, however, well crafted and small action sequences, as well as Christopher McQuarrie's intriguing direction, helps this humble flick to stand still among Tom Cruise's uprising action-movie-almost-blockbusters catalogue, beyond a dumb concept in benefits of its story.

Mission: Impossible - Fallout

Christopher McQuarrie direction returns, once again, for a sixth entry in a franchise that, continuously upgrading and exploring its potential, keeps showing the masterful ability of Tom Cruise as an action hero without equal, adding the always welcomed thrilling-spy-atmosphere, enjoyably fun and entertainment characters, and crafting an impeccable production, Fallout stands not only as one of the best installments in the series, but also, one of the best action films of the decade.

Mission: Impossible Rogue Nation

Maybe lacking the non-stop-blockbuster fashion that made the previous one the highlight of the series, Rogue Nation clearly continues attributing the best action-espionage elements a flick of the genre can handle, and while Christopher McQuarrie's direction may not be as iconic-nor-focused, compared with his predecessor, its passion for its themes and breathtaking action sequences are always on point in order to deliver another enjoyable installment in the successful franchise.

Mission: Impossible Ghost Protocol

Blessed by a new direction by former Brad Bird in his first live-action installment, Ghost Protocol brings a brand new fresh take to the franchise, improving over the entire production, multiplying non-stop action, suspense and espionage extravaganza that works better than ever in a more thrillingly colorful entry, that takes main star Tom Cruise in a whole new level of action sequences, stunts and astonish visuals that'll make this the pinnacle of the Mission Impossible series.

Mission: Impossible III

Not as neat and groundbreaking as the first one, this third installment in the low-key franchise proofs a notorious improvement after the weak-previous installment, providing more intense action, thrilling and detailed direction, and the best elements of a quality modern blockbuster, not just pointing this films into a better direction, but also delivering a great directional debut for newcomer J.J.Abrams, and the presence of the intimidating show-stealer Philip Seymour Hoffman as the series best foe.

Mission: Impossible 2

The action sequences are undeniably impeccable and popcornishly-engaging, but the lack of genuine spy-atmosphere and psychological drama, just as its predecessor, and the average simplistic-empty plot affects the tone this sequel handles, particularly since John Woo's direction is weak and nothing compared to De Palma's, focusing almost entirely in delivering a heavily entertaining but dry-brainless action flick with only Tom Cruise to depend on.

Mission: Impossible
½

Brian DePalma remake of the vintage tv-show is packed with smart-intriguing writing, stylish art-house-like direction, suspenseful and thrilling action sequences that'll pass the test of time, and the charming presence of a surprising action protagonist in Tom Cruise, all in all for the sake of crafting one of the most influential spy films of modern days, and a flick that proofs sometimes, a re-interpretation can match big time the source material.

Manchester by the Sea
½

While slow paced, Kenneth Lonergan's drama is well written and touchingly performed, special mention to Casey Affleck in the lead role and Lucas Hedges providing the other element of a particular interesting antagonist-duo, combining great direction towards psychological and emotionally-deep themes about loss and indifference towards humanity, that'll provide a simplistic-yet-profound tone worthy of the works of Camus, but from a modernized point of view.

Children of Men
½

Clive Owen's evolving protagonist takes part in a raw, realistic and thought-provoking dystopian sci-fi about the human value, directed masterfully by Alfonso Cuarón, with a unique vision and an engaging story that benefits, for the most part, on the power of imagery, as well as strong dialogue and impeccable production that's only overcome by the whole impact that a smart satire such as this may provoke in the spectator, becoming a strong promise for the Mexican director.

Good Will Hunting

Gus Van Sant's beloved psychological drama mixes a great script by Matt Damon and Ben Affleck, along with them performances in a touchingly-powerful story that's engagingly directed, and while the evolution towards the great main character is one of the film's high lights, no one can't deny this flick's strongest aspects is show-stealer-academy award-worthy performance by an appealingly emotional Robin Williams.

Gravity
Gravity(2013)

Suspenseful, thrilling and simple, Alfonso Cuarón's "stranded in space" flick delivers the best out of what any other movie could possibly accomplish in the production department, maintaining a simplistic concept focused 100% of the time, and delighting the spectator's sight with magnificent cinematography and superb special effects, all complimented by character presence and Sandra Bullock's outstanding performance in the lead role.

The Godfather, Part III
½

With less profundity and character exploration towards the deepness and psyche themes from the previous two films, Coppola fails to deliver an actually faithful and worthy conclusion of the superb saga created by Mario Puzo, and even when its visuals and gruesome take in regards of the Italian-American criminal world are still present enough to benefit the continuity factor, the film's weakness lays upon poor performances and the lack of an actual strong third act.

The Godfather, Part II
½

A respectful sequel that follows up not just the story, but the main elements that made the first one an astonishing piece of American cinema, with a noticeable evolution towards characters and new story-lines that, even if they're plenty, helps making the plot and the world surrounding this world even richer and iconic, with also the inclusion of Robert De Niro as a pleasant replacement of Marlon Brando in the role of the sublime character of Vito Corleone.

The Godfather

Francis Ford Coppola's adaptation of Mario Puzo's iconic best seller takes a sublime concept, such as the gangster-mob take, creating an identity to its whole background and conceiving an alternative way of narrating an epic tale in which the familiarities of good and evil goes further, delivering memorable characters, amazing performances and direction, superb progression and a romanticized style to the crime genre, ending in a timeless-classic-perfect film.

Ghost in the Shell

Fast paced, but smartly conceived and exhilaratingly animated, Mamoru Oshii adaptation of the iconic Manga might have some considerable differences towards its source material, but a fantastic animation, superb timeless designs and the sole perception of a thought-provoking standalone product does enough justice for this flick to survive the critic eye, especially considering how much of an influence this small but stunning classic provoked.

Dead Poets Society

Passionately written as it is beautifully performed, Peter Weir's romantic drama delivers an extremely inspirational teenager environmental-perspective, full of thought-provoking dialogues, great direction and dedication towards its premise and story-development, Dead Poets Society is a small humble instant classic, that finds the best out of modern romanticism, as well as the tragic pursuit of our dreams and true happiness, with the blessing of Robin Williams's presence to complement the show.

Tomorrowland
Tomorrowland(2015)

Its greatest attribute is its visuals, special mention to some imaginative elements and stylish action, all of them typical signatures of writer-director Brad Bird in his newest life action installment, but unfortunately for this ambitious sci-fi-action adventure, the ideas are never fully developed, neither its concept, which seems to struggle in delivering a focused storytelling and true identity, wasting the potential impressive experiment we were promised.

Ant-Man and the Wasp

While the first film progression was more humble and straight forward, Payton Reed's continuation of the Marvel vintage superhero has more of its familiar humor, imaginative and engaging action, and the presence of the already charismatic cast, adding some new elements in the process, along more substance to this mini-universe, and while some story elements aren't as quite as effective as others, the end results show a lighthearted-heavily entertaining addition to the MCU.

The Pillow Book

Peter Greenaway delivers an interesting artistic vision towards the seek for pleasure and satisfaction in all extravagant ways, attempting to fuse cultures and offering a esthetically attractive perspective towards the visual field, but the lack of focus, as well as a truly engagingly-appealing narrative take doesn't quite help the film in its true search for purpose, delivering what many could see as a presumptuous art-house experiment.

Grave of the Fireflies (Hotaru no haka)
½

Isao Takahata's drama delivers a powerful and symbolic anti-war commentary, filled with the typical-already fantastic animation from Ghibli Studio, and while the biggest impactful moment is spoiled from the very beginning, the film substance is big and prominent enough to stand among other iconic entries in the studio, also gaining the well deserved recognition as one of the most harsh-raw-touching animated tales of the past decades.

Taxi Driver
Taxi Driver(1976)

Martin Scorsese's unique violent-drama offers a sublime touch for social commentary and thought-provoking narrative elements, offering a smartly written-poetic direction towards a solid story around social decaying, without forgetting Robert DeNiro's terrific portrayal of the complex-yet-iconic Travis Bickle, a beautiful noir-like score, and a great taste of the director's affection towards violence perfectly mixed with the substance inside this timeless tale.

Tau
Tau(2017)
½

Tau's conception feels more like a sci-fi experiment with a decent production value, rather than an actual ambitious or unique project, deliver another Netflix installment that'll be remembered precisely for how forgettable and standard it feels, never mind Gary Oldman's terribly wasted presence as the menacing main character, along the erratic and dry direction by Federico D'Alessandro, in his disappointingly full-length-film debut.

Village of the Damned

John Carpenter strikes again with another remake of another horror classic, this time with the benefits of a more visually-focused take on the original sci-fi, but even if the film gets some interesting eye-candy images and "modern style", it lacks the disturbance and uneasiness of its1960's predecessor, depending mostly on some gruesome extravaganza, shootouts and the always charmingly appealing presence of Christopher Reeve.

The Witch
The Witch(2016)
½

Powerful visuals and thought-provoking themes, as well as constantly increasing atmosphere, Robert Eggers directional debut takes a huge risk at building up suspense and strong uneasiness, creating a beautiful but disturbingly haunting production that delivers something different from what average audiences are used to in the genre, demonstrating that style and substance can be delivered in equal measures, and horror films can be more than just constant cheap-scares.

The Black Cauldron
½

The film might seem well intentioned and adventurous, as typical of it's genre, but a constant unimaginative progression, lack of genuinely interesting characters and a tough balance between boring charm and dark themes makes this one of Disney less memorable animated flicks, sealing the rough decade in which the studio constantly kept struggling and representing the great decay in animatied quality before its great Renaissance in the 90s.

Jurassic World: Fallen Kingdom
½

Disappointedly conceived and dully development, Fallen Kingdom continues the legacy of the previous installment without any of the effort or the charm that acknowledged the first movie in the franchise, and despite some impressive visuals and a couple of directional efforts from J.A.Bayona, a weak script, and thrilling-less moments combined with unimpressive special effects, that can't compare to the first two films, helps burying this unnecessary sequel, even when its cliffhanger ending may cause intrigue.

Jurassic World
½

Not as strong in story or characters, and Colin Trevorrow's direction may be sloppy and cliché for the most part, but this late-sequel works as both an actual appealing following to the first installment in the franchise, and a tribute to the same, respecting some elements and imagining different, working at some points, but even when the lack of the practical effects-CGI combo affects some of the visual aspects, the film tries its best to return to its sci-fi roots.

Jurassic Park III
½

Less intense than its predecessors and highly unnecessary as a continuation, Joe Johnston's third installment of the Jurassic-franchise delivers a true focused B-series film, without any of the smart-script substance of the first film, nor the characters or vast production crafted in the second, leaving a dry Dinosaur movie that is more interest in deliver action and nice visuals, poorly executing a third part that'll leave the franchise extinct for a long time.

The Lost World - Jurassic Park
½

While unnecessary and less intriguing than the first, Spielberg's sequel to the beloved sci-fi lacks the grandeur that defined its predecessor, focusing more on the B-series territory and even leaving aside some continuation elements, but even so, The Lost World offers plenty of Dino-action, humorous moments and even a higher quality in regards of the special effects in both departments, CGI and practical, that helped improved the 1993 classic, and helps this installment to be enjoyable at times.

Jurassic Park

Full of thrills, suspense and an admirable addictively-smart plot, Spielberg's beloved sci-fi takes the best out of the genre, combined with exquisite B-series elements and great-memorable characters to reference in further pop-culture backgrounds, turning its own imperfections on its favor in such unique and fashion-like way, and introducing a revolutionary way of crafting a new wave of special effects, that'll revolutionize the film-making industry forever.

Atlantis - The Lost Empire

Maybe it isn't as strong-hearted or deep in its story as other entries in the Disney library, but a comfortable and almost exciting sense of adventure, along great and hilarious characters, compensates for a progressive-almost-mature that tries plenty to be something different and complex, without necessarily being so, but even if the animation represents this film's strange deviation from other strong features, it serves as a perfectly entertaining good time.

Hercules
Hercules(1997)

It offers plenty of laughs and enjoyable moments, mostly due to a combination of a particularly unique and different animation, and even when some plot points turn to be strangely familiar with a certain popular superhero, it is its charm and great humor, along a show-stealer villain, what makes Hercules, at the end of the day, a perfectly entertaining little entry in the Disney gallery, accompanied by a worthy soundtrack and well-spirited tone in the story department.

A Goofy Movie

Not as heavily exposed as other mainstream Disney animations, and perhaps not as deep, but this installment in the Goofy and regular Disney series is a welcome entry in the gallery, with great Goofy-extravagant humor, touching themes and cool 90s environment, complemented with catchy musical numbers, enough Disney references and a surprisingly effective father and son plot-device, never forgetting the memorable theme song at the end.

The Good Dinosaur
½

Particularly well animated and filled with stunning visuals, Peyer Sohn's addition to Pixar Studios struggles in delivering a strong or effective story, using an interesting idea but never understanding how to execute it in a touching or even entertaining way, forgetting what makes Pixar so successful in the first place, and never achieving an entry original or creative enough, replacing quality for a substance not good enough to be memorable.

Incredibles 2
½

It may not possess the same pacing and focus as the first one, but Brad Bird's long-awaited sequel of the iconic Pixar super-family surely gains it's merits, delivering a worthy story, updated animation, the same writing-quality and the constant development in regards of its characters and direction, not to forget the dazzling action and classic superhero eye-candy extravaganza to make this past 14 years worth the wait, big time.

The Incredibles

Dazzlingly animated, exciting and smartly written, Brad Bird's love letter to the superhero world is blessed with originality, classic-retro atmosphere reminding of the golden age of comic books, creative action and surprisingly clever-adult themes to catch the grownups attemtion, all in all to add to Pixar's already rich backgrounds more memorable and appealing characters, with an unknown potential to become a beloved and successful rising franchise.

Legend
Legend(2015)
½

In regards of its gangster elements, the film's stereotypes never go anywhere furrher out of conventionalisms, but Tom Hardy's portrayals as the Kray brothers should suffice for fans of the actor in a general consensus, even when the movie lacks the proper doses of action and visual storytelling necessary to sustain the best elements from every crime-bio pic that director Brian Helgeland almost never seems to apply.

Rushmore
Rushmore(1998)

While not as iconic nor memorably produced as other Wes Anderson's films, Rushmore has te best out of Schwartzman and Murray to offer, granting a small but effectice teenage comedy with non of the vulgar or tiresome cliches of these flicks, becoming smart and funny most of the time, and resulting in an effectively touching love stort between a student and a teacher.

The Breadwinner

In regards of its visuals, the movie is beautiful and atunning, mixing storytelling with style and actual respect of its artistic roots, and even when Nora Twomey's direction focus on strong-mature subjects and themes, they manages to demonstrate a solid-yet-raw perspective on repression, submission and the hard situation towards the Islamic opressiom in the middle east, told in a unique-heartbreaking fashion.

Hereditary
Hereditary(2018)
½

Ari Aster's first full length feature, along Toni Collette's fantastic performances combines superbly in ghis unconventional-but-effective horror thriller, with best suspense the genre has to offer, along the slow and thrilling buildup, presenting effective characters and intriguing plot, enough to grab attention to its thought-provoking elements, making this a flawed-yet-genuinely worthy entry in the horror library.

Into the Woods

Offering new interpretations of some classic tales, this musical by Rob Marshall mostly understands what it tries to accomplish, but it struggles dealing with its ideas and character focus, specially giving itself fully to the musical narrative, and while fresh for the most part, thanks in a way to its well selected cast, it's target might seem universal but not everyone will dig the several mix-bag feelings in regards of the stories, even if you have Meryl Streep stealing the show.

The Voices
The Voices(2015)
½

Ryan Reynolds shines in this oddly-original dark comedy, with unpleasantly-enjoyable humor, strange touching themes, and enough gore for puritans and fans of the genre to enjoy, all showed in a discretely, almost subtle, smart psychological flick, benefit from the presence of an enjoyable cast, and developed with great direction by Marjane Satrapi, and overall creative and bizarre writing, even if the film might turn unpleasant or weird, even for regular indie viewers.

Cargo
Cargo(2018)

Martin Freeman shines in this Netflix newest flick, taking advantages of its freshness in regards of the zombie sub-genre, with neat and careful direction towards the already cliché narrative of the "father against adversity" perspective, giving a fresh air-breath towards the already tired streaming service entries, and revealing potential rising director-stars, Yolanda Ramke and Ben Howling, never mind the film's lack of exploitation towards its potential.

Star Wars: Holiday Special

Although, not canon with the actual franchise, and mostly focused on a television background, this holiday special attempts to serve as a fan service product of its time due to the first film's titanic success, but an overdose of odd edition, poorly crafted production, cero to no direction, and a strangely out-of-context presence of the original cast can't do any good to what could be considered the worst live action entry in the saga, and never acceptable even for hardcore fans.

Solo: A Star Wars Story
½

Director Ron Howard takes over this random spin off after several production issues, to deliver a simplistic product, blessed for its light tone, but affected in its unimpressive conception, delivering classic characters in acceptable reinterpretations, and side characters not interesting enough to hold the constant expansion of this universe, but even if its development grows weak, this filling entry in the beloved saga delivers, but always reminding us the few risks taken in its production.

Deadpool 2
Deadpool 2(2018)
½

Extravagant, dazzling and even more hilarious than its predecessor, Deadpool 2 exceeds in almost all elements from its predecessor, offering a true Hollywood-blockbuster sequel in all the right ways, presenting David Leitch as the new director and some new faces in regards of its cast, as well as better production values, the film never forgets to improve on itself, taking advantage of its R-rating with less restrictions, and still delivering the best out of Ryan Reynolds in the lead role.

Deadpool
Deadpool(2016)
½

Director Tim Miller and actor-Producer Ryan Reynolds, managed to not only pay tribute to a character worth the exploitation, but also made justice to its character itself after constant failure in regards of its adaptation attempts, with just the right doses of the humor so distinctive and irreverent, and the perfect combo of action, gore and political incorrect themes to craft Deadpool as a success not just for Fox, but for R-rated-comic-book flicks in general.

The Criminal Life of Archibaldo de la Cruz (Ensayo de un crimen)(Rehearsal for a Crime)

Buñuel celebra, sin restricciones, con humor e inclusive introspección, un relato sumamente profundo y analítico de la represión del verdadero impulso primitivo del humano que anhela el acto criminal, con el carisma y detalle que solo su dirección pueden ofrecer, complementada con un espectacular e interpretativo guion, que convierten este drama criminal en un festín psicológico, superado, únicamente, por la magnífica y deleitante presencia de Ernesto Alonso como el peculiar protagónico.

Summer With Monika (Sommaren med Monika)

Not Ingmar Bergman's strongest entry in his excelling filmography, but his vision towards youth, rebellion, romance and the wrong ideals of love inside ingenuity makes up for its technical issues, such a fast paced editing and story-tones, especially considering the evolution throughout its characters, perfectly balance with Bergman's overly-dramatic and strongly artistic direction, and the introduction of a character way ahead of her time in Harriet Andersson's Monika.

The Day After (Geu-hu)

Director Hong Sang-soo, once again, puts huge effort into delivering a non-pretentious, overly human and interactively strong drama, this time, holding upon the foundations of questionings and doubts towards the deep grounds of love and its consistency, dealing with infidelity, treason and doubt, all from a simple-yet-effective point of view towards a tormented main character that might reflect the director's own personal struggle in such a fashion way.

Chikamatsu monogatari (The Crucified Lovers)

Strong in drama-level, as well as emotionally tragic, Kenji Mizoguchi's love story posses a great production value an strong performances to sustain a harsh romance, benefit from a passionate script, great direction and strong-thought-provoking subjects for us, the audience, to hold on to, especially considering the time period in which this raw flick came, becoming a memorable but almost forgotten entry in Japanese cinema.

On the Beach at Night Alone (Bamui haebyun-eoseo honja)
½

Hong Sang-soo offers a simple but deep and thought-provoking stare at the constant issue people confronts while dealing with alcoholic effects in order to bloom into several cathartic emotions, such as the constant thought and questioning towards love and the right to practice it, in such a humble but human-like-touching way, mostly due to actress Min-hee Kim melancholic but emotionally strong performance and character.

Mama
Mama(2013)
½

Strong in atmosphere, as it is in story progression, the film's gothic elements suffice enough to endure and compensate for the lack of genuinely interesting characters, clichés, and as well as the inefficiency of some dated special effects, but its old school feeling should be enough for this humble-yet-partially effective horror/haunted house flick, potentially launching promising director Andy Muschietti's career by the hand of producer, Guillermo Del Toro.

Monty Python and the Holy Grail

Clever and dumb, never stopping being self-aware, Monty Python's first full length feature blesses comedy and satire upon its style and substance, granting a high doses of creative and imaginative humor, but also maintaining an eye-candy, carefully-set production that imitates, celebrates and mocks classic medieval fantasy, along with the whole genre, all in favor for the several laughs and gags this spoof has to offer in plenty in order to craft an excelling comedy.

Monty Python's Life of Brian
½

Preserving style, humor and mock, Life of Brian finds Terry Jones crafting a successful installment in the Monty Python trilogy, with a more centered plot, still serving for some isolated segments, as well as minimum but present strange visuals, as well as great satiric production, all crafting an truly effective comeback of the entire team of comedians, delivering their usual humor, vibrant performances, great musical numbers and their obligatory smart commentary against politics and religion.

Monty Python's The Meaning of Life
½

A collection of several segments filled with twisted but attractive visuals, just as Terry Gilliam will be well known, as well as genuine great-dumb-clever humor for its own good, and enough to create its own trademark, combined with great hilarious performances and tasty musical numbers, Monty Python's The Meaning of Life is a success at creating entertainment and great satire against religion, politics and general social commentary, crafting one of the most smart comedies ever.

National Lampoon's Animal House
½

Its humorous take over the "college-frat" satire might have corrupted future comedies in recent days, but giving credit to John Landis's direction and genuine fun gags, as well as the Harold Ramis vibe in regards of the script and jokes, while the film maintains itself complete self aware of its absurdity, it makes it hard for modern audiences to digest, even when its appreciation and old value might make this process quite easier.

Scarface
Scarface(1983)
½

Offering big doses of violence, graphic commentary towards crime organization and national satire, Brian De Palma sublime eye grants a unique vision that'll, inevitably, celebrates its style with an over-the-top portrayal from Al Pacino, getting what it'll become (arguably) his most iconic role in the extravagant Tony Montana, but with the proper genre and tone perfectly fitted in a crime-action-drama of this magnitude, offering in the end one of the most memorable shoot-outs in film history.

Avengers: Infinity War
½

Blasting, breath-taking and titanic, the first step in the culmination of the MCU's era delivers what a crossover of this magnitude should; fantastic and enjoyable chemistry between new and familiar faces, as well as stylish and exhilarating action and grandeur-yet-emotionally powerful moments, most of them succeeding thanks to Josh Brolin's intimidating and haunting presence, all in all compensating for an overly-exciting but exhaustive conclusion.

Doctor Strange

Blasted and fueled with amazing visuals and breathtaking special effects, Scott Derrickson's latest addition in the MCU may suffer from some of its typical conventionalisms and the lack of a strong villain in turn, but an engaging story, heavily appealing lead role in Benedict Cumberbatch as the Sorcerer Supreme, and an esthetical mystical approach compensate its issues in order to deliver a conventional but attractive origin story of one of Marvel's most bizarre characters.

Captain America: Civil War
½

The Russo brothers continues the Captain America legacy by crafting a successful, overly-smart and big conclusion to the trilogy, adding more Marvel familiar and newer elements, but justifying their presence in an emotional-yet-exhilarating crossover that might as well serve for a more worthy and iconic sequel to the first Avengers, even if the humor stands in a minor but constant way, it doesn't stops this blockbuster to deliver just as Winter Soldier did in regards of its quality.

Ant-Man
Ant-Man(2015)

Peyton Reed's vision may differ (or may not) from Edgar Wright's original conception, but giving the already familiar Marvel-treatment, mixing lighthearted and effective comedy along the innovative action, Ant-Man grows compellingly pleasant enough for almost everyone, thanks to a charming cast selection and a mostly-exciting heist tone, and while it feels smaller (pun intended) from other MCU entries, Michael Douglas and Paul Rudd's presence compensates enough.

Avengers: Age of Ultron

Whedon returns directing the long awaited sequel of the super-hero team, and although there's considerable improvements upon the first one, such as more over-the-top action and character interactions, the film loses focus in regards of how many plot-lines it tries to approach, mostly building up for the upcoming crossover conclusion, but even without the same impact or surprise from before, Age of Ultron still manages to entertain and deliver exactly what audiences may have expected.

Captain America: The Winter Soldier
½

Anthony and Joe Russo's highlight sequel of the star spangled man delivers a great doses of action and intrigue in regards of its fresh-political-thriller tone, spiced with strong performances from its familiar cast, along new interesting additions, and a more groundbreaking focus aside of its comic-book feel that glorified previous Marvel flicks, but never took them anywhere beyond, but this sequel amplifies the best attributes out of its main character, and the MCU entries.

Guardians of the Galaxy
½

James Gunn's space-comedy, and newest addition to the MCU, is a successful and dazzling trip, blessed by its constant appealing-atmosphere and delighting-colorful and charismatic characters, also filled with a surprising amount of strong emotive moments that mix almost perfectly with its exhilarating sci-fi action and adventure feeling, making this a random but effectively executed flick that'll please die-hard fans of the Marvel comic book, as well as its regular audience.

Thor: The Dark World

Improving upon its production and some of its values doesn't seem to compensate the absence in the Shakespearean direction granted by Branagh in the first film, nor the lack of a solid villain, but Alan Taylor's sequel misses the solid aspects in regards of story and general development, leaving just standard amounts of action and character interactions, special mention to show-stealer Tom Hiddleston, ending up a passable entry in the MCU, and showing how Marvel, at its weakest, still partially delivers.

Iron Man 3
Iron Man 3(2013)
½

Director Shane Black replaces Jon Favreau in delivering the third installment in the franchise, crafting some odd turn of events, unconventional direction and storyline, making it a strange flick with random decisions that won't necessarily please fans, nor average audieces, but in regards of its action, style and eye-candy-science-fiction focuses, it passes thanks to its appealing lead role on Robert Downey Jr. along plenty of popcorn features.

Marvel's The Avengers

Marvel's overly-hyped crossover is all what was promised and more; from its characters and their delightful chemistry, to its construction and delivery, mostly due to Joss Whedon's eye-candy superhero direction and digestible-enough humor to craft and succeed at what was expected from a six-year build up, never mind its clichés and flaws that seems to work in favor of its pop-Cornish substance, The Avengers is perfect comic-book-blockbuster extravaganza that's, also, self-aware of its potential.

Thor
Thor(2011)

Even if the film is not as grandeur nor epic as the title suggests, Kennet Branagh's take on the God of Thunder offers plenty of character appealing and delightful direction, special mention to its cast and rising star-protagonist Chris Hemsworth and fan-favorite Tom Hiddleston, and despite the film's lack of solid progression, it delivers just the right amount of comic-book action, humor and even emotional moments for the fans to grasp in.

The Incredible Hulk

Filled with powerful action and great callbacks to the original tv-show, this new addition in the Marvel Universe may not hit much deepness and quality in regards of its potential, but the production finds itself delivering enough substance and its structure is more suitable than its predecessor, making this a dazzling Hulk-movie that also benefits from its cast, particularly Edward Norton and Eli Roth, becoming a fine addition to the MCU, even when some special effects and story elements don't necessarily deliver.

Iron Man 2
Iron Man 2(2010)
½

Surely it brings back some of the successful elements from the first one, such as engaging action and the charm of familiar faces, but Favreau's sequel of the Golden Avenger cares mostly to craft an entertaining bridge between the main character and the promising future crossover rather than delivering a genuinely worthy continuation to the amazing first film, but even if some of the new improvements don't pay off, great popcorn action and decent production makes it for a satisfying ride.

Iron Man
Iron Man(2008)

Conceived with a grounded focus, deep and dedicated respect out of the character, and marking Robert Downey Jr's memorable career-revival, Jon Favreau's taking of the Marvel Comics iconic hero is a devoted, stylish and powerful origin story that'll redefine the general approach out of the conventional way superhero movies were crafted, with the perfect doses of humor, action and production standards that'll quick start the rising Marvel Cinematic Universe in epic fashion.

Captain America: The First Avenger

Performed in clear old-school fashion for its character's purpose, and visually attractive in order to respect its aesthetic production, Joe Johnston's take in the "star-spangled-man" is considerably inferior to other Marvel adaptations, but a charismatic cast, great respect towards the essence of its comic book counterpart and its overall innocent vibe in regards of the story makes this a perfectly enjoyable flawed origin-tale, blessed by its characters and strong-hearted vibe.

Stardust
Stardust(2007)

Matthew Vaughn's adaptation of Neil Gaiman's beloved novel is an imaginative and humble little fantasy tale, benefit from a great cast and unique elements that both, differ and maintain from the source material, creating a film that works as a stand-alone adventure, and with a combination of both, dark and humorous elements that works, particularly, thanks to the charm and characterization that'll fulfill its characters, special mention to show-stealers Michelle Pfeiffer and Robert De Niro.

Donnie Darko
Donnie Darko(2001)

Philosophically-thought-provoking and overly smart written, Donnie Darko has Richard Kelly as the writer and director of a creative, adequately structured and deep in meaning and over-analytical context and story that'll deserve the continuous viewings that'll only benefit its conception and twisted take as one of the most original "sci-fi-time-traveling" flicks ever conceived in an indie spectrum, presenting Jake Gyllenhaal in one of his most iconic roles.

Whiplash
Whiplash(2014)

Powerfully directed and dazzlingly portrayed, Whiplash delivers enough success for writer and director Damian Chazelle in his triumphal instant classic, filled with strong thought-provoking artistically themes, heavy weighted iconic moments and the obvious love-letter signature towards music and Jazz, this film nails all targets, in an over stressful way, but always hitting the audience right emotions, particularly thanks Miles Teller protagonism and to J.K. Simmons outstandingly titanic performance.

Room
Room(2015)

Powerfully emotional and heavily dramatic on its conception and plot, Room founds Lenny Abrahamson adapting an intense story that relays its effectiveness on chemistry between characters, heavy hearted moments and superb direction, all to condense a great-but-simple story with the benefits of Brie Larson's terrific performance, and the addition of the potential rising-star Jacob Tremblay in what turned out to be one of the best mother-son relationship in modern cinema.

Hail, Caesar!
½

The Cohen brother's newest delivery manages to craft a few laughs, as they faithfully do take advantage of their + A cast with hilarious spoof and satire of the almost-magical Hollywood world of the golden age cinema from the post-war, almost as a love letter, but unfortunately the humor and style doesn't particularly match the excellence and effectiveness of their previous installments, becoming a regular but giddiest concentrated comedy.

A Quiet Place

John Krasinski's directorial and writing debut offers a huge doses of suspense, tension and amazing build up to such an original premise inside the genre, proving once more that a fresh take on something overly tired is always accessible, never mind its great production values and astonishing performances by its cast, shining Emily Blunt's terrific and breathtaking presence in what could crown her as the newest sci-fi bad-ass queen.

Krampus
Krampus(2015)
½

It works as a traditional tribute to 80s horror B-movie flicks, and it's production values, alongside its awesome traditional practical effects, makes Michael Dougherty's latest an entertaining holiday flick, with all the benefits of its inspirational predecessors and some of its gory stylish takes, even if its concept it's not suitable for many audiences, or die-hard fans of the genre, but overall, a pleasantly 'okay' experience.

Lost River
Lost River(2015)
½

Ryan Gosling's writer and directorial debut offers interesting visuals and unconventional filmmaking, resembling an art house style, but the story struggle to find its own identity while depending on its eye-candy extravaganza, along with a strange use of random performed characters, which it makes easier for Christina Hendricks to stand among what could be perceived as a bizarrely-looking deep drama, but never going anywhere near coherently told.

The Dark Side of the Heart
½

Basada e inspirada fuertemente en la obra de Benedetti, con el propósito de evocar una poderosa narrativa que poco a poco desenfunda una historia cálida pero agridulce, la cinta de Eliseo Subiela es una interesante carta-tributo a la poesía del argentino, junto con una interesante perspectiva relatada desde el punto de vista de un trágico pero empático protagónico, estelarizado por Darío Grandinetti, mezclando en sus simbolismos elementos tanto eróticos como edípicos, es un deleite tanto visual como en estilo.

Ready Player One

Steven Spielberg's adaptation of Ernest Cline popular nerd-novel is a visual blast, filled with eye-candy imagery and an amazingly number of pop-culture references, not to mention the dazzling and breath taking action sequences that reminds us to the director's classic film-making style in his early days, all in favor for a perfectly harmless action flick, even though its characters lack the strength to live up to the story, but still a fine welcome to the director's classic sci-fi roots.

Macbeth
Macbeth(2015)
½

This depiction of the iconic Shakespearean tale is filled with elegant cinematography, great performances and a strong narrative that respects the roots of its source material with enough fashion and respect from the same, it could also be seeing as a weakness in regards of the appeal and flow, that'll represent a hard time for unpretentious viewers not familiarized with the play, but overall, a solid drama that shines thanks to Fassbender and Cotillard's performances alone.

Pitch Perfect 3
½

Unfortunately for this third installment, the humor seems to maintain its core in familiar territory, but never going anywhere near refreshing, needless to say the addition of new but inconsequential characters overshadows the little appeal from the old cast, affected, as well, by some the absence of familiar faces from the so-call closure in the, now officially, unnecessary trilogy of what it used to be a perfectly simple-yet-effective musical comedy.

Pitch Perfect 2
½

While some of the freshness of the original it's preserved, as well as the humor, the film can't avoid its rushed tones and disposal of some of the new additions in the casting, also, the film tries to feel bigger, and in many respects it does, and while it fails to present an equally unique and original feeling, it does please for what the premise offers, not to forget the right doses of eye-candy and teen comedy that worked so well in the first one.

Pitch Perfect

Played entirely for the laughs and stylish humor, Pitch Perfect founds itself enjoying a particular originality in comparison with other musicals, making it a more universal and fresh teen comedy, benefit from a compelling cast, leaded by Anna Kendrick, and a pleasantly delightful soundtrack, never mind some conventionalities and arc-structural familiarities, in the end, a refreshing take on your average contest-flicks.

Pacific Rim Uprising

Falling in the category of "unnecessary sequel", Uprising still delivers perfectly entertaining and pop-Cornish action that'll please standard viewers (particularly kids), but it's the lack of genuine appealing characters and the excess of clichés in regards of its story where the film never reaches the same freshness of the original, limiting itself into a mix bag of mediocrity and blockbuster conventionalisms, something the first one tried is best to wipe out.

Pacific Rim
Pacific Rim(2013)

Its greatest strength regards in the progression in such a silly concept such as "giant robots VS monsters", but despite its deficiency in its storytelling and characters, Del Toro successfully created a childish idea and turned it into a perfectly entertaining-yet-fresh flick that takes elements from several materials, along his own signature, in order to transcend the saturated "summer blockbuster" genre in something more than mindless fun.

Life
Life(2017)
½

It gets really close into creating an experience truly resembled to what Alien accomplished back in the day and, although perfectly decent acted and modestly directed by Daniel Espinosa, this "stranded-in-space" thriller delivers the right amount of suspense and, at times, gore, but unfortunately it doesn't do enough to offer neither something fresh nor truly original, aside of impression in the visual department, and significant eye-candy due to its cast.

Steve Jobs
Steve Jobs(2015)

Focused entirely on characters and the drama uprising towards them, Danny Boyle's newest addition delivers a cleverly written biopic that leaves aside some conventionalisms typically known in the genre, but even when its main character's approach is well balanced, between an antagonistic take and an stereotypical "incomprehensive genius", Aaron Sorkin's script utilizes smart and passionate resources to outstand Michael Fassbender as the main character, as well as it's A+ cast.

Annihilation
Annihilation(2018)

It doesn't deliver the same artistic impact as Ex Machina did, but Alex Garland's adaptation of Jeff VanderMeer's novel is a unique take at thought-provoking-sci fi's, considering how hollow they seem nowadays, but Annihilation reaches several contexts needed to dig down into the film's purposes, and its several ideas seems to be on schedule behind Portman's character, as well as the rest of its cast members, delivering a beautifully looking and thrilling flick that serves for several viewings.

Scouts Guide to the Zombie Apocalypse

Some jokes do work, some play for a cliché familiarity inside the genre, but although the humor may be surprisingly funny and occasionally heavy-weight, in the end, this dark-zombie-comedy never goes any further of what we already know, giving the right amount of action, gore, and even some surprising scares, all in order to fulfill an average flick that enters in the infinite catalogue of average Friday night films.

From Dusk Till Dawn
½

Robert Rodriguez and Quentin Tarantino's first director and writer collaboration serves for a bizarre combo of crime-thriller and a B-movie fest with a special take on both filmmakers seals and styles, almost creating one of cinema's most unique and weird vampire flicks ever, and one that'll grow into cult status for years to come, with just the proper amount of elements such as action, gore and a considerable variety on special effects, not forgetting its over-the-top cool characters in its cast memebrs.

On Body and Soul (A Teströl és Lélekröl)

Served in a typical art-house-European stylish glamour, this romantic flick provokes a charming curiosity towards its story, interestingly settled and with a strange chemistry growing along with the film, and while the movie lacks genuine elements from the genre, at least for mainstream purposes, its two lead roles stand out innocently enough and with the right amount of originality in regards of its take, it comes as surprise for a Netflix production standards.

I, Tonya
I, Tonya(2018)
½

Director Craig Gillespie delivers a powerfully dazzling dark comedy, with just the right amount of drama and strong moments, most of them endured by Margot Robbie in what could be her best role to date as the iconic ice-skater, but it doesn't relay only in the typical aspects of generic biopics, since the film its filmed in such a stylish way, it is the actual heart delivered by each cast-member, with a particular mention to show-stealer Allison Janney.

Red Sparrow
Red Sparrow(2018)

Although some of its ideas are genuinely thrilling and, at times, rough to appreciate, this espionage drama doesn't seem to find its place in between focus and content, being over long and tedious, considering its subjects, never seem to go in a clear direction, and considering how its lack of action and more "dialogue-centered" tone clearly clashes a general audience preference, but even when the lack of chemistry between protagonists interferes, there's enough substance to endure the trip.

Lady Bird
Lady Bird(2017)

With self-awareness and a constant reminder of its main subjects, this teenage drama goes beyond while presenting deep contexts, an original background and great performances, particularly by its star Saoirse Ronan, but at times it seems to be overly familiar and particularly pretentious, nevertheless, this never seems to be a bigger issue for this coming-of-age film, and a good addition to writer and director Greta Gerwig.

The Disaster Artist
½

It completely knows what it's trying to hit, and even with a high doses of humor, this hybrid between biopic and making of-flick nails all targets, delivering an intriguing and highly entertaining take on one of cinemas most acknowledgeable bad films ever made, but also depicting on its themes and its two main characters in a rather hilariously human way, all thanks to an appealing cast, great performances and an overall amazing recreation behind James Franco's direction.

The Room
The Room(2003)

Mixing poor direction with dull-writing, The Room is a catastrophe that never seems to go anywhere, especially considering how over-the-top-bad the acting is, not to mention the iconic-horrific performance by the infamous Tommy Wiseau, who also serves as a director in this irrelevant-yet-fascinating mix bag of awkwardness and silliness, which in a twisted way is what makes this worth the watch, becoming the queen of the "so bad is good" flicks in cinema's history.

Veronica (Verónica)
½

It plays certainly for the standard Ouija-horror, as well for the typical haunted-house extravaganza, but Paco Plaza managed to direct a dedicated and effective suspenseful flick, with enough elements to keep the spectator invested as well as intrigued, and while the movie's biggest sin regards in its predictability, it never stops taking itself too seriously, respecting what it tries to accomplish and, in many ways, succeeding at delivering.

Three Billboards Outside Ebbing, Missouri
½

It may leave a bittersweet taste in its conclusion, but digging into its content with deep though and full attention, Martin McDonagh newest is a wonderfully tragic, hard to sit-through-raw drama, with a strange doses of dark humor, charisma and thought-provoking context that adds even some poetic value to its resolution, but also delivering a great story fulfilled by its particular direction, and amazing performances specially from both, Frances McDormand and Sam Rockwell.

Seven Psychopaths
½

Unique in style, dark humor and tones, this bizarre comedy benefits itself with a great cast selection, terrific over-the-top performances, enough violence and even some smart satire and commentary in several subjects, all with the final resolution of delivering and odd-yet-perfectly satisfying crime flick, showing writer and director Martin McDonagh once again as a true figure with its own voice and signature, something lacking in many flicks nowadays.

In Bruges
In Bruges(2008)

With a particular proper amount of dark humor and its respective violence, director Martin McDonagh finds himself accomplishing a compelling-yet-raw film about two assassins, with Colin Farrell and Brendan Gleeson sharing a fine chemistry and stealing the show as the main characters, inside a well-written and appealingly directed flick that may not be action packed, as many British-like takes on the genre, that grows better only with the presence of Ralph Fiennes.

Kill Me Three Times

Simon Pegg has a unique and quite different performance than usual, and as crime-dramas-comedies go this one delivers the fair amount, but neither the humor nor the violence are astonishing or noticeable to deliver something memorable or acknowledgeable for posterity, and probably the film's greatest sin is to pretend to be something more, but never going further, becoming just a standard flick, at times boring, at times slightly entertaining.

Mute
Mute(2018)
½

Its visual strength is unquestionable, and even when its cast does their best to leave conventionalisms, Duncan Jones return to sci-fi, as anticipated, falls directly into a complex, over length and even pretentious territory, taking a premise that starts promising enough and adding more substance that could barely be digestible in not a particularly focused way, and while its performances are quite engaging, specially for an odd presence by Paul Rudd, Mute delivers only half of what it promised.

Edward Scissorhands
½

Director Tim Burton manages to create a unique world that combines exquisitely his own gothic style along a perfectly satirical and stylish environment that clearly mocks the American life-way, but never going to far as to abandon its main themes, and with the presence of an enjoyable cast and appealing visuals, this modern-fairy tale takes Burton to his best, and with Johnny Depp in the lead, little was known it'll mean the beginning of one of cinema's most acknowledgeable duos.

What If
What If(2014)

Michael Dowse's romantic comedy could be too hipster for some, but also pleasing just because of that, and even when its themes could resonate quite familiar, its charming tone, appealing moments and the particular delightful chemistry between Daniel Radcliffe and Zoe Kazan represents the best positives in this overly-simple but effective love-tale, not to forget the fresh presence of newcomer Adam Driver.

Beasts of No Nation
½

Cary Fukunaga's Netflix original is a harsh, rough, and powerfully emotional war-drama, that not only posses an hypnotic raw esthetic, but a sublime touch behind its production, an although its over-length may interfere with the hard experience, Idris Elba's performance is a suitable compensation, along the particular take on the Africa situation and over-excessive violence in it, all to create an effectively tragic experience.

American Gangster

Filmed in old school style, Ridley Scott crime-drama certainly has the strength that characterizes most American gangster flicks, including neat direction, characters and the always reliable "based on a true story" trademark to power things up, but some pacing issues get in the way in what else could've been Denzel Washington's roll of his life, but although the movie lacks a strong enough focus, it can help but to shine among Scott's best, thanks to an effective style and A+ cast.

Blue Valentine

Director Derek Cianfrance sharply and roughly manages to pull together a tuff tale about the struggle of relationships and the inevitability of exhaustion in marriage, as well as the value of commitment and the dedication of the early years, all successfully combined for the benefit of a touchingly hard breaking story, and with the great presence of Ryan Gosling and Michelle Williams to complete the journey throughout the painful reality of love.

Eternal Sunshine of the Spotless Mind
½

Director Michel Gondry and writer Charlie Kaufman successfully pair in what it has become a little modern indie-classic, with all the benefits of a unique drama and a twisted-yet-gorgeously produced imaginative story, creating an original love story but managing to build feeling, intelligent storytelling, touching characters and a concept that'll became one of the many fantasies for all heartaches, not to forget an iconic Jim Carrey at his best.

Her
Her(2013)

Spinke Jonze nailed what it would seem as a ridiculous premise into a powerfully touching and intense romantic drama, with superb performances, specially by a non-physical Scarlett Johansson, and a particularly melancholic Joaquin Phoenix, all in perfect synchrony with an amazing set up, great esthetic united with a strong direction, beautifully sad writing, and the heartwarming story of the struggle of relationships and breakups, all in an excelled and elegant simplicity.

When We First Met
½

Conventional and, at times, lacking identity, this Netflix romantic/comedy lacks genuine innovations and character improvements over what the cliché of the genre has offered since forever, but sincere chemistry between the cast and authentic humble humor makes for almost all the flaws, and with the presence of some interesting well handled plot-devices, although kind of predictable, it heads to the proper direction and, in the end, hits the right spots, for the most part.

The Raid 2
The Raid 2(2014)
½

Two and a half hours of exhilarating-non-stop-over the top action that follows the epicness of its previous installment in a more ambitious and detailed fashion, respecting the elements that made the first one a blast and, literally, multiplying them as every good sequel should, and while its plot may turn a little bit pretentious and hard to follow, the action, choreographed fights and astonishing cinematography that follows them are quite enough to sustain this uprising franchise in a worthy follow up.

The Raid: Redemption
½

Gareth Evans preserves a simplistic and focused premise that constantly keeps growing and moving forward into an exhilarating and overly-dazzling piece of action and amazingly choreographed fight sequences, but also remaining constant in its pacing and effectively directed suspense and thrills, making it for a humble but ambitious flick that keeps gaining enough prestige and reputation toward the years, and introducing us into a potential powerful trilogy.

Byzantium
Byzantium(2013)
½

Old school-romanticized and visually hypnotic, this modern vampire tale finds director Neil Jordan returning to the Vampire-take that popularized him 20 years ago, this time in a more art-house kind of production, with Saoirse Ronan and Gemma Arterton shining in a touchingly-yet-twisted mother and daughter gothic-drama that lacks authentic horror and thrilling elements, but mostly consistent in gore and stylish aesthetics.

Primal Fear
Primal Fear(1996)

Richard Gere shines in this crime-psychological thriller in spite an almost familiar plot, the film moves throughout a rollercoaster of well written characters, powerful moments and the rightful direction of Gregory Hoblit that'll lead an engaging story into unexpected turns, all in favor for a carefully constructed drama that takes advantage of its grandeur advocate-environment, mixing crime and one of the best performance debuts in a young Edward Norton.

Cloverfield
Cloverfield(2008)

It starts quite sloppy and slow in order to create plot, but once it start it pays off on a mix between sci-fi-kauji action and decent-enough-quality found footage-horror-feeling in addition to its atmosphere, complemented as well with tension, suspense and great special effects and designs for the monsters, Matt Reeves blockbuster debut is a haunting monster-flick with all the benefits of the format it is filmed on.

10 Cloverfield Lane
½

Surprisingly thrilling and unexpectedly improving on its unknown premise, Dan Trachtenberg's random follow up to the now apparent Cloverfield franchise is a great suspense flick with an almost perfect sense of claustrophobia and a superb depiction over human survival, instinct and madness, all condensed thanks to an elaborated but simple script, neat direction and unsettling story, but all in a second instance thanks to John Goodman and Mary Elizabeth Winstead breathtaking performances.

The Cloverfield Paradox
½

Mysteriously kept until its release, this apparent third installment in the oddly intriguing Cloverfield franchise is conventionally familiar in its already tired "stranded in space" plot, but several key elements attempting to connect with the other two films makes up for an underwhelming lack of creatures in a perfectly fine and enjoyable sci-fi as Bad Robot could craft, and benefit is given to director Julius Onah first sci-fi.

The Texas Chainsaw Massacre 2
½

It plays straight into the goofy and gore territory, and although the film possess classic campy and over-the-top stereotypical extravaganza, it ultimately fails to live up into the classic 1974 horror icon that represented the original, considering how abruptly it is conceived, it doesn't even seem to be a Tobe Hooper's film, being Dennis Cooper's always welcome presence the only genuinely enjoyable thing out of this flick.

The Texas Chainsaw Massacre
½

Short but extremely effective, Tobe Hooper iconic horror-flick nails all the elements that'll define the genre for years to come, and while the film certainly lacks character, it's all compensated by an extremely haunting atmosphere, simple but authentic thrills and a gorgeously dreadful esthetic meant to influence films for the best and worse, granting the movie its well deserved spot among the most memorable cult-classics of all time.

Tremors
Tremors(1990)
½

Cheesy and over the top, this monster flick may seem exaggerated, but its original premise, execution and surprisingly effective sense of suspense and horror makes up for the absurdity that fills it from start to finish, making this an overly pleasant B-movie in all the right ways, offering thrills, great practical effects and the appealing presence of its two main characters, played by Kevin Bacon and Fred Ward, but achieving its iconic reputation thanks to the show-stealer Michael Gross.

The Visit
The Visit(2015)

Simple and ambitious, M. Night Shyamalan's latest movie feels fresh, original, and serves as a pleasant return for the director in the horror/thriller territory, making this flick-experiment a welcome return for the writer and director, and although it is conventional and overall silly, how fresh the film feels benefit from a curious mix between horror and humor, carried for the most part by its stellar performances, but delightful thanks to Deanna Dunagan and Peter McRobbie's presence.

The Grey
The Grey(2012)

Joe Carnahan's adaptation of The Ghost Walker is brutally visceral and gruesome, two appropriate elements for a survival drama in which not only Liam Neeson steals the show, but also a thrilling atmosphere that blends properly enough with its ambivalence towards fear, instinct and the fight against nature's domains, with enough suspense to please all sorts of audiences, as well as a deep-thought-provoking conclusion.

Bone Tomahawk
½

Intriguing and also attractive to watch, for Western purposes, this film may lack a big stellar production quality and surely it seems to have little to offer in regards of its genre, the film surely understands how to craft a mostly cliché flick into an entertaining-at times unnecessarily gore- average adventure that benefits, mostly, from Kurt Russell's presence that'll resemblance a quite similar role, along other familiar faces to endure the experience.

The Soloist
The Soloist(2009)

Director Joe Wright seems to leave his comfort zone into a more modern-settled drama, lacking the visual style he successfully accomplished previously, but still delivering a little dose of his directional ambition, nevertheless, and despite Robert Downey Jr. and Jamie Foxx's presence, the film suffers from a pretentious vision and odd rumbles, but aside of the musical devotion in which the story lands, it can't help but to be seeing as Wright's weakest.

Darkest Hour
Darkest Hour(2017)
½

Joe Wright depiction over Winston Churchill's take-over as prime Minister of England is rightly done in the necessary ways, but the true show-stealer is, undoubtedly, Gary Oldman, who offers one of his career's most dedicated, powerful and dazzling performances as the iconic historic figure, with an intensity strong enough to carry an entire drama upon his shoulders with the perfect amount of energy and humor, only Oldman could craft.

Pride and Prejudice

Joe Wright's first full length feature may possess most of the strength of the novel by Jane Austen, or one could arguably presume, and Keira Knightley's performance shines enough to endure, especially along her chemistry with Matthew MacFadyen that makes up for this beautifully filmed and sublimely produced romance, even when its themes resonates considerably out loud with familiarity and corniness, but then again, its production and adaptation values makes up for that for the most part.

San Andreas
San Andreas(2015)

Brad Peyton's disaster flick is plagued with clichés till the end of the line, needless to say its tone falls between cheesy and a substantial amount of excessively poor special effects that, eventually, commits the mistake of taking itself too seriously, as other films of the same style, and even if The Rock helps to light up some humor and pacing, it never goes beyond of what the premise has to offer, making this destructive extravaganza not worth the trip.

Tropic Thunder
½

Exhilarating, ridiculous and dazzling, Ben Stiller performs and directs this particularly hilarious satire with all the benefits from a Hollywood stand point, mocking the industry, laughing at the war-genre and, of course, presenting his typical humor into a politically incorrect background, taking advantage from the presence of A+ stars such as Robert Downey Jr., Jack Black, Matthew McConaughey and an almost unrecognizable show-stealer Tom Cruise as the amazing Less Grossman.

The Shape of Water
½

With impeccable design and conception, not to forget its close-to-perfection setting and neat direction, once again Guillermo del Toro pleases with a twisted idea brought with originality and uniqueness, and while faithful to his own elements, in regards of fantasy and gruesome visuals, the beauty behind The Shape of the Water glorifies substance more than style, creating a satisfying balance between both, completed as well with an outstanding performance by Sally Hawkins.

Pan's Labyrinth

Tragic, inspiring and thought-provoking, Pan's Labyrinth finds itself among the best fantasy had to offer in the past decade, crowning Guillermo del Toro's unique vision and love for the genre and succeeding on delivering a worthy story, with superb and attractive designs, characters, astonishing production and his always carefully constructed direction and beautifully written script, combined admirably for the sake of creating a twisted-yet-artistic modern fairy tale.

The Devil's Backbone (El Espinazo del diablo)
½

Emotional, attractive and artistic in almost all the ways, Del Toro's art house ghost flick offers not just the rightful amount of scares and drama, but also beautiful visuals and a particularly interesting set that provides just the perfect scenario for an environmental horror film, having the director's unique vision and his always delivering writing to fulfill what it ends up as a poetic, smart and cruel supernatural Spanish film.

Cronos
Cronos(1994)
½

Guillermo del Toro's first full length feature is a disturbingly artistic and beautifully unconventional horror tragedy, with all the benefits from the director's style that'll define his future installments in years to come, as well as the presence of also the-yet-to-be some of his predilect cast choices, such as Federico Luppi and Ron Pearlman, all resulting in a cleverly touching film, that also gives the vampire genre a unique view.

Crimson Peak
Crimson Peak(2015)
½

Guillermo del Toro's gothic Victorian-romance is far from being his best, but although its themes lack genuine scares and innovation, the film's esthetics and atmosphere serves as a true reminiscent of classic old-school installments from the genre, blessed by the master's writing and direction which only adds more value to the style, while a little bit predictable, Crimson Peak's tension and brutally disturbing visuals serves for a beautifully inspired horror/thriller.

Candyman
Candyman(1992)

It plays roughly in the gore and old-school suspense department, and while it is interesting to appreciate from a visual perspective, without forgetting Tony Todd's cult portrayal of the slasher figure, Bernard Rose's horror flick plays with both conceptions; supernatural and psychological, but never into a believable basis to deliver an entirely memorable product, or at least one with enough quality to overcome other entries in the genre.

The Hills Have Eyes

Alexandre Aja's remake of Craven's horror flick serves a certain purpose on delivering a more interesting esthetic and some striking visuals in comparison, but being those two qualities the only remarkable aspects of this film, the movie lacks genuine suspense when it comes to its build up, as well as generic writing and the over-use of unnecessary gore and gross themes to fulfill an already poorly executed idea, that not even Craven was capable of succeed.

Silent Hill
Silent Hill(2006)

Christophe Gans offers a considerably attractive film that reproduces its source material's essence in such a faithful way is almost impossible not to resist the temptation of granting it the acknowledgement within its fandom, but even when it comes of how visually striking it gets, this videogame adaptation suffers from some typical genre conventionalisms, and while some of its special effects stands tall, some fall short into poorly executed extravaganza, turning this into a regularly dry experience.

Logan Lucky
Logan Lucky(2017)
½

Considerably odd and genuinely funny as well, Steven Soderbergh's most recent flick may resemble to a familiar heist trilogy, also by him, but having A+ stars like Channing Tatum, Adam Driver and Daniel Craig makes for a particularly enjoyable combination of familiarity and joy only the director is capable of crafting, even if the already mentioned familiarity towards previous films of the genre could affect some of its best elements.

Maggie
Maggie(2015)

Unsettling and, at times, touchingly creepy, this horror-drama hits the spot in regards of style, as well as delivering one of Schwarzenegger's best performances in years, but the lack of dynamism in regards of what the genre has to offer in the end affects this film's identity, which is a shame, considering how unique Henry Hobson's film ended up, aside of the lack of action, compensated by deep and thoughtful subjects, even if it could recalls a certain videogames for the initial premise.

Welcome to the Punch

James McAvoy and Mark Strong both steal the show in this heavily action-packed police drama, but unfortunately, Welcome to the Punch is neither innovative nor flawless inside its genre to become as memorable as other flicks, and while the performances and the pace helps making this a decently enjoyable-independent action film, its conventionalism and standard feeling stops it from go beyond what writer and director Eran Creevy could've deliver.

A Ghost Story
½

Casey Affleck and Rooney Mara's chemical performances shine through a heavily charged drama in which the main themes of loss and romance stands on their own, while also delivering a surprising amount of philosophical substance, even for its simple technicalities, making it original enough and artistically satisfying for independent fans, becoming a unique film in many ways, as well as a fine-rare addition in David Lowery's filmography.

The Dark Tower

Uneven and uninteresting, Nikolaj Arcel adaptation of King's beloved saga may manage to drag some attractive visuals, but the lack of faithfulness in regards of the source material, the poor set of references and the weak direction and writing makes for a disappointing cinematographic experience, especially considering how rich The Dark Tower gets towards its universe, not to forget Idris Elba and Matthew McConaughey's wasted lead performances.

Bright
Bright(2017)

As intended for an attractive and odd story, this sci-fi-fantasy hybrid does little to justify its conception, with dull script, standard direction by David Ayer, and an uncharismatic performance by both lead roles, Will Smith and Joel Edgerton, Bright wastes its own potential by creating a concept that's so uneven, unnecessary and, strangely enough, unimaginative inside its depiction in between genres, at the end of the day, it only manages to accomplish the title of Netflix's most expensive production to date.

Jumanji
Jumanji(1995)
½

Maybe corny at times, and the special effects don't hold up pretty well, but overall its technical flaws, Joe Johnston's adaptation of Chris Van Allsburg novel is fun enough, thrilling and family friendly as intended to for its premise, with excitement and performed well enough to pass through its inevitable 90s esthetic that made it a true product of its time, but benefit from the presence of a charismatic cast and the always dazzling Robin Williams.

Jumanji: Welcome to the Jungle
½

Jake Kasdan sequel of the 1995 film is by no means necessary or even memorable to justify its existence, just as the original wasn't, but that being said, the movie offers a surprising amount of fun, chemical humor among its cast and enough action-adventure extravaganza to please average audiences, making for a fairly entertaining ride, exciting enough to avoid hatred and family friendly in the proper doses for almost everyone to satisfy.

Star Wars: The Last Jedi
½

Rian Johnson's bold but original take on the franchise clearly shows, for this installment is purely a standalone entry, with all the benefits of a brand new story that was so much needed in this new take, and while it is strong in its continuity and follow up narrative devices, it focuses almost entirely in the deliverance of new twists and developments, what'll eventually lead up to an inevitable split between fans, which only reveals the true power of this episode.

Star Wars: Episode VII - The Force Awakens
½

J.J. Abrams successfully manages to revive the so-believed-lost essence of the franchise roots, with new engaging and appealing characters to focus on, huge respect to the original characters and special effects, familiar esthetics and a promising premise that'll re-define the saga into promising directions in the future years, even if to succeed an almost obligated comeback journey to the past had to be made, being the over-excess of some "original Trilogy callbacks" the main sin of this revival.

Star Wars: Episode VI - Return of the Jedi

Richard Marquad crafted a satisfying enough third installment in the franchise, delivering thrills, excitement and the fair amount of substance that'll define this franchise for further days, and even when the film lacks some of the purity and groundbreaking sensation and quality of its two predecessors, still is strong enough in its build up, stealing the show in its third act, delivering superb action, characters and emotional heights, accomplishing a successful and fair enough conclusion for a to-be beloved trilogy.

Star Wars: Episode V - The Empire Strikes Back

Irvin Kreshner successfully improves every element from the first installment, in order to deliver a powerfully engaging, more dynamic and rich-in-substance continuation of the promising space-universe, multiplying the best qualities of the previous film and even adding more, in order to expand in a more darker and mature tone, offering what'll inevitably became the best entry in the franchise, blessed by several memorable moments, and storytelling game changers.

Star Wars: Episode IV - A New Hope
½

A timeless space opera that takes several elements from worldwide mythology, theology and even historical events in favor of an overly original and delightful spectacle of special effects, odd and charming characters and appealing story that benefits hardly from its epic moments, as well as memorable standards, corny dialogues and inspiring direction by a promising young George Lucas, affected only by its space for evident substance improvement.

Rogue One: A Star Wars Story

Gareth Edwards's anthology offers plenty of action and great nostalgia for Star Wars fans, but most important, an enough amount of substance as the main engine to make this installment works, with great cast, amazing special effects, and an involving story that connects superbly with the Original Trilogy, respecting its true feeling and esthetics, and offering what many would argue "the true way of crafting a prequel", even if the characters and pacing may represent a minor issue for the film.

Star Wars: Episode III - Revenge of the Sith
½

Unlike its previous prequel installments, this chapter in the galactic saga ensures a more focused and dark themes, making it feel more like a genuine Star Wars entry, and while it's improvements are mostly noticeable, some particular elements from the previous two are preserved, such as poor character development and sloppy direction, not to mention the already obnoxious over use of special effects, which holds the film to go beyond as a truly worthy episode in the franchise.

Star Wars: The Clone Wars
½

The film's structure is rather split in what it'll seem two different stories that would've perfectly been two episodes of the animated series, not with a proper story to tell the actual unexplored Clone Wars in the Star Wars mythology, but the film has strong action and fight sequences, missing character development and a solid plot to justify the full length film format, making it feel more like a long episode of the series, rather than an actual movie, becoming a totally harmless addition to the franchise.

Star Wars: Episode II - Attack of the Clones
½

This next chapter in the Star Wars universe, as well as the previous installment, benefits from a considerable amount of brand new visuals, designs and elements related to this overly rich universe, but, as well as its predecessor, lacks the actual spirit that made the original trilogy the space-opera adventure we all love, in exchange, it focuses wrongly enough on the over-use of special effects and action, that eventually forgets to deliver, in terms of characters and storytelling.

Star Wars: Episode I - The Phantom Menace

Some classic Star Wars elements are preserved, such as characters, esthetics, and some references to the classic films, but truth is, the film's progression becomes a problem when it's not focused on the action, and while it develops a certain feeling of improvement, the low paced story and uninteresting new characters helps create a sense of boredom in what otherwise should be a straight forward imaginatively entertaining adventure.

Loving Vincent
½

The film preserves itself in a constant and moderated pacing, since is purely a recreation of events, flowed in between present and flashbacks, but the esthetics, techniques, and the art itself (a movie purely made in hand draw) works perfectly in order to deliver the ideal representation and incarnation of Vincent Van Gough's true persona, offering at the same time a romanticized and touchingly dramatic approach into the artist's tragic fate.

Song to Song
Song to Song(2017)

Lubezki's photograph remains impeccable, as always, and Malick's vision, unlike its predecessor (Knight of Cups) is far more appealing and solid, at times, but unfortunately some other elements from the director's style and writing techniques remains, and even when its 4 lead role stars are enjoyable to appreciate, the over-excessive pretentiousness and lack of genuine flow towards the story makes for a notorious emptiness in what, otherwise, could be a genuinely artistic drama-romance.

Knight of Cups
½

Terrence Mallick, once again, offers a visually strong and seductively written experience in which cinematography and style are all, just as the good director always remarked, but unfortunately neither its neat imagery and seductive camera work are enough to compensate for a over-realistically pretentious depictions, resulting in an odd art-house flick without the actual substance to stand among other existentialistic takes on the "celebrity dilemmas".

Jim & Andy: The Great Beyond - Featuring a Very Special, Contractually Obligated Mention of Tony Clifton

Inspiringly funny and overly stressful, Carrey reveals a surprisingly valuable performance from his earlier career with the exclusive footage he kept hidden of Man on the Moon as the infamous Andy Kauffman, a role that granted him the Golden Globe and the overall appreciation from critics and audiences worldwide, but it is his full personification of Kauffman behind the scenes the true spirit of his histrionic success, showing effectively the praise and trouble his full embodiment caused him back in the day.

Justice League
½

It does feel rush, particularly the first half, and some development keeps slower in regards of character and build up, but even after a considerable struggle towards the edition, and another weak-standard villain, the movie benefits from enjoyable moments, surprisingly fun and dazzling action and a good amount of unexpected humor that makes up for an overly "okay" comic book flick, becoming, at the end, also a step forward for DC, at least for some previous entries.

Murder On The Orient Express
½

Kenneth Branagh excels in the lead role, and the production is overly stylish and attractive to the eye, as well as it's all star cast, but unfortunately for this remake, unlike the original, it never lives up to its full potential, considering how neat Branagh direction develops, maintaining enough similarities and differences towards its classic predecessor to be its own thing, but wasting the several opportunities it has of becoming even better than it.

Murder on the Orient Express

Albert Finney's performance is over the top, but mostly enjoyable, as it is the film's progression just as the genre main focus demands, and although there's zero to non-action in Sidney Lumet's detective-thriller, its cast makes up for the lack of mainstream development, since every aspect of the film relays on their direction and pacing, and at the end of the day, it pays off, even when the ending may represent a divisive result in regards for a general conclusion.

Ace Ventura: Pet Detective
½

Jim Carrey's over-the-top performance might please some, but bother or annoy others, however the case, this slapstick-detective comedy has some oddly smart moments in the middle of its absurdity and that's something to be thankful for, considering how the film struggles to find its balance between serious themes and hilarious jokes, not taking it too seriously at times or too self aware, turning out, at the end of the day, into a divisive memorable guilty pleasure.

Maniac
Maniac(2013)

In the visual and technical department, it offers something truly different and, at times, unique in style, but the substance, as it sadly goes, suffers from a lack of genuinely interesting and polished direction by Franck Khalfoun, needless to say the lack of actual story and narrative that, eventually, affects the cast, particularly Elijah Wood, who does his best in the lead role, but even with all these issues in mind this flick represents an odd take in the Slasher genre with enough amounts of gore and thrills.

Let Me In
Let Me In(2010)
½

Even thought it lacks the superiority that made the original such an artistically memorable adaptation, this American version offers writer and director Matt Reeves the opportunity to craft an authentically innocent but horrifying vampire flick, with enough visuals, moments, performances and elements that'll remind us of classic horror film feelings, but also, offering new substance in order to stand on its own, in a time in which vampire movies became so ridiculously overexploited.

Ex Machina
Ex Machina(2015)

Visually majestic as it is thought provoking- as every great sci-fi should be- Ex Machina offers Alex Garland's overly smart and intriguing script, combined with his neat and escalating direction, leading into a potentially unique and inspiring flick, one that benefits, as well, by Oscar Isaac and Domhnall Gleeson in the lead roles, but it is Alicia Vikander's sublime performance as an AI-Android what helps to complete this small but effective modern classic of the genre.

The Meyerowitz Stories (New and Selected)

In a surprisingly successful return to drama performance, Adam Sandler stars in a pleasantly well acted humble comedy that goes beyond mainstream standards, reflecting and representing an ordinary family struggle that puts together heart and artistic passion in order to succeed its simplicity, all thanks to writer and director Noah Baumbach's vision, as well as the outstanding work of its already great cast and chemistry between them all.

The Neverending Story

Whimsical and hopeful in regards of its objective as a whole story, Wolgang Peterson's adaptation of the classic book may or may not differ from it, but the fantastic make up and creature designs- perfectly filling the practical effects that were so iconic and used in the 80s- in combination with the great storytelling are just a fraction of what makes this film so special in regards of its content, for every character and moment feels epic and important, representing the accomplishment this movie turned into.

The Fly
The Fly(1986)

Gruesome and visceral, and even disgusting at times, all mixing in favor for its creativity and clever subject of approach, including the outstanding work of practical effects, this body-horror remake of the 50s classic outstands on its own with intelligence, compelling set up and a ingenious take in regards of the previous films, turning out to be one of David Cronenberg best films, and a complete accomplishment for both, horror films and remakes becoming ,for many, even more memorable than the previous versions.

Sinister
Sinister(2012)

Writer and director Scott Derrickson offers a decently directed and visually interesting horror flick, with enough unnerving moments to stand from other recent titles, and while this is pretty much enough to catalog it as a good film, what keeps Sinister from going further among the rest is the number of already tired clichés, as well as conventionally familiar plot and uninteresting characters, making it all go down for a standard and average experience that'll never transcend in horror genre.

Thor: Ragnarok
½

Exploded tirelessly in both, humor and action, Ragnarok takes advantage of what fans and audiences expected from a Thor film from the very beginning, but it is Taika Waititi's vision and style the core in which the heart of the movie rises, excelling in the already great and enjoyable characters, epic exhilarating moments and over the top story that'll please hardcore fans of the MCU, as well as casual viewers in order to became one of the finest entries in the House of Ideas Studios.

The Thing
The Thing(1982)

Delightful to appreciate in regards of its direction and its sublime use of practical effects, John Carpenter prove his directional skills in the genre, creating and effectively suspenseful, intriguing and unsettlingly visceral body-horror-sci-fi film, one that'll redefine future esthetics and the acknowledgement of Kurt Russell as an action-horror hero, all in favor for a horror flick that'll universally demonstrate that, sometimes, a remake could be just as good (if not better) as the classic.

The Nightmare Before Christmas

Superb stop-motion animation and a memorable score and soundtrack by the master, Danny Elfman, director Henry Selick succeeds at adapting Tim Burton's whimsical and twisted story into an iconic, imaginative and deliciously bizarre animated film, and while considerably short and simple crafted, its magic relays on its universality towards the viewers, for these characters, sets and moments are original and unforgettable, and that's what the production needed to combine in order to deliver a unique story.

Coco
Coco(2017)

Great respect and admirable dedication it's put on this culture's animated representation of the Mexican traditions, but the magic behind Coco doesn't relay only there, for this film's conception over the Day of the Dead is beautiful, visually striking and highly emotive, helped as well by its outstanding soundtrack, and for veteran fans of Pixar Studios this film is a welcome comeback after a two year absence from a 100% original entry in its catalog of great stories.

Nausicaä of the Valley of the Wind (Kaze no tani no Naushika)
½

Not as outstandingly epic or memorable as previous Ghibli works, Hayao Miyazaki delivered a perfectly original and unique piece of imaginative, creatively inspiring and visually beautiful hybrid between sci-fi and fantasy, as only this movie maker could possibly craft, adding, as well, classic Ghibli elements worthy of this collection, such as characters, design and outstanding art that represents the best out of hand-drawing animation, as well as how it fits with the kind of story it is delivering, for the best.

Close Encounters of the Third Kind
½

Not a conventional sci-fi, by any means, and precisely that as its main strength, Spielberg delivers what it is consider (by many) as his magnum opus, probably due to its original factor, since the idea is written delightfully and in all the original ways by the director himself, but also offering a visually striking and, in many respects, a thought-provoking humble film that'll provoke not just suspense, when it has to, but also amazement and satisfaction towards its developing and a great feeling of excitement that'll became something modern films of the genre would, oddly enough, fail to imitate.

Psycho
Psycho(1960)

Alfred Hitchcock's adaptation of Robert Bloch homonymous book is a masterpiece in every way of the word; blessed by Hitchcock's unparalleled direction, unconventional story that'll re-define the way of making movies for the best, and a unique and exceptional way of handling suspense, thrills, storytelling and even horror, Psycho represents a revolution in movie-making, as well as, arguably, the birth of the director's pinnacle film that'll stand out as his best, not to forget the creation of one of the most iconic horror performances in Anthony Perkins infamous character.

Train to Busan (Busanhaeng)

Even though it possesses some of the genre's most overexploited clichés, it manages to actually stand on its own with a huge amount of suspense and effective thrills, even surprisingly touching moments that makes this film a refreshing zombie flick, when one could've though the formula already exhausted what the genre has to offer.

Insidious
Insidious(2011)

After a couple of directional hit and misses, James Wan finally delivered a solid and visually striking horror flick that, despite the overuse of cliché resources from the genre, stands on its own with genuine atmosphere, chills and decent performances enough for us to care about this characters, and although the film could feel a little abrupt at times, especially in the ending, the scares and creepy scenarios and moments are strong enough to enjoy pretty much every aspect of this flick, thanks to its old-school haunted house vibe.

1922
1922(2017)

It is thrilling at times, and the subject of its approach, like King's novel, is unsettling and, at times, harsh, especially when Thomas Jane gives his full potential in such a great performance, but truth is, the direction never runs into a straight direction, nor it is the focus, leaving the experience in a half way through path in between psychological drama, suspense and even some horror props, making this a fairly decent average film, but nothing extraordinary, like it was expected from such production.

Jaws
Jaws(1975)

Immerse on itself by creating character, atmosphere, suspense, shock and even a riveting sense of joyful adventure, Peter Benchley's novel is crafted to life in a superb way, thanks in a great part to Spielberg's unique style and direction, along the timeless performances from Roy Scheider, Robert Shaw and Richard Dreyfuss, Jaws is an iconic masterpiece, the godfather of modern B-movies, and the mother of the entire blockbuster tendency, giving the film an immortal place in history, making of it a "must see" for either fans of cinema or regular spectators.

The Babadook
The Babadook(2014)
½

Intense, spooky in certain measures, carefully directed, thrilling, haunting and terrifying; all the good elements for a true horror film fit perfectly in this one. Jennifer Kent's directional debut may seem like the regular "monster flick" that average viewers could try to avoid, but this actual psychological horror thriller is much more than what it appears in the surface, digging into actual human struggle in its main characters, and building up a rather disturbingly insanity complex that is a thousand times more effective than any supernatural depiction in the genre.

It Follows
It Follows(2015)
½

With a strong sense of claustrophobic dread, writer and director David Robert Mitchell, at his directional debut, successfully achieves a moderated little original horror flick that benefits from the big esthetic homage to classic 80s films, intense thrills and a hauntingly superb soundtrack that fits perfectly with its style, It Follows demonstrates how much potential quality can be given to the genre, unlike what modern audiences might think.

Pet Sematary
Pet Sematary(1989)
½

Mary Lambert's depiction of Stephen King's popular novel is strong enough in its first half, allowing for an interesting enough premise and a potential development to generate a certain interest, but as soon as the true plot drops in, the movie falls into and oddly-over the top tone that affects the potential showed in the beginning, something that some fans might find enjoyably enough, or either ridiculous and out of place.

Cat People
Cat People(1982)

Esthetically the film is interesting, at times decently shoot, and while the premise (just as the original classic) offers a rather promising plot, it loses its hooking with an absurd series of performances and poorly executed use of suspense and thrills, wasting a huge potential with someone like Malcolm McDowell and John Heard in the casting, becoming a big misfire from director Paul Schrader, as well as a forgettable remake.

Mercy
Mercy(2014)

At times it plays with effective sense of suspense and thrilling supernatural atmosphere, but then again, the film falls in some moments, playing flat and lazy, although it never reduces itself to the level of other Stephen King adaptations, this film by Peter Cornwell accomplishes some scares, as well as some involuntary laughs, becoming a so-so experience, benefit only from acceptable performances and some touching themes.

Blade Runner 2049

With a sublime combination between neat direction, spectacular visuals, outstanding storytelling that keeps getting bigger within each scene, superb score, and characters faithful enough to live up to the original's mythology, 2049 successfully takes us back into the beautiful neo-noir cyberpunk world created by Ridley Scott, being Dennis Villeneuve the genius mind behind this new installment that achieves both; being one of the greatest sequels ever made, and an amazing sci-fi film that stands on its own.

Blade Runner
Blade Runner(1982)

It is slow paced and requires lots of attention and analysis to get through the several philosophical and visual extravaganza but, at the end of the day, and considering the flaws (which are minimum), the film never abandons its main target: to be the groundbreaking, visually-mesmerizing and thought-provoking sci-fi iconic epic that'll redefine the entire genre for the next generations, and established a whole academic way to create films, only Ridley Scott could've done in his early years.

Christine
Christine(1983)

The special effects and general B-movie atmosphere makes up for the lack of genuine suspense and the overall absurdity of its plot, and while is not horrible, nor remotely as bad as other Stephen King adaptations, it's far from being one of the best, not to mention the disappointing direction from the, usually, great John Carpenter and average performances.

Two for the Road
½

Both, Albert Finney and Audrey Hepburn steal the show in this touchingly direct romantic drama, from Stanley Donen, but also, feeding upon great commentaries and depictions towards love, relationships and marriage, being sadly realistic and, at times, charmingly funny, all in a great combination that leads into a pretty good old fashioned example of how to handle this approaches in cinema.

Cell
Cell(2016)

Maybe it's first minutes are genuinely solid, at least for a zombie-infected flick, but truth is, once the actual plot rockets the movie falls, little by little, into not just a conventionalist-stereotypical B-movie, but the presence of both, John Cusack and Samuel L. Jackson is tremendously wasted, and even Stephen King's writing couldn't do much for this poorly executed and flat looking film, that couldn't live up to other adaptations quality.

Gerald's Game
½

Director, editor and writer Mike Flanagan successfully delivers an intensely deep and incredibly suspenseful psychological thriller, with a strong focus on both visual and narrative elements to make the viewer fell for the tension and intrigue, not to forget the powerful performances of both, Carla Gugino and Bruce Greenwood in the lead roles, all for the benefit of another great Stephen King adaptation and, easily, one of Netflix's original productions.

Kingsman: The Golden Circle
½

Matthew Vaughn's sequel of the beloved first installment seems to offer what all good sequels require: more characters, louder and bigger set ups and as much action as a spy flick has all the right to give, and in that context it delivers, but unfortunately for fans of both, Millar's comic book and its film adaptation, The Golden Circle lacks a great villain stereotypes and humor, while effective at times, is also all over the place, turning what it used to be a perfectly paced satire into a raw comedy.

Michael
Michael(2012)
½

Wisely enough, the film chooses to approach its already complex and harsh subject with an almost total dependence over an interestingly enough visual-narrative, making natural (and at times tiresome) dialogue flow into what we could all appreciate as an appropriate depiction of overly human characters, all for the benefit of an artistic depiction of an already taboo plot; child abuse and the background behind it.

Children of the Corn

Fritz Kiersch's adaptation of Stephen King's short story benefits from a strong premise and some enjoyable performances, but unfortunately, the movie's lack of genuine suspense and actual atmosphere ends up affecting its quality, making what is appear to be an intriguing set up into a poorly executed B movie that fall into the mediocre category, when it comes to King's adaptations.

Who Can Kill a Child? (Quin puede matar a un nio?)

Strong in the suspense set after a considerable run time, but also, heavily intense when it comes to deliver a hard-gruesome premise in which a group of children are turned into slasher villains, this little but effective horror flick is a great example of how to execute a good idea in the proper way, with the right amount of tension and unsettlement, and even the incursion of a painfully raw ending.

The Bad Batch
½

Unfortunately for this cannibal flick, while having the potential to be something truly unique and unconventional, the film limits itself with a plot that never seems to go anywhere relevant, accompanied by a flat direction and an oddly-boring pacing, making it hard for even the big names, such as Jason Momoa, Keanu Reeves and even the unrecognizable Jim Carrey to shine inside a forgettable indie project.

mother!
mother!(2017)

Its ambition could be considerably even with its pretentiousness, but even at its most visceral, raw and hardcore conception, Darren Aronofsky doesn't fail in delivering a deeply unconventional analogy on both: religion and humanity, having a particularly solid script that works mostly in a visual level, and the presence of big A-names in the cast list to compensate for the technical inconveniences and the flawed direction that, strangely enough, isn't as neat as in previous works.

The Shining
The Shining(1980)

Overwhelmingly suspenseful, once its plot is set up, writer and director Stanley Kubrick, once again, delivers precisely what he wanted; a delight in a horror/thriller that, even stepping in a considerable way from Stephen King's memorable novel, manages to become its own thing, thanks in a way to the stylish haunting atmosphere, perfect cinematography and one of cinemas most iconic antagonistic performances by Jack Nicholson.

Stephen King's It

Not while having the presence of Tim Curry in his, arguably, most over-the-top and enjoyable performance as the iconic Pennywise, this mini-series could stand on its own at the very end, having a part 1 decently watchable and unsettling in the set up, and the other part falling apart by ridiculous performances and odd direction choices, making this already cult-classic an incomplete experience, specially for King's fans.

It
It(2017)

Eventually it depends considerably from jump-scares and, while some special effects do hold up, at times they represent the weakest element from the film, that being said, setting up a sublime stage for the main characters, who's charisma steals the show, as well as an odd mix between hardcore drama and humor, makes for a satisfying horror experience, paying justice to one of King's most iconic novel, thanks in part to Andy Muschietti's direction and Bill Skarsgård performance as Pennywise.

Okuribito (Departures)

A beautiful-yet-simple tale, Yojiro Takita's film is a humble delight in which the adversity of death is explored in a rather engaging way, apart from its enjoyable cast and thought-provoking script, the movie benefits, as well, from a beautiful direction, a captivating soundtrack and, of course, a deep analysis regarding the value of life, the appreciation of it, and the profound heartbreaking conception of loss and death.

Fright Night
Fright Night(2011)

Maybe unnecessary, considering how memorable the original is, but this modernized remake respects plenty of the original, also adding its own elements, including a more gory tone, stylized action and special effects that, at times works, at times conventional, but all in all functional thanks to its cast, which includes Anton Yelchin, Colin Farrell and the always enjoyable David Tennant.

The Crime of Padre Amaro

Carlos Carrera otorga un crudo y socialmente crítico ensayo cinematográfico en lo que respecta a la hipocresía eclesiástica, así como el lado corrupto del mundo en el que se desenvuelve la iglesia dentro del ambiente rural, sin mencionar un sólido y controversial punto de vista romántico que funciona por la efectividad que poseen histriónicamente, tanto Gael García Bernal como Ana Claudia Talancón, en dos roles que definieron las carreras de ambos, en un filme que hasta la fecha continua dando de qué hablar.

2001: A Space Odyssey
½

It is as complex and profound as its reputation precedes, and clearly an ambitious project in which even the great Arthur C. Clarke was involve, but perhaps a film with such meaning and thought-provoking value could be too much for an average party, needless to say, slow pace and carefully structured rhythm also represents a struggle, but that being said, Kubrick's sci-fi classic delivers in a technical department without a doubt, with majestic scenarios, striking visuals and the definition of a perfect cinematography.

The Devil's Own

It seems standard for a crime-drama, but to its benefit, Harrison Ford and Brad Pitt's chemistry works fairly enough, keeping a certainly decent dynamism in regards to the subject and pace to bring the actual plot into motion, and while the action could be kept at minimum until the third act, it is the connection between the characters what makes this film works in the end.

Atomic Blonde
½

Certainly a standard kind of spy-flick, but deep down it all comes down to Charlize Theron with a strong lead role as a femme fatale and James McAvoy's familiar over-the-top charisma, both sharing a convincing chemistry, combining great style and great 80s vibe, all in order to compensate an average plot that has little true-story value.

Memento
Memento(2000)

Excelling from an astonishing writing, and a great-risky combination of direction and edition, filmed from finish to start, Christopher Nolan creates a unique and dynamically powerful thriller, with a terrific performance by Guy Pearce that only finishes complementing its complexity in what it is an original film, in every aspect, and what may be considered Nolan's best, even nowadays.

13 Assassins
13 Assassins(2011)

Takashi Miike's fictional historical film is quite an experience; having the first half of the film being a visually stunning set up, with great production and hard tones, the second half is pure samurai-action-gory fest, and in both ways the movie works for the benefit of storytelling, and entertainment purposes, offering a satisfyingly enough experience in the end.

Minority Report
½

Based upon Phillip K. Dick's short story, Minority Report combines Steven Spielberg's already singular signature in science-fiction, along Tom Cruise appealing presence and a great casting, all in favor for a highly imaginative, smartly written and visually gorgeous sci-fi, and one of the director's best works from the early 2000's.

The Score
The Score(2001)

While a little too predictable in its ending, but a satisfying one, director Frank Oz put together an overall thrilling, delighting and well-constructed heist movie, with all the good elements and the great combination of A-class names, such as Robert DeNiro, Edward Norton and the always astonish Marlon Brando, all in all for the satisfaction for fans of the genre.

Big Eyes
Big Eyes(2014)

Blessed by Christoph Waltz and Amy Adams wonderful performances and delightful chemistry, this biopic represents a step forward out of Tim Burton's comfort zone, offering great production standards and an enjoyable tale about one of art's most notorious schemes of the past century, only affected by the director's lack of enough extravaganzas as we well admired decades ago.

Airplane!
Airplane!(1980)
½

Playing a gigantically fun spoof over disaster films, this parody benefits from a great selection of visual and narrative humor, taking itself seriously enough to feed upon its slapstick comedy and satirical elements, playing silly as long as it can to endure the audience entertainment, and never failing to deliver in both; dark humor, childish entertainment and the enough amount of laughs.

Blame!
Blame!(2017)

Captivatingly beautiful to look at, its strongest suit is its entire art production, worthy of a modern Netflix original, and even when its premise balances between the standard-cliché and the intriguingly interesting plot devices it uses at times, this sci-fi anime by director Hiroyuki Seshita is a decent film, with enough enjoyable moments to respect the genre it is exploiting, but also with enough action to maintain the viewer truly focused on this anime extravaganza.

A Clockwork Orange

Masterfully shoot, superbly adapted from Anthony Burgess iconic novel, and directed with a conserved skill, Stanley Kubrick masterpiece is a crude, visceral and, at times, humorous take on a complex concept, in regards of human nature and moral, approached in a unique way thanks, for the most part, to Malcolm McDowell's terrific portrayal as Alex, which, along the film's iconic moments, is just as memorable as great films oddly are.

Akira
Akira(2020)

Katsuhiro Ôtomo's superb masterpiece is an anime with almost all the great elements; violence, blood, genuine geniality in its writing and likeably-well structured and attractive characters, all in all for the purpose of adapting an iconic story, with groundbreaking visuals, neat and memorable animation, and a whole style and concept meant to last for years to come, becoming one of the most gigantic influencers of sci-fi in movie history.

Death Note
Death Note(2017)

Although, the film posses some interesting elements, as well as the always delightful presence of Willem Dafoe, it seems it couldn't help to modify the anime's best qualities, such as the original character's structure, development and story focus, not necessarily in the best way, demonstrating how sometimes it is not a good idea to adapt Japanese concepts into American stereotypes.

Leolo
Leolo(1992)

Writer and director Jean-Claude Lauzon offers a rather gruesome and explicit drama, but with the benefit of an intriguing plot, a unique visual style and a beautiful script, this Canadian-French take on childhood could be a delight for the lovers of romanticism, and whether or not you're into its particular harsh point of view, the sole film's bizarre approach into reality and imagination should be enough to keep the viewer hooked in its premise.

The World's Fastest Indian
½

The majority of the film's quality relays on Anthony Hopkins appeal and penetrating charisma portraying Burt Monro, and while as a solid sports film it does works, it surely has some well known clichés of the typical "based on a true story" average biopic, but is certainly Hopkins strong performance as the speedster, as well as the satisfying road-trip feeling, makes this a fairly enough enjoyable experience to sit trough.

Zorba the Greek

Strong in both, direction and writing, this Greek comedic drama is a touching-yet-funny enough to captivate purists with the presence of its two lead roles and their particular but effective chemistry; Anthony Quinn and Alan Bates, not to mention its great locations and unique use of symbolisms towards the use of character development and sympathetic moments, making it a pleasant experience for fans of foreign productions.

Starship Troopers: Traitor Of Mars

Not as equally engaging in neither characters or action as the first installment, and even if at times may feel considerably standard for its own good, the film relays on is opportunity to show enough space-alien extravaganza, along decent enough animation to preserve the interest, this un-ambitious sequel is merely made exclusively for the fans of the franchise.

Full Metal Jacket
½

A movie divided in two almost different parts, one focusing on a rather effectively funny and iconic set up, mocking the military training perspective, and the other, demonstrating a powerfully directed satire of the already harsh and visceral war, particularly centered in Vietnam, showing both, a strongly black humored flick, and an extremely effective war movie with all the great elements out of Kubrick's techniques, not to mention the show-stealer R. Lee Ermey in one of history's most iconic performances.

Batman and Harley Quinn
½

There are some good elements in this animated flick, and even when the reputation over Batman's animated films is quite outstanding, this one feels more like an extended episode of the classic 90's animated show, although its hand-animation is pretty welcome, it is clear it tries to imitate the series style, sometimes succeeding in it, sometimes fall into a mediocre background, and while it is moderately entertaining, it's just a fan-service product in the end.

Lolita
Lolita(1962)

Charming but always self aware of the subject its approaching with such interest, Stanley Kubrick's risky adaptation of Nabokov's infamous classic succeeds in delivering a complex story about an old man in love a young girl, with surprising charisma, direction and even lighthearted fun moments that can be only complimented by James Mason and Sue Lyon's undoubted chemistry, benefit by a dynamically paced script and romantic themes in an otherwise taboo story.

Barry Lyndon
Barry Lyndon(1975)

Slow and patiently structured, this historical-drama requires a certain amount of tolerance, but once you're passed the length, it's carefully placed props, as well as the sets, custom designs and characterizations are only the tip of the ice berg in this beautifully directed, at times funny and well performed adaptation of William Makepeace Thackeray's homonymous novel, adding itself as one of writer and director Stanley Kubrick most ambitious productions, as well as a timeless classic.

Baby Driver
Baby Driver(2017)

When it needs to be an action flick it excels, and when it comes the time to slow the pace a little, it does in such an appealing and stylish way, is almost impossible not to get hypnotized by the movie's magnetizing editing, in which both, sequence, direction and sound gets together in order to become one, and even though it could be considered Edgar Wright's most commercial film, it never disappoints when it comes to its cast, their chemistry and the action around them, a whole dazzling experience that could easily be one of the director's bests.

Iceman
Iceman(2014)
½

Its over-the-top silliness and, otherwise, absurdity overshadows the already ridiculous plot, but having in mind that the film's intentions are never to take itself seriously, and deliver the right dose of action and fight sequences, we can easily tolerate the cartoonish characters and poor writing, but in the movie's defense, there is enough to enjoy, from the stylish props and the always enjoyable presence of Donnie Yen, who's perfectly self aware the kind of project this was meant to be.

Kung Fu Killer
½

Even if the story could go as generic as expected, the great action sequences and kung fu combats deliver in a highly entertaining dose, always keeping its tone and premise in a decent level, but benefit from Donnie Yen's enjoyable presence and amazing skills, almost compensating the film's lack of character development, but never distracting the viewer outside its action, becoming an overall decent action flick that fans of the genre will enjoy.

Ip Man 3
Ip Man 3(2016)
½

Strong in action and pacing, this third installment (not necessarily a closure, though) preserves the strength and virtues of its predecessors, this time, letting the already great fight sequences flow with in a bigger scale, having Donnie Yen's appeal steal the show, along a more emotional and touching set up, making it more enjoyable and committed than the first two, becoming the, surprisingly, best installment in this great kung fu franchise.

Ip Man 2: Legend of the Grandmaster

Once again, director Wilson Yip maintains the effective level of commitment, delivering a more dynamic film than its predecessor, with all the goofiness and over-the-top performances from the cast, but with even more fluid and stylish action, this time, combining (in an although heavily entertaining way) American boxing with Kung Fu, maybe becoming too much of a "Rocky 4", but truth is, Donnie Yen's strongly charismatic performance makes the movie works at a much more higher scale, always being its own thing, with all its virtues and flaws.

Ip Man
Ip Man(2010)

Its historical accuracy may be questionable, but the fact is, along spectacular style inside the martial arts choreographies, as well as charismatically appealing performances by its cast, Ip Man is a heavily entertaining action film, reminiscent of the great kung fu classics, with great action sequences and climatic moments, all crafted by a smooth direction from Wilson Yip, and the enjoyable presence of the future rising star, Donnie Yen.

The Young Tiger
½

Definitely, a dated film in almost every single aspect, although, it may seem entertainingly goofy to gain a "cult" status, its technical issues, as well as its overrated acting and direction could represent a problem for everyone that's not a hardcore follower of the genre, and overall, the style in regards of these films, otherwise, a decadent and unintentionally funny action comedy that'll predict the future of the rising star, Jackie Chan.

Oasis: Supersonic

Portraying the life of the Gallagher brothers before and after Oasis's success with great passion towards the band formation and its origins, this documental captures perfectly the tone, style and meaning of the rock band, exploring each member's backgrounds, some songs origins and meaning, as well as the declining and last days of the group, exploring the conflicts between both, the band members and the two brothers, all constructed in order to satisfy the fans and casual documental viewers equally.

The Salvation
½

Mads Mikkelsen, Eva Green and Jeffrey Dean Morgan's presence helps this average western to stand as a perfectly normal ride, with enough standard action and decent visuals that keeps us from noticing the low budget-production flaws, as well as its pale characters and dry direction by Kristian Levring, turning this flick into another one in the large list on the genre.

The Founder
The Founder(2017)

Director John Lee Hancock's crude but effective and, at times, overly funny take on the history of the McDonald's corporation hits the target, with a great depiction over the figure of Ray Kroc, with the accurately enjoyable performance by Michael Keaton, feeding upon a great take in what it may seems like both, and antagonist and an admirable figure, all added to the mix, accomplishing a strongly invested and bittersweet biopic, which I believe was the main intention, from the start.

Audition (Ôdishon)
½

Slow at times, but extremely effective in the end, this Japanese psychological/thriller may not be suitable for all audiences, and even though it could please both, foreign admirers and gore fans, it could not, depends a lot on patience and the constant anticipation for the third act (which doesn't disappoint), but Takashi Miike manages to successfully craft a perfectly acceptable flick, strong enough to becoming a modern cult classic, and an enjoyable journey, benefit for the most part, of its antagonist.

Possession (The Night the Screaming Stops)
½

Creepily disturbing, yes, and at moments interesting to dig and analyze, but the fact is both, writing and direction from Andrzej Zulawski, are all over the place and they barely seem to reach a precise point in terms of storytelling and attention, not to forget Sam Neil and Isabelle Adjani's bizarrely over-the-top performances that not only distract us from completely follow the line inside the film, but also rips apart any chance of style inside this art house attempt of a horror film.

Dunkirk
Dunkirk(2017)

Writer and director Christopher Nolan, once again, created a visually outstanding and remarkably technical success, better if appreciated on the Imax format, although the story and rhythm (considerably shorter than any of Nolan's in recent years) may lack some of the director's familiarity, its style is particularly strong, using fresh time lapses to enrich the plot, helping the film to craft genuine memorable moments, even when the characters may seem a little flat.

War for the Planet of the Apes

Matt Reeves, once again, accomplished the unusual in sequels; developing a continuation worthy of its predecessors, and the 1968's classic, with freshness and inventing set ups, new and appealing characters, and emotional strength, not to forget Woody Harrelson's surprisingly menacing presence along Andy Serkis already memorable performance, all in favor for a closure of what now could be considered one of cinemas best trilogies of the XXI century.

Dawn Of The Planet Of The Apes
½

Developing and preserving all the good elements from the original, while also adding a more straight-up blockbuster feeling, a deeper context inside both, story and characters, this film benefits from what a great sequel should accomplish; a continuation that compliments the original and, on its own, has strength enough to satisfy both, fans and average audiences, who'll definitely be amazed by the outstanding special-motion capture-effects, and a worthy villain.

Rise of the Planet of the Apes

Perfectly self-aware of what it attempts to be, this reboot/prequel does what most should; respect the true essence of the franchise its based on, adding new and fresh elements to it, and while Rupert Wyatt's film doesn't feel as memorable as the original 1968 classic, the movie surprises with the addition of great special effects, a very contained plot and a satisfactory third act, including Andy Serkis terrific motion capture performance as Caesar to complete the ride.

Planet of the Apes
½

Director Franklin J. Schaffner's memorable sci-fi surprisingly passes the test of time in what it still is a smartly written, inventive and creatively crafted film, that not only has amazing effects and terrific make up, but also a story-ahead-of-its-time, with the presence of the always amazing Charlton Heston in what could be his definitive role, not to mention its always haunting-yet-iconic ending, considered by many as one of the best twists in cinema history.

The Batman Superman Movie: World's Finest

It could have the worst element of any movie based on a tv show, feel like a giant episode, but thankfully this film was able to condense a simple story, yet, filled with action, incredibly enjoyable characters, and the fun and joy both shows have, combining the team behind each one to deliver a great crossover, not only as a product of its time, but also as a great animated example of how to combine two of the most memorable icons of pop-culture, in a much more effective and dedicated way than a live action version.

The Turin Horse

Unfortunately the movie runs in a very much slow pace, considering how typical this is for art-foreign films, and not even its amazing visuals and style can help an empty story, especially considering the overall odd direction it takes, making the viewer thinking at first about a profound Nietzsche biopic, in regard of his last days alive, but becoming something else, although interesting at moments, in the end, playing just weird.

Miss Violence
½

The film does is best to hide its true identity; a raw-heartless drama, with cold performances and unsettling moments that'll make mainstream viewers uneasy, and even if at times those moments work, the general atmosphere and artistic tone of the movie never goes beyond until its third act, making it a hard-to-digest experience that only foreign film lovers would mostly enjoy.

Stuart: A Life Backwards
½

Humble but effective, this small biopic based on Alexander Masters's research on a homeless-sociopath keeps itself simple but always focused on its main target, but even if the film never tries to reach a grandeur lever of drama or complexity, it still possess a touchingly enough hook for casual viewers, and the delight of enjoy both, Benedict Cumberbatch and Tom Hardy in their early days.

Colossal
Colossal(2017)
½

Unconventional and, yet, unique, Nacho Vigalondo uses a peculiar storytelling style in order to deliver a funnily-odd kaiju flick, with enjoyable performances, and even a fair amount of action to stand on its own as a strong indie film, even if the movie, at times, loses rhythm in a-sort-of-distracting way.

Before Midnight

Evolving through the achievements accomplished from the previous film, this third part conclusion delivers the best it could; a solidly mature and realistic closure, similar to what an old couple conceived by romance always face reaching the difficult years, feed upon the brilliant writing and direction of Linklater, following its two enjoyably natural leads into the struggle of reviving the forgotten feelings delivered in the beginning, all in all leading into a touchingly hard finale that makes for a solid and unique trilogy.

Before Sunset

Preserving the best and most effective elements from its predecessor, Linklater's continuation of his romantic flick may seem unnecessary, considering the subject, but this new depiction, although reminiscent of the first one, approaches new subjects and points of view, not to mention the great and natural chemistry from its main lead roles still intact, in order to delight fans of the first, becoming a pretty much similar experience as the 1995 film.

Before Sunrise

It could be considered "unrealistic and quite corny" to some average viewers, but truth is, director Richard Linklater's romance is a unique depiction on love, towards great writing, natural chemistry in the two lead roles performances, and the proper direction to drive something so cliché as two people meeting the first time and falling in love for each other, but, at the end of the day, making it work with all the right elements and a great overdose of joy.

Awakenings
Awakenings(1990)

The third act may be considered "corny", but Williams's charm and DeNiro's touching performances, along some solid and healthful moments, helps this "based on true events" drama to reach all the right places, with passion, neat direction are a noticeable devotion for the story told, clearly a Oscar-worthy kind of material.

2046
2046(2005)

Beautiful narration, as it is in dialogue and intensity within atmosphere and characters, director Wing Kar-wai surrealistic romance reunites powerful elements; between melancholy and certain conceptions of love, the film divagates among styles and rhythms, conceiving a delight for the eye and ears in, what it ends up being, a unique foreign drama.

Spider-Man: Homecoming
½

Full of both: enough charm and the already familiar Marvel-tone to work as both, a great return for its main character, and another enjoyable entry in the wide Marvel Universe; this reboot, in its third attempt, presents us a totally fresh and appealing new version of the web-slinger, with dazzling action, enough familiar faces, a well selected cast, and the promise of a potentially great upcoming franchise, with the strength of Tom Holland in the lead role to hold on in it.

The Amazing Spider-Man 2

Maintaining the most effective elements from the first one, this follow up grows in character development, as it is proved how much the chemistry between the cast works, specially (once again) with Garfield and Stone, but even if its comic-book feeling, in regards of action and tone, is more dedicated, too many side plots and weak story devices continuingly stops the film to go further, ultimately stopping a potentially solid franchise to move forward.

The Amazing Spider-Man
½

It has some enjoyable moments and cool action sequences, fluid enough to maintain the viewer's attention, but it may lack the grandeur vision from the original two films, although, its attention to adapting the character into a more loyal version of the paper-counterpart could please hardcore fans, not to mention the bigger and modern "comic-book feeling" that separates this reboot from the previous entries, along a delightful chemistry between the two main characters.

It Comes At Night

Sort of a mix bag, truth is, whether or not you fell for the final result, this small but effective suspense-post-apocalyptic-drama has an strong amount of good elements behind it, from good tension in the direction, to its deep writing and terrific performances, although the pacing may result in a big problem for casual viewers, truth is, the film serves its purpose, and benefits from its weakness; a 100% human take on, what it may seem, a monster film.

Spider-Man 3
Spider-Man 3(2007)
½

Even if the film preserves some familiar elements from the previous two, a giant lack of focus, mixed with silly character development and poor action (despite the intensity of the first ones), this third and final installment in the Spider-franchise by director Sam Raimi never fully satisfies the fans, taking weirdly-incomplete decisions that leaved the average viewer craving for more.

Spider-Man 2
Spider-Man 2(2004)
½

Taking the best elements out of the previous installment and improving over them in every way possible inside its already great premise, Spider-man 2 is the best example of how a franchise should move forward with all the good stuff: a compelling set up, appealingly evolving characters, great style and faithfulness to the characters based on, all to create one of the best movies of the genre.

Spider-Man
Spider-Man(2002)

Deep within emotions, along a great translation from source material to cinematic format, Spider-man continues the legacy of comic-books adaptations in the early 2000's, with huge charisma and heart towards its story and direction, and enough memorable moments to overshadow its weaknesses, something quite weird at a time with such films.

Okja
Okja(2017)

With deep emotion, and his already typical bizarrely-unconventional vision, Bong Joon Ho, once again, proved his mastery at crafting complex familiar stories, with a particular dose of social commentary, histrionic extravaganza, and uniqueness in his visuals, enough to catch the viewer's eye from start to finish.

Eyes Wide Shut

It is definitely Stanley Kubrick's weakest, but certainly a strongly influential work, since he passed away after doing it, playing a safe-but effective card, with strong dialogue, suspense and, especially, his typical signature in prominent and powerful visuals, creating atmosphere and tension towards the majority of the film, which is carried, for the most part, thanks to Cruise and Kidman's amazing chemistry.

Dr. Strangelove Or How I Learned to Stop Worrying and Love the Bomb

Mocking both, political and military subjects, Dr. Strangelove founds writer and director Stanley Kubrick enjoying a deliciously satirical parody, with enough dark humor and cleverly paced scenarios and moments, needless to say its memorable politically-incorrect characters that never stops to amuse the viewer, all of it leading into an incredibly effective ending, crafting a strongly memorable masterpiece.

Clueless
Clueless(1995)

Clueless is a small but genuinely girly-fun reminiscent of the 90s, capturing the teenage stereotype with some laughs, imagery and, while pretentiously smart at times, harmless performances towards its nowadays popular cast.

Bokeh
Bokeh(2017)
½

Maybe its context and ending are, in a way, unfinished, but it benefits from an "art-house" touch, combined with deep dialogue and a comfortable feeling while following the main characters daily basis, becoming a normally pleasant experience, but never going further.

In a Lonely Place
½

It takes the viewer by surprise with a particular turn of events at the beginning of the movie, along Nicholas Ray's direction, is smoothly enough to craft an intense romantic-thriller, combining an intense script with the perfect chemistry and charisma of Humphrey Bogart and Gloria Grahame, resulting in a must-see classic.

Following
Following(1999)
½

Director Christopher Nolan's first film shows his inexperience in the field, especially in the technical background, but it shows, as well, his talent to craft smartly-paced stories, as well as interestingly developed characters and thrilling environments for them to grow within the plot, undeniably, a distinctive quality in his future films.

Resident Evil: Vendetta
½

The experience is meant only for entertaining purposes, and it preserves the feeling from the games with neat-regular animation, but the third act falls apart in an overly conventional action extravaganza that seems to be taken from previous entries (and even other films), making it a rather standard experience that'll only please hardcore fans of the franchise.

The Leopard
The Leopard(1963)

With superb direction and amazing production design behind a humble and simple story, Luchino Visconti's romantic drama is a political-yet-human experience, with terrific performances, humor, and a great sense of passion, with also the delightful presence of Burt Lancaster and Adan Delon.

Mother (Madeo)

Another great addition in Bong Joon Ho's catalogue, Mother explores the evolution of a story, from a simple-yet-odd premise, until a full grown thriller that captures what we, as audiences, love the best; to be taken by surprise in an intriguing and strongly hooking experience, all of this to explore a mother's obsessive devotion towards her son.

The Host
The Host(2007)
½

Director Bong Joon Ho uses moderated political commentary, enough amounts of B-movie elements, as well as strangely effective humor to create an oddly bizarre monster film, with the advantage to not depending on its main premise, in order to fool the viewer into digging in more deeper backgrounds.

Mommy
Mommy(2015)

Some may consider its execution and overall performances quite over the top, but the truth is, this foreign drama adopts the basic principles of a complex relationship between a lonely mother and her troubled son, along their social endeavor, resulting in a disturbingly engaging modern take in the Oedipus Complex, not for conventional audiences.

Midnight in Paris

With beautiful passion and a strong devotion involving its entire context and artistic atmosphere, Woody Allen wrote and directed a strongly appealing love letter not just to the city from the title, but to the entire golden age of art and literature, not to mention the intensity of the cast, as well as the extremely faithful portrayals of the famous figures it represents.

Jackie
Jackie(2016)

While its structure and score might represent a problem for some viewers, the tone and central story is a delight as both, narrative and directional attributes, giving the entire context behind Kennedy's murder a freshly new contrast and perspective, with the fantastic leading role of Natalie Portman to dominate the entire film, from beginning to end.

Never Let Me Go

With an odd premise, but a rather effective execution in style, performances and direction, this flick combines two genres most audiences may find inadequate, or even strange, but with enough charisma and touching atmosphere, this unconventional love story works with plenty of material and substance, even if its message isn't quite as clear for the average viewer in the end.

Once Upon a Time in America

Even if its conclusion is not as powerful as the rest of the film, the tone, characters, performances, along neat direction and carefully constructed script makes it all for a giant piece of cinematographic experience, combining the best elements from the genre, such as atmosphere, score and stylish settings, becoming a worthy career retirement entry for director Sergio Leone.

The Mummy
The Mummy(2017)
½

Even though its action and mythology focus is, somewhat, the expected from the title, it lacks a genuine horror tone and it loses focus, adding too much elements from the Dark Universe, with the unnecessary presence of Russell Crowe and side-plots, making it a so-so experience that delivers half way through.

Into The Forest
½

A touching-yet-slow paced apocalyptic drama, benefit from its two lead roles and a decently intense third act, but overshadowed by a singular simplicity and a not so particularly outstanding script.

ParaNorman
ParaNorman(2012)
½

ParaNorman delivers the best out of the genre, with fun-strong moments and emotional value, not to mention its great animation, imaginatively crazy designs and deeply rich story inside the spoof of classic horror films.

Wonder Woman
Wonder Woman(2017)

Charming, action packed and quite entertaining, Wonder Woman is the first DCCU movie with the essential strength to stand as both, a solid superhero flick and a great entry in the shared universe, even when some of its writing and the main villain arent strong enough as Gal Gadot's outstanding performance.

Lion
Lion(2016)

The familiarity of its plot doesn't stop this "based on true events" drama from moving on, with heavily emotional moments, strong visuals, and terrific performances, making it a hard-yet-passionate touching story.

Moonlight
Moonlight(2016)
½

Moonlight possesses both, a powerful direction and adequate performances, along certain strong emotional moments, but the story never reaches any deep corners and its conclusion is neither clear nor bigger to compare it with the rest of the film.

Get Out
Get Out(2017)

Build with powerful use of suspense towards good writing, direction and performances alike, this film takes advantages of a greatly effective tension and development, also adding a surprising amount of good humor, director Jordan Peele created a freshly old school Thriller.

Friday
Friday(1995)
½

F. Gary Gray, along the presence of Ice Cube and Chris Tucker, managed to put together an exaggerated-yet-satirical African American comedy, with enough laughs and style to stand on it's own, for the most part of the film.

The Discovery

The premise is as cliché as you can expect; "what happens in the Afterlife? Can we reach into it?", and even with the presence of Jason Segel, Rooney Mara and Robert Redford, the story never evolves into something else, not even with an spontaneous twist at the end, making Charlie McDowell's sci-fi drama a pretty formulaic flick.

Lovesong
Lovesong(2017)
½

It may seem pointless and meaningless at first sight, but a neat direction and overall realistically clean dialogue makes for a touching and heartfelt drama about the paths of friendship and love, due mostly to its two main characters.

Kiss Me (Bésame)

Overly rushed and weak in tone and pacing, but generally well intended through decent acting and emotional moments, Kiss Me is an attempt to create a unique drama, but it never goes beyond the overall average American teen style flick, becoming just a normal experience to sit through.

Black Swan
Black Swan(2010)

An amazingly crafted depiction about obsession and degeneration towards beauty. Darren Aronofsky's twisted and visceral take on the Swamp Lake feeds on a disturbin-yet-tragic perception of the fight against our own demons, having the spectacular Natalie Portman to complete the perfect combo.

Gray Matters
Gray Matters(2007)
½

A humble little chick flick comedy that benefits from its simplistic tones and charming cast, even if its entire "fin your own identity" subtext is never deeply explored, and the humor is, oftentimes, cliché.

Thirteen
Thirteen(2003)
½

Catherine Hardwicke pulled together a pretty solid teenage drama about the casualties and consequences of puberty missteps, and the influence of wrong companies at the wrong age, not to mention Evan Rachel Wood's fantastic performance as the troubled main character.

Cruel Intentions
½

Totally self-aware of it's presumptuous premise inside a juvenile background, Cruel Intentions context also helps the story to move forward, with an attractive essence between characters, and a silly-yet-enjoyable vision about teenage.

Byôsoku 5 senchimêtoru (5 Centimeters per Second) (A Chain of Short Stories about Their Distance)

Outstanding animation and beautiful narrative conforms a unique-yet-simple, love story, that may seem a little conventional, but that takes advantage of its simplicity with touching characters and themes.

Sid and Nancy
½

Accurately constructed and loyal to it's subject, Sid & Nancy finds itself telling the visceral-yet-funny- story of the ex-bassist of the Sex Pistols in a dark and touching tone, mostly succeeding with the help of the always great Gary Oldman as the Punk-star, and Chloe Webb, both in the lead roles

Alien: Covenant

Heavily dependent on the continuation elements from Prometheus, in a certain point of the story, Covenant had the potential to become a strongly stand-alone entry in the franchise, however, it fails at pacing and focus, being outstanding visuals and Michael Fassbender's amazing performance the best elements of Scott's newest.

Prometheus
Prometheus(2012)
½

Groundbreaking visuals, outstanding production and overall fine performances makes for an interestingly decent sci-fi flicks, mostly due to Scott's dominance of tone and atmosphere, especially in regards of this universe, but a lack of profound connections with the Alien franchise may be a problem for most of the audiences, even when the film could benefit on its own essence, and with the delightful presence of Michael Fassbender.

Aliens vs. Predator: Requiem (AVP 2)
½

It depends, mostly, on the use of practical effects and production value, but the lack of focus in story, tone and direction destroys an already weak and poor premise, with terrible performances, low-key set up and what could easily be one of the worsts cinematography works in cinema history.

AVP - Alien Vs. Predator
½

Weak on characters and story (specially in regards of the franchises it's exploiting) this crossover delivers, at least, on production value and entertaining levels, becoming as average as only a popcorn flick could be, but always leaving the spectator a bitterness for more.

Alien Resurrection
½

As a closure it fails, even when providing an atmospheric comeback to it's roots, but its potential ideas are overshadowed by a lack of coherence and purpose, substitued by goofiness, bizarrely unappealing elements, and over-the-top moments.

Alien3
Alien3(1992)

Even with David Fincher's stylish and fluid direction, Giger's new designs and a promising set up, this 3rd installment fails to provide an equally satisfying and almost perfect experience the previous films delivered, with a lack of development in both, characters and story, making this a disappointingly "Ok" entry in the franchise.

Aliens
Aliens(1986)

Following the success of the first one, this sequel multiplies it's best elements, offering bigger story, characters and even richer designs and astonishing special effects, resulting in one of the best second parts of all time, and a film that surfaces perfection.

Alien
Alien(1979)
½

Rich in atmosphere and vast in it's own mythology, Ridley Scott's directional debut is a jewel in the horror/sci-fi territory, not to mention the amazing designs by H.R.Giger, haunting scenarios and an astonishing lead role by Sigourney Weaver.

Spartacus
Spartacus(1960)
½

Smooth and stylish direction, superb production and a delightful script makes of Spartacus an instant classic among the best Hollywood epics, and another impecable entry in Kubrick's unbeatable filmography.

Guardians of the Galaxy Vol. 2

The already great tone and style that defined the first it's pretty much intact, and aside of some dirty jokes, the humor never stops shining; rather than a sequel, this feels more like a continuation, one that never let's down, specially with the enjoyable presence of it's great characters, and the always amazing Kurt Russell.

Trollhunter
Trollhunter(2011)

Perfectly self-aware of what it is and what its dealing with, André Ovredal's directional debut delivers as both, a surprisingly entertaining monster film, and a satisfyingly well constructed found footage mocumentary.

The Autopsy of Jane Doe

A surprisingly solid horror thriller, that smartly enough maintains the expectator at the edge, with clever well-paced rythm, atmosphere, and a premise that keeps growing, also benefit by the always welcome presence of Brian Cox.

Underdogs (Metegol)

Maybe the animation is pretty decent, and the story behind this film is quite innocent and well intentioned, but the lack of focus and general appealing overshadows a potential good animation that only true lovers of the sport it tries to honor may enjoy.

Raw
Raw(2017)

Esthetically attractive as it is repulsive, when the time comes, Raw finds debutant writer and director Julia Ducournau in a strong wild ride, even if the narrative is not as powerful as it's main subject and symbolical imagery.

RoboCop
RoboCop(2014)
½

It does offer good pop-corn-sci fi action, and it does have plenty of good ideas, but as an improvement over the original 80's classic it never goes further, falling into the worst deadtrap a remake of such an iconic title could fall into: being average.

The Congress
The Congress(2014)
½

At first, it really seem to know it's own direction and objective, and clearly it is ambitious and great performances are present, but without a true focus, and an odd structure in the middle of the way, doesn't help the film to even be enjoyable when it is inteded to.

The Impossible
½

Emotionally striking and visually breathtaking, J.A.Bayona directed and incredibly strong drama that benefits from it's strong subject, powerfully compelling performances and groundbreaking style, making in one of the best disaster-movies from recent years.

Ghost in the Shell
½

Visually stunning and for the most part esthetically respectful to the source material, this live action version takes advantage of it's improvements, even when some of the new elements don't work completely for the die hard fans, still, it can be enjoyable enough as an average sci-fi flick.

Paterson
Paterson(2016)

Jim Jarmusch's newest flick may seem empty and pointless at first, but looking at it more closely, its warm and simplistic feelings are the strongest elements from a story that seems to pay tribute to a daily-basis-routine, with appealing characters and a growing sense of poetic affection.

Merantau
Merantau(2009)

It takes a while for its "lone-man-hero" conventional set up to start, but once it does is a non-stop action blast, with great edition and amazing martial arts moments, Gareth Evans directional debut is a worthy entry in his amazing filmography.

Locke
Locke(2014)

It doesn't matter how simple the concept is kept, great direction, an invested script and a fantastic performance by Tom Hardy makes this small drama worth the viewing.

Only Lovers Left Alive
½

As strong in style and atmosphere as it's also bizarre and unconventional, this vampire flick benefits from a heavily appealing main characters, but it struggles with a slow pacing rhythm and a lack of actual plot, which can only make some mainstream audiences to step away from it.

Burying the Ex
½

Its purely a basic B-movie, with humor and enough eye-candy to be tolerable, but the absurdity behind the dry concept never goes further, specially considering it is a Joe Dante flick, which it only makes it even more disappointing.

What We Do In The Shadows
½

Never afraid of exploiting its fantastical dark humor, this fake documentary makes fun of the vampire mythology and genre, all at once, but always respecting how it should work, with great characters and the fair amount of horror and gore every flick like this should always have.

Saban's Power Rangers

As absurd as a concept as it was in the 90s, this new Rangers reboot offers pretty much the same techniques, but good performances, average direction and overall enjoyable action makes this a surprisingly fun experience.

Inside Llewyn Davis
½

Even if it's not a comedy, the Coen's managed to craft an interestingly dramatic-yet-deeply fun biopic, using great characters and a simple story that never stops moving, adding Oscar Isaac's strongly appealing performance to fill an already good movie.

The Infiltrator

It's your typical "inside man fights crime" story, but the direction and performances (specially Cranston as the lead character) represents definitely the best of the film, qualities that could rescue and overall average movie.

T2 Trainspotting

Maybe not filled with the exquisite overdose of social commentary and dark humor as it's predecessor, but this sequel respects almost all of the first's essence and style, using its own nostalgia as the main engine to please the generation this belongs to, making it a more than staisfying experience.

Trainspotting

A brutally visceral depiction of the real world from the perspective of teenager from Edinburgh, Irvine Welsh's masterpiece is recreated almost perfectly in movie format thanks to Boyle's great direction, fantastic performances by an incredible cast and enough humor and social commentary to feed the most hardcore movie-gore demands.

Beauty and the Beast
½

Charming and respectful of the original, the new version is filled with enough classic elements, which is also a weakness on its own; the lack of original material, and some new aspects (that might or might not work) could please heavy fans, and left some of them craving for more, making it an enjoyably average remake.

Frank
Frank(2014)

Unconventional and eccentric, Frank uses it's originality to it's favor, in a highly inspiring little comedy with a lot of hearth and an odd hook for music lovers and indie goers.

Nocturnal Animals
½

The "Open to interpretation" ending may be a problem for average audiences, but the overall acting, writing and direction makes for the best elements of this romantic thriller that is also provocative to appreciate in a visual level.

Saving Mr. Banks

With extreme devotion over it's subject and a great passion behind it's script, the story of how one of the most beloved movies of all time was made is a worthy one, specially thanks to the brilliant cast, not to mention Tom Hanks and Emma Thompson outstanding performances in the lead roles.

Raising Arizona

A touching comedy about parenting and the need of affection, filled with heavily entertaining moments, eccentric humor and amazing performances by it's cast makes this one of the Cohen's most memorable films.

Kong: Skull Island
½

Never taking itself too seriously, and offering the right amount of Monster-action, this new version of Kong doesn't try to live up to the classic, but it's level of entertaining value it's always high, making it a good addition to the modern Kaiju revival.

Shane
Shane(1953)
½

Humble but inspiring, this little western offers a heartwarming story that benefits, mostly, from its cast, specially by the charisma of Alan Ladd in the lead role, even if the film lacks the usual amount of action of a typical genre flick.

Logan
Logan(2017)

Exhilarating, visceral and brutal, the last installment in the X-franchise is filled with enough action and nostalgia to satisfy not only fans, but audiences in general, making it a more than a worthy farewell to Jackman's most relatable and memorable character.

X-Men Origins - Wolverine

There are few elements that actually work in this prequel, but none of them are enough to compensate for the lack of creativity, poor execution, terrible writing and awful looking special effects, ruining what it could've been a potentially promising spin-off from a great character.

X-Men: The Last Stand
½

The first half is pretty much solid, but the film slowly falls apart later on with unimaginative and heavily pop-cornish comic book action, that fails to provide the efficiency and style the previous 2 films accomplished, even when the characters still work as good as they did before.

X2: X-Men United
½

Solidly writen and directed, the second installment in the x-franchise upgraded the best elements from its predecessor, but it also offered a unique view that'll define how this franchise should be handle, with better technicals aspects, performances and a promising further exploration for these chatacters.

X-Men
X-Men(2000)

Bryan Singer offers not only a solidly structured humble film, but also an stylish and grounded story that represents the official blockbuster resurrection of the genre, showing how good superheroes can work with the proper production behind them.

John Wick: Chapter 2
½

Doing what sequels should do; upgrading almost every aspect of it, from action to the background and development, Chapter 2 offers the double of everything, and marks an incredibly intriguing continuation for what could turn out to be a very impactful and remarkable trilogy.

John Wick
John Wick(2014)

Smooth sequences and heavy on style, John Wick relays strongly on carefully placed and directed action, paying tribute to old school flicks of the genre, making it a superb comeback from Keany Reeves, even if the story department isn't as fresh or remarkable.

Split
Split(2017)
½

Shyamalan offers an entertainingly thrilling ride, along McAvoy's terrific portayals of several characters, which complements a well structured story, making it a fun time, even if some of the director's typical incoherences and narrative issues stops it from going even further.

Dark Skies
Dark Skies(2013)

The potential behind Dark Skies is huge, but without the proper writing or an actual engaging direction the movie goes nowhere, as it takes a premise that has already been explored in many other films, most notably , Signs.

Coraline
Coraline(2009)

Director Henry Selik proofs, once again, that he's a master in the art of stop-motion animation, adapting with an incredible sense of faithfulness one of Neil Gaiman's most memorable works, in a dark-yet charming masterpiece; with great characters, atmosphere and superb production design.

Tinker Tailor Soldier Spy
½

Even if the film doesn't possess something unique and powerful enough to make it memorable, it's narrative, direction and amazing performances by a brilliant casting grants and enjoyable spy thriller, that it's not commonly nowadays.

The Skin I Live In

A disturbingly poetic and unsettling premise. Almodovar crafts another great film, with a superb take on psychology of obsession and degeneration, along great performances, well structured pacing and unique score, all for the making of a truly original Thriller.

The Lego Batman Movie

Lego Batman continues the surprisingly effective formula of playing with a popular concept and create a heavily entertaining, smartly paced and over-the-top fun family film, with all the satire and talent you could expect from an already promising trademark.

Autómata
Autómata(2014)

It is full of ideas, and some interesting dialogue at certain points, but you've seen this film so many times, that not even the strong aspects, like visuals and some designs, are enough to give the movie a chance in regards of other great sci-fi's.

La La Land
La La Land(2016)
½

It gives new life to a genre that felt exhausted and poorly exploded, using a beautiful soundtrack as a cornerstone, great performances by the lead roles, and a unique story that, at first, may seem as conventional, but with a strong approach to reality.

Incendies
Incendies(2011)

It lasts a little too long than it should've but, at the end of the day, it pays of with a devastating conclussion that'll strike the viewer, compensating the tedious-grimm tone of the rest of the film, which is probably the first one (along Maelstorm) to define Villeneuve's further style.

Polytechnique

Just as it should be, Villeneuve's third installment in his filmography is ruthless, tough and as graphic as a movie with this subject is able to be, but inside all of that, is also touching and provoking and fearlessly human, two strong qualities in a very explicit film.

Maelstrom
Maelstrom(2000)

A more grounded and ambicious flick, Villeneuve's second film plays with several plot devices that, effectively, works on favour of a movie with great visuals and substance, although the rythm and some music selections don't quite work.

August 32nd on Earth
½

While it's premise may be a little too simple for the final result, Villeneuve's first full lenght film is charming and never goes too far. Something that the viewer either could see as an advantage or a weakness.

Allied
Allied(2016)

With the combination of an effective chemistry between Pitt and Cotillard, thrilling plits and a great production design, Allied stands among other recent Zemeckis films, in a fairly enjoyable and classy espionage ride.

Midnight Express

Filled entirely with an unsettling sense of gritty frustration, Alan Parker shows his ability to direct a story of desperation, injustice and de grieve for freedom, with a great cast, visuals and a cruel look at the horrors of a Turkey prison.

Adaptation
Adaptation(2002)
½

It offers an odd premise that may not be suitable for every kind of audience, but an incredibly smart script, an original idea and the always admirable direction of Spike Jonze makes for a delightfully weird ride, along one of Nicolas Cage's best performances in years.

A Monster Calls

It delivers a great adaptation level in regards to Patrick Ness beloved novel, but director J.A.Bayona didn't stop there; crafting a simple-yet-fitting cast with a great production value in a story that deserves all the credit it has been giving to it.

Your Name. (Kimi No Na Wa.)
½

A beautiful and touching love story, animated in a gorgeous way, and presenting a tale that overshadows most of the genre flicks nowadays, making it an amazing addition to director Makoto Shinkai's filmography.

All About My Mother (Todo sobre mi madre)

The performances are the key elements for this huge drama, but Almodovar's most acknoledged film is a powerful take one several elements, such as motherhood, loss, hope, rejection and the need for human acceptance, all condensed in a unique story.

The Truman Show
½

An original idea that came along pretty much in all the right ways, Peter Weir's modern classic preserves itself as an authentic and smartly written comedy-drama, that explores human dependency over entertainment media and the day by day monotony, with an hyper charismatic performance by Jim Carrey in the lead role.

Hacksaw Ridge

Mel Gibson, once again, manages to craft a heavily armed production; with an intense dramatic plot, proper dosis of humor and his typical gory visuals, combined with strong performances, specially by Andrew Garfield in the lead role.

Big Trouble in Little China

A fun-blasting ride with great special effects, heavily action packed, and the always compelling presence of Kurt Russell that makes for a big entertaining B-movie.

The Invitation

It plays slow paced, but also maintaining a big amount of intrigue; The Invitation is a strong thriller, in which writing and direction are the most powerful cards, leading up to a so-so predictable but effective conclusion.

I Am Not a Serial Killer
½

Disturbingly suspensful, dark and funny when it has to, this Thriller keeps simple, and yet, it manages to craft and intriguing take on the so-over-saturated "serial killer slasher" genre more than many others in recent years, also offering one of Christopher Lloyd's best performances, ever.

Deathgasm
Deathgasm(2015)
½

It plays mostly for the laughs, when it's not cliche-ing the genre, but the gore-fest is definitely entertaining, with plenty of fun, great effects, and paying tribute to one of the big names out there, The Evil Dead.

Assassin's Creed
½

Offering an interesting premise, Assassin's Creed offers plenty of action, but its confusing and plot-holed script and dry direction makes for a bittersweet ride, something that harms many of the vide-game adaptations.

Sing Street
Sing Street(2016)
½

Sing Street acquires the best out of the 80s, crafting a sensational and devoted tribute to music, with great spirit on its story, a compelling and charismatic performance by its cast, and a superb soundtrack.

The Boy And The Beast (Bakemono No Ko)
½

A great combination between classic and digital animation, enjoyable soundtrack and a compellingly passionate story makes writer and director Mamoru Hosoda's new animated flick another great entrance in anime full-lenght features.

Immortal Beloved

Strong and loyal to it's main subject, this biopic focuses more on Beethoven as an individual, rather than an artistical figure, but Gary Oldman's portrayal as "The Maestro" is what makes this movie a worthy take on one of the most distinguishing figures in universal culture.

Why Him?
Why Him?(2016)
½

A humble comedy that's perfectly self-aware of its potencial, and, although it's cliché premise, James Franco and Bryan Cranston share a really fun and simple chemistry.

Mean Streets
Mean Streets(1973)
½

Scorsese's first gangster-flick is filled with great environments and interesting characters, specially Keitel's and DeNiro's, but the lack of solid story and a slow pace script keeps the film from going further, something that the groundbreaking director clearly learned to perfect in future instalements.

Tombstone
Tombstone(1993)
½

A movie that, from start, to finish, captures and embraces you with a classic western story, with the proper doses of action, character development and suspensful moments, all superbly combined with the presence of an amazing cast.

THX 1138
THX 1138(1971)

Visually interesting and, at points, genuinely original in it's own concept, George Lucas's grand directional debut is quite unique and stylish, but it sort of loses it's main focus with dry characters and an oddly paced storyline that may distract mainstream audiences.

The Nice Guys

Filled with the proper mix between comedy and action, director Shane Black returned to his roots with a fun action packed and strongly entertaining buddy-cop flick, charmed mostly by the great chemistry between Ryan Gosling and Russell Crowe.

Swiss Army Man

A movie fearless of exhibit itself as what it is; a randomly paced, dark, unconventional and intriguing comedy with enough substance to make it's audience think of the moment, with fantastic performances by Daneil Radcliff and Paul Dano.

Moana
Moana(2016)

Moana offers classic Disney conventionalism's while adding its own essence to a highly entertaining and involving story, combined with spectacular animation, good-appealing characters, and a worthy soundtrack.

Ghostbusters (1984 Original)

Ghostbusters mixes humor, action, spooks and even cleverly nerdy writing, into what it could be the 80s most memorable original film, that still holds up today as it did back in the day.

The Silence of the Lambs
½

Thrilling, intensely written and terrificallly performed, the adaptation of Thomas Harris most popular book is a master piece in every way, not to mention Hopkins's most iconic performance.

Fantastic Beasts and Where to Find Them
½

Even with low pace and script-development issues, this new installment in the Wizardly World crafted by Rowing is a delightful adventure, with strongly appealing characters, great creativity behind it's imaginative story, and the proper-fan service elements for its audience.

Arrival
Arrival(2016)
½

A fantastic sci-fi that, even though it takes its time, builds up into something bigger than it's premise, with the addition of great performances of Amy Addams and Jeremy Renner, great cinematography, direction and a smartly-paced script.

This Is the End
½

It never takes itself too seriously, and it's filled with classic Rogen-Goldberg humor, which for its substance, it fits perfectly in it's satire of a post-apocaliptic subject.

Bram Stoker's Dracula
½

Even with its dull writing and over-the-top performances, the beautiful cinematography and capture of the spirit of Stoker's immortal work, grants this interpretation of the iconic character an unforgettable face among other classics.

The Perks of Being a Wallflower

Touching, warm and simple in its tone, Chbosky crafted his own story in a faithful and, also, stand alone way, with a terrific cast and a wonderful pace, The Perks of Being a Wallflower is the perfect example of how to do a teen-drama.

V for Vendetta
½

With well crafted direction, a faithful script and terrific adaptation of the source material, V for Vendetta manages to accomplish a crude and interesting look at the dystopian-political scenario, complementing a great premise with the astonishing performances of Hugo Weaving and Natalie Portman.

Career Opportunities

Frank Whaley is both, charismatically funny, and incredibly obnoxious, also, the film never takes itself too seriously (even for a comedy written by John Hughes) but the fun moments are quite enjoyable and, yeah, there's also Jennifer Connelly...

Night of the Creeps

It keeps playing in silly ground, with dull performances and absurd direction, turning it into one of those "too bad is kinda good" flicks.

Creepshow
Creepshow(1982)
½

It doesn't take itself too serious, and it doesn't relay on genuine scares, but the creativity behind the different stories and awesome use of special effects by the great Tom Savini, makes this anthology a worthy 80s cult classic.

The Lost Boys
½

While silly and over-the-top, the production value and faithful attachment to the Vampire mythology makes The Lost Boys a truly 80s product, gaining the well deserved cult classic category.

Like Crazy
Like Crazy(2011)
½

Anton Yelchin and Felicity Jones share a fantastic chemistry, and the overall environment and realistic writing of the film suggests for an easy digestive take on an over exhausting genre.

The Entity
The Entity(1982)

Even with a decent amount of suspense and atmosphere, this horror-thriller is filled, in great part, by good performances, specially in its lead role, but the movie lasts more than it should, and part of its rhythm decays throughout weak scares and dry direction.

Kubo and the Two Strings
½

Laika, once again, managed to deliver another fine product that resembles in its originality, delivering amazing characters, a great build up, and a story that keeps getting bigger and bigger, resulting in a beautifully animated and well crafted film.

The Rocky Horror Picture Show

From the stylish oddity to its over the top performances, The Rocky Horror Picture Show is a lot of things, probably something not meant for all audiences, and is not just the fact that it has one of musicals best soundtrack, but Tim Curry himself ended up carrying the entire show in his most eccentric role.

Pumpkinhead
Pumpkinhead(1988)

The puppet work in the creature is terrific, and some of the background aspects of the story are quite enjoyable, but its silliness in the direction and performances keep this cult-horror flick from being better.

The Slumber Party Massacre

Playing with an overdose of silliness in pacing, performances, Edition and writing, this slasher flick falls in absurdity, which is why is no surprise it's considered a cult classic from the 80s.

Blair Witch
Blair Witch(2016)
½

Jumpscares and recycling material from the first film is probably what will make general audiences dislike this sequel, but to it's credit, it doesn't last long, and the last 15 minutes of the film are genuinely amazing, making the admission ticket worth it.

Miss Peregrine's Home for Peculiar Children
½

It's always pleasant to see Eva green in this sort of roles, and the premise is quite entertaining, but as many Young Adult adaptations, it hardly finds ways to hide that it is, indeed, a book adaptation, even if Burton's weirdness can steal the show from time to times.

The Kids Are All Right

The Kids Are All Right has humor, drama and the right dosis of reality, making a truly appealing approach to the controversy behind gay marriage and the core of family union.

I'm Still Here

A sarcastically fun take on an actor's life and how media works around them, that unfortunately is longer than it should really has to be.

Stephen King's 'Thinner'
½

Campy, silly and all over the place, this Stephen King's adaptation takes a sort-of-clever idea, and turns it into another goofy-horror flick.

Hardcore Henry

It is fast paced in action and gore and, at times, innovative, trying to craft a story crazy enough to justify its conception, but the POV perspective and lack of an appealing main character can exhaust the viewer, if is not enough invested.

Control
Control(2007)
½

Even with a script that lacks the proper emotional profundity that Ian Curtis possessed in his lyrics, a great lead performance by Sam
Riley, and an attractive direction and beautiful cinematography makes this biopic a faithful and decent ride for Joy Division's fans.

Star Trek Beyond
½

Even lacking Abram's smooth-nerdy direction, the third installment in the new Star Trek franchise delivers, with enjoyable story, the already great known characters, enough nostalgia for the old school fans, and a decent villain.

Star Trek Into Darkness

It does lack some of the freshness that the first one has in its story department, but the charisma of the casting, preserved elements from the first film and the original movies, not to mention a great performance by Benedict Cumberbatch, help stand this follow up out of the mediocrity a lot of sequels suffers.

Star Trek
Star Trek(2009)
½

J. J. Abrams managed to mix a great cast, a fantastic script and his own directional nerdy-style, along with great respect from the original franchise vision, in order to create arguably the best reboot of the last decade.

Kill Your Darlings
½

Kill your Darlings is a romantically inspired take on the New Vision movement from the 40s that is completed with a great cast, but some of its moments are sort of blurred by weak direction, still, is an interesting voyage through the homosexual repression, and a delight for the potential writers.

Nerve
Nerve(2016)

It has a good premise that doesn't explode its full potential, but a few intense scenes and appealing performances by it's lead roles, make it for a casual enjoyable ride.

Hot Rod
Hot Rod(2007)

Over the top and fast paced, the humor behind Hot Rod is what you can call "weirdly american", which it does works most of the time thanks to the presence of Sanberg, Fisher, McBride and Hader.

Stay
Stay(2005)

Some can classify it as pretentious, but to be fair, even with some of its story-plot-weak devices, the film still grabs inside the substance that, in the end, it sort of delivers, along with the performances and stylish visuals.

The Neon Demon
½

The Neon Demon is extremely visceral in its third act, making it for lots of interpretations, and being a Nicholas Winding Refn's film, it is to expect some strong graphic imagery, as well as astonish visuals and great performances. But its slow enough to keep the casual viewer out of interest.

Nymphomaniac: Volume II

While it does maintain some of it's predecessor's qualities, it declines with it's excessive use of explicit extravaganza and a weak ending, although, it preserves plenty of matter and the classic Von Trier's touch.

Nymphomaniac: Volume I
½

The first volume is strong in narrative, dialogue and beautiful scenarios that feed the complexity of the plot, but it does feel empty in terms of substance, from time to times.

Batman & Mr. Freeze: Subzero

Although, not having the same power and feeling as Mask of the Phantasm, this new animated film based on the Batman Series still preserves what makes the show the success it is; devotion to the story, character delivering and the classic animation we all get to love.

Batman: Mask of the Phantasm

Mask of the Phantasm takes the best elements of the animated series; character development, smooth direction, smart writing and enjoyable animation, condensing what could be possibly considered Batman's best film.

24 Hour Party People

With a terrific lead performance by Steve Coogan, as well as enjoyable guest starts, great script and true passion for its subject, this satiric documentary is a solid point of view of one of music's most triumphant moments in the late 70s- early 80s.

The 400 Blows (Les Quatre cents coups)

Truffaut takes an artistically subject such as the need of freedom and rebellion and gave us a really interesting point of view from the eyes of a child, delivering a heavily compelling drama that always goes far enough.

Ben-Hur
Ben-Hur(2016)
½

As unnecessary as it is innovative in really small aspects, Ben-Hur re-interpretation of the classic Lewis Wallace novel takes huge risks with its casting, pace and effects, delivering an average product that doesn't stand in any way against the 1959 classic.

The Purge: Election Year

While it preserves some of the corniness of its predecessors, this third part in the Purge trilogy (and hopefully, the last one) takes great advantage of it's set ups and gory-action that constantly fill the spectator with heavy entertainment.

The Purge: Anarchy

This continuation is basically what the first one should've been; fast paced, more extended, and even gruesome. But some of the issues of the first installment are still there, specially when the film tries to take itself too seriously.

9 1/2 Weeks
9 1/2 Weeks(1986)
½

Even with its passion and relatively strong performances by its lead cast, this romantic drama isn't inspiring enough to create a connection with the viewer, thanks to an average script and a pointless story.

The Deep Blue Sea

Is slow paced, but the performances from Weisz to Hiddleston steal the show, making this a solid melancholic love interpretation.

The Lion King

With strong inspiration in Shakespeare's Hamlet, The Lion King benefits from a strong voice casting, beautiful animation and strong emotional moments, crowning it as one of Disney's best, and an instant classic.

Kung Fu Panda 2

Continuing it's predecessor's successful formula, Kung Fu Panda 2 takes the best elements that made the first one a hit, adding more story background, and also, the incursion of new great characters and fun moments.

Kung Fu Panda
½

Kung Fu Panda is a strange mix between great writing, clever and also, fun story telling and awesome characters that turns to be, quite surprisingly, in one of Dreamworks's bests.

Odd Thomas
Odd Thomas(2014)

Odd Thomas benefits from the presence of Anton Yelchin and Willem Dafoe, as well as an interesting premise and some good ideas, but collides with dull narrative and weak suspensful moments, so is an average ride.

Amadeus
Amadeus(1984)
½

With exquisite art direction, astonishing performances and a huge respect for the subject its treating, Amadeus can crown itself as one of the best biopics ever made, and one of Milos Forman's best works.

From Hell
From Hell(2001)

The visuals are the strongest aspect of this flick, but the dull narrative and total miss of Moore's graphic novel essence makes this thriller almost a joker of the character its based on.

The Magnificent Seven

With a fantastic cast and great passion from its inspiration "Seven Samurais", the Magnificent Seven is a complete spaguetti-western that takes the best of the genre and offers an entertainingly decent classic.

Point Break
Point Break(1991)

Keanu Reeves and Patrick Swayze share an amazing chemistry in this heavily action-packed crime flick, that will set Kathryn Bigelow as one of the big names in the female-directors department.

Suicide Squad
½

Suicide Squad is DC's third attempt to craft another cinematic universe entry, and even when at times is enjoyable in humor and action, the movie fails to provide something unique and out of the standard shadow of conventional comicbook adaptations.

Ghostbusters
Ghostbusters(2016)
½

Average, souless, conventional and dry as an unnecessary remake could be, it benefits from few genuine funny moments, and a couple of good ideas that, in the end, goes nowhere.

The Secret Life of Pets

It's fun, at times, when its not trying to be a rip-off of Toy Story, but it does show a decent animation and a touching atmosphere that pets-lover are going to enjoy.

Irrational Man

Irrational Man explores clichés of the intellectual aspect of existencialism and philosophy in only a way Woody Allen could offer, but its twist and performances are mostly great.

Match Point
Match Point(2005)

The Best part about this romantic drama is the surprise, once the expectator is totaly involved with these well developed characters, the climax and conclussion are just a thrill.

Scoop
Scoop(2006)
½

The chemistry between Johansson, Allen and Jackman is delightful, and while some may consider this a tiresome entry in Allen's directions, the film is enjoyably enough, specially as a romantic comedy.

The Little Mermaid
½

Even if the main character is a matter of controversy, dividing opinions in regards to her, the charm behind this flick flows, from its fresh animation, whimsical story, charming characters, to a great villain and an astonishing score by the great Alan Menken.

Batman: The Killing Joke
½

It's over-ploted, specially in the beginning, but when it comes to bring the comics into live, the movie does it in a decent and faithful way, enjoying itself from the voice performances of Kevin Conroy and Mark Hamill

Now You See Me 2

While not as inventive and fresh as the first one, it has more twists and plot devices that helps fill the continuation engine, and the addition of Daniel Radcliff and other new members also helps to keep the entertainment going.

Brazil
Brazil(1985)

Amazing visuals, great performances and a crude dark humor that its creative and odd at the same time, makes Terry Gillian's sci fi a great distopian film that is unique in its own way.

The Negotiator
½

While Samuel L. Jackson and Kevin Spicey shine in their thrilling performances, the movie is over-too long for its simple plot, filled with regular moments of genuine suspense, but tedious plot devices.

The Purge
The Purge(2013)
½

It's premise is interesting and sets for a lot of potential, but in the end, it ends up becoming a typical cliché survival-semi-horror flick that distracts itself from what originally tried to be.

Finding Dory
Finding Dory(2016)

While it does get attached to it's predecessor's formula at times, this follow up has enough story devices and new characters with enough charisma to make this a decent sequel, something that Pixar oddly managed to accomplish.

Pocahontas
Pocahontas(1995)
½

Not the beautiful colors, or Alan Menken's decent score are strong enough to lift this unispired and un-enjoyable take on the disney version
of this historical character.

Pocahontas II: Journey to a New World
½

To be fair, it does came up with an small effort of putting together a logical story, serving as a decent follow up, but it lacks the charm and visual delight of the first film, and even that one lacked a strong vibe of a classic Disney feat.

The Legend of Tarzan
½

It's special effects and devotion for the story continuity is notable, but the film is slow paced and fails to preserve the audience connected with the characters until the final act.

Me Before You
½

Giving it credit to the film's intention, the chemistry between the lead actors is quite delightful, and it doesn't approach the love territory that much... but the movie itself could've been more stronger in its subject.

Finding Nemo
Finding Nemo(2003)

It knows it's message from the very beginning, but that's just the tip of the iceberg; a beautifuly animated, smartly writen and decently funny iceberg that crowns itself as one of Pixar's bests.

The Rescuers Down Under
½

I would dare to say it's worth it just for the visuals, but the story and enjoyable characters do work, even better than it's predecessor, making it one of Disney's most underrated little flicks.

Sleeping Beauty

Even when its secondary characters and animation are the stronger aspects, the lack of strong main characters isn't enough to remove the charm, magic and truly fantasy that remains in this Disney classic.

Ghostbusters 2

While strange at some plot decissions, its cast, effects and commedy value manages to preserve the title strong enough to make it fully enjoyable.

Independence Day: Resurgence
½

New elements and classic-and-new cast additions aren't enough to hide the fact that this movie is, technically, a rip-off of the first movie, but lacking the charisma, spirit and over-the-top mindless fun that its predecessor had, neither to say, a lazy and over use of CGI.

Annie Hall
Annie Hall(1977)
½

From start to finish, a cleverly writen and splendid directed romantic comedy that takes the best of the genre and mokes from the same, not to mention Woody Allen and Diane Keaton's astonishing performances.

Event Horizon
½

Its special effects and cenzored themes in its gory potential makes this sci-fi flick almost a total miss, with the exception of an almost well done-interesting plot.

Dumbo
Dumbo(1941)
½

While not the strongest, its definitely a touching-well animated short story that still holds up today as it did before, even if it does limitate itself from time to time.

Legend
Legend(1985)

Been itself sort of a mix between The Legend of Zelda and a Jim Henson flick, this odd Ridley Scott film might be corny at times (due to its really young cast) and sort of a mess in the story department, but I rather say it's worth the watch just for its production value, and Tim Curry as the main villain.

Tangled
Tangled(2010)
½

Amazing 3D Animation, combined with delightful characters and a smart and complete re-invention of the classic tale, Rapunzel is a true revival for the classic fairytale Disney spirit, making it a worthy 50th animated feature in the studio.

Tarzan
Tarzan(1999)

A fast peaced ride that respects quite a lot of the source material, while adding some good disney spirit in an effective thrilling-touching formula.

Oliver & Company
½

While family-friendly, the animation is weak, neithless to say, the songs and story lack of spirit, and there are only a couple of characters that could be considerate almost enjoyable.

The Princess and the Frog

It serves the purpose of giving new life to classic disney-animation style, but an oversaturated plot and not-too catchy songs doesn't let this beautifully animated flick to became an instant classic.

The Conjuring 2

Even with the re-use of some of the elements that made the first one the master-horror-piece that it is, this sequel proves director James Wan as one of the main exponents of horror in modern days, also, adding great character development and disturbingly haunting visuals helps to spot this as one of the best continuations in the genre.

Touch of Evil

Welles made this movie what it is, from the artistically aspect, from the thrilling touch and sense of intrigue on the story, and also, benefit from the delightful presences of Charlton Heston and Janet Leigh, and also, himself in one of his best roles.

Phenomena (Creepers)
½

Maybe the score's odd choices can kill plenty of the feeling of this supernatural thriller, but Argento's atmosphere and haunting direction its well enough to feed the scares, also, Donald Pleasence presence its damn welcome in anything the genre could offer.

Neighbors 2: Sorority Rising
½

It does re-use some good gags from the first one, but the comedical quemistry between Rogen, Efron and Chloe Grace Moretz it's solid enough to make this work, not to metion a heavily strong amount of dark humor that its always well received.

The Age of Innocence

While slow in it's rythm, the direction of Scorsese and delightful performances of Lewis and Pfeiffer make this romantic drama a worth-seeing ride, even if this could be considered the director's "least good film".

Eye of the Devil

Building up a strong plot with atmosphere and direction, this thriller takes it's time to set up for a haunting and satisfying conclussion.

What Ever Happened to Baby Jane?

From start to finish, an effectively directed and edited psychological drama that keeps audience fully focused on a smart and intriguing plot.

Gaslight
Gaslight(1944)

It builds enough tension and suspense to work, but it takes a considerable amount of time to launch its full potential.

The Uninvited
½

A well grounded and inspiringly acted thriller that sets a lot for the genre at that time, and also, Gail Russell delightful and gorgeous presence makes everything in the film better.

Rebecca
Rebecca(1940)
½

It's lack of suspense is only filled by the deep story, and passionate performances from its stars.

Naked Lunch
Naked Lunch(1991)
½

creepy and uncomfortable to watch, Naked Lunch shows a deep and twisting perspective inside a drug consumer-writer, in a graphic way only Cronenberg could show.

Blue Velvet
Blue Velvet(1986)
½

The art and direction may be top of the line, but the substance it's somewhere out of the audience reach.

Zootopia
Zootopia(2016)

With beautiful and imaginative animation, filled with smart story-telling and compelling modern day subjects, Zootopia stands on it's own offering a pleasant animated feature.

X-Men: Apocalypse

While it is, indeed, overloaded with action and plot devices, Apocalypse it's a worthy entry in the new X-men timeline that not just stands by it's own with outstanding moments and great performances, but also sets up promising potential for the next additions.

The Hunger Games: Mockingjay - Part 2
½

Satisfying and entertaining, but not entirely epic, the conclusion of The Hunger Games saga will please bookworms, but not much the casual film goers.

Spectre
Spectre(2015)
½

While the direction, edition and general performances are quite brilliant, the substance of the story doesn't entirely pay off to previous entries inthe Daniel Craig's run.

GoldenEye
GoldenEye(1995)

It does revitalize the franchise with great action, stylish cinematography and a well writen introduction to Pierce Brosnan as the new Bond.

From Russia With Love
½

While remaining unsolved for some "future installments" plots, the sequel to Dr.No multiplies all the best elements of his previous entry, making it more enjoyable.

Goldfinger
Goldfinger(1964)
½

"A martini. Shaken, not stirred", continuing Bond's impeccable line of entries in his franchise, Goldfinger offers more action and classic spy feel than the previous films, and includes two of the most iconic characters in Bond history: Goldfinger and Pussy Galore.

Octopussy
Octopussy(1983)
½

Is James Bond dressed as a clown... nuff said.

For Your Eyes Only

An ok entry in the franchise, with a forgettable villain, but a good performance by Roger Moore.

The Spy Who Loved Me
½

Although cartoonish and silly at times, this Bond film went back to the original 007 style, making it a decent installment in the franchise.

The Man with the Golden Gun
½

Even with the presence of Christopher Lee, this movie suffers from excessive silliness and ridiculous plot, combined with poor story and dialogue.

Live and Let Die

Roger Moore's entry in the franchise is humorous and campy, but it stil preserves some classic Bond formula in it's script, and by god, Jane Seymour is a godess!

Diamonds Are Forever
½

Being Sean Connery's official "last" Bond film, it is a well handled 7th installment, not as good as his previous 5 films, but a masterpiece, compared to the disaster the 6th was.

On Her Majesty's Secret Service

George Lazenby as Bond doesn't work, and the story couldn't get more ridiculous, and neither the poor editing or the cheesy special effects could've helped.

You Only Live Twice
½

Not as strong as the previous films, but the new locations and Sean Connery's performance are enough to make this sequel work.

Thunderball
Thunderball(1965)

Some consider Thunderball a flop, but truth is, it preserves Sean Conney charming performance as Bond, and thrilling action scenes from start to finish.

Dr. No
Dr. No(1962)

The first installment in the Bond franchise is full of thrills, charm and fancy style that'll define one of the most iconic figures in cinema.

Trick 'r Treat
½

A low budget jewel that takes the entire Halloween theme to another level with 4 well handled stories that makes this the Pulp Fiction of Horror films.

Mimic
Mimic(1997)

While cheesy and stereotypical at times, Mimic has some interesting ideas that Del Toro tries creatively to explore.

The Mummy
The Mummy(1932)

Boris Karloff keeps proving that he's of of a kind, and the production value in this film it's just gold, making it the respected classic it deserves to be.

I Walked With a Zombie
½

Frances Dee is a delight, and as a satire of religion and rascism it works pretty fine, but the lack of actual horror and scary moments can be a little bit tedious for the common viewer.

Dr. Jekyll and Mr. Hyde
½

With a lot of exposition that might bother general audiences, it remains as a classic, while not as strong or iconic as the other classic Monsters.

Horror of Dracula

Although it took its liberties from the original novel, and Christopher Lee doesn't throw much dialogue, Horror of Dracula is a solid stand alone that marks Hammer as a powerful horror trademark.

Village of the Damned

With a fantastic premise, such as Georges Sanders performance, this is the greatest example of the phrase "what humanity doesn't understand, it fears it", take it to another level.

Cat People
Cat People(1942)

It's filled in suspense and tense atmosphere, but there arent's enough disturbing elements in the plot to make it memorable.

Nosferatu: Phantom der Nacht (Nosferatu the Vampyre)
½

Great visuals mixed perfectly with a stunning score made this remake a stand alone film by itself, even with the lack of suspense and horror.

The Wolf Man
The Wolf Man(1941)
½

A little bit slow in the plot area, but in general, a horror classic, and one of the most popular and iconic figures of old school cinema.

Suspiria
Suspiria(1977)

Gorgeous visuals, fantastic and chilling score, and a plot that keeps you craving for more, Dario Argento managed to make one of the best horror films of all time.

Theater of Blood (Theatre of Blood) (Much Ado About Murder)
½

Silly at times, but definitely enjoyable thanks to a magnificent performance by Vincent Price.

House of Wax
House of Wax(1953)
½

With a fantasticly horrifying premise, combined with Vincent Price astonish performance, House of Wax is an unforgetable horror classic.

Ringu (Ring)
Ringu (Ring)(1998)

While not entirely faithful to the book material, Ringu offers enough haunting atmosphere with great supernatural suspense for the most part of the film.

The Fly
The Fly(1958)

A great sci fi horror that mixes tragedy and suspense in all the right ways.

Martin
Martin(1977)
½

A fresh and unique take on the Vampire lare that benefits from it's original story.

Peeping Tom
Peeping Tom(1960)
½

It mixes classic psycho-killer thrills plot with clever voyeuristic view that makes the movie as smooth as it could.

Dead of Night
½

An anthology with likeable cast and a nice premise that, unfortunately, doesn't explode its full potential.

The Birds
The Birds(1963)

While it takes its time to build-up the general plot, in the end, it pays off with all the suspense and thrills you can expect from a Hitchcock film.

Invasion of the Body Snatchers

A great remake that explores even more of the concept of the original, with a nice cast and awesome special effects.

The Innocents

A story that keeps getting more and more intriguing, and that shines at its best thanks to Deborah Kerr and Martin Stephens brilliancy

Freaks
Freaks(1932)

It might give up the ending quite soon, but the structure and the substance of the film really pays off, making this possibly Tod Browning's best film ever.

Deep Red (Profondo rosso)
½

It doesn't benefit from its out-of-the-tone score, but it's frightful and suspenseful vibe and intriguing plot are enough to make it work.

Eyes Without a Face
½

I love the obsession and realistic approach of this thrilling horror film, but the subject itself might not be for everyone

Vampyr - Der Traum des Allan Grey
½

It does take a fresh approach into the Vampire mythology, but it can take a confusing turn at the very end.

Let the Right One In
½

With haunting visuals and a touching and smart plot, it's probably one of the best horror films in modern culture.

The Night of the Hunter

What really makes this movie the classic it is, it's due to Robert Mitchum's astonish and brutal performance that keeps the film moving forward.

Rosemary's Baby

A slow movie that ends up delivering not just a good amount of great acting, but one of horror's most memorably-disturbing and twisting endings of all time.

The Martian
The Martian(2015)
½

It lives up to it's own expectations while earning a special place in the "Ridley Scott's best movie in years" spot.

The Gift
The Gift(2015)
½

Amazingly directed and inspiringly written, Joel Edgerton's directional debut has all the elements to be an almost perfect thriller.

The Man From U.N.C.L.E.
½

It works due to an antagonistic quemistry between Cavill and Hammer, but lacks of more memorable moments once in a while.