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I watched all 2 hours and 46 minutes of this film in a state of rapture. Our theater was silent. No one moved, no one spoke. No one got up to use the restroom. It was as if we were all transported to Arrakis together, and we had no choice but to experience every moment of it.

And it was glorious. To say this film is magnificent is an understatement. To say it's phenomenal does not fully explain its effect.

Every shot is tuned precisely to what we need to see. Every sound and musical cue is perfectly matched with its visual component. The acting is flawless across the board. The cinematography is absolutely brilliant.

Almost three hours of movie, and I wanted more. We all wanted more.

In my opinion, there are only three genre-defining fantasy stories: Star Wars, The Lord of the Rings, and Dune. After seeing Dune: Part One and this magnificent sequel, if I had to pick just one universe, I would choose the universe of Arrakis, of Caladan, of Paul and Chani, of Feyd and Baron, of Princess Irulan, every time.

Long Live the Fighters.

This road trip buddy comedy has "instant classic" written all over it.

From the moment Awkwafina and Sandra Oh share the screen as sisters plotting to pay off $80,000 in gambling debt, I was laughing loudly and constantly, and the good times only get better from there.

This movie is like an update of The Odd Couple mixed with The Odd Couple 2: take two extremely funny people, get them together, give them a problem to solve that requires a road trip, and watch how they react in various situations.

There are sequences in this film that had me laughing so hard I was CRYING. But it's not just funny! It's endearing, heartfelt, and a wonderful experience all around.

It all leads up to an incredibly satisfying finale that gave me everything I wanted.

A MUST SEE!

Gareth Edwards' return to filmmaking after a 7-year-hiatus is an absolute triumph, a film that unquestionably solidifies his standing as one of the most exciting and creative science fiction directors of our generation.

The Creator is packed with fresh ideas, interesting tech, and a world so immaculately built that it rivals Denis Villeneuve's Blade Runner: 2049 in terms of sheer visual splendor.

What blows my mind is that this is a film made for 1/4th the cost of many other major releases in 2023. And yet, its world is every bit as realized and involving as any other film this year, if not more so.

It's not just the visuals that impress. John David Washington gives us perhaps his best performance yet, as Joshua, a man desperately searching for the love of his life he originally thought had died. He's recruited by Colonel Howell, played by Allison Janney with a badass flair that reminded me of Ripley from Aliens, on a mission to find The Weapon and destroy it before it can be used to destroy NOMAD, a human military stronghold in space that they consider to be humanity's last hope of survival against the AI.

But that's hardly the full story. Joshua stumbles upon The Weapon, who is in fact a child played by newcomer Madeleine Yuna Voyles. He learns that his long-lost love may be alive, and he promises to protect the child, whom he calls Alfie, from harm in exchange for helping him find his lost wife, Maya.

Upon their journey, they learn of a very different side of the conflict: AI living in harmony with humans, helping them, being entirely benevolent and nonviolent, hiding from NOMAD and yearning for a permanent peace between humans and AI.

As the story progresses, it is up to us, the audience, to decide who is truly on the "right" side, and the morality of it all is far murkier than you'd think.

While recent articles have blasted these ideas as being unnecessary in today's AI-heavy and contentious climate, I think that argument is absolutely ridiculous. Yes, we need to protect ourselves against AI being used to exploit human talent. Of course we do. But it's the HUMANS who are doing the exploiting. The AI are just the tools. And this story builds a world far removed from our own, in which the AI established here are clearly benevolent (and even loving) beings, with families, shared histories, traditions, and everything else we humans hold as key markers of our humanity.

These ideas are meant to stir up a debate about the nature of man and machine, whether we can coexist with sentient machines rather than inevitably battle for dominance...not to say that machines are "good" and humans are "bad." Anyone claiming that that's what this movie is trying to say was clearly not paying enough attention.

John David Washington, Madeleine Yuma Voyles, Chow Yun-Fat, and Allison Janney deliver spectacular, layered performances. Hans Zimmer gives us another home-run score, featuring powerful riffs and new themes that help bring this wonderfully realized world to life. Gareth Edwards' screenplay and direction are top notch. The technology is spectacular. I see many technical Academy Award nominations in this film's future.

I HIGHLY recommend this film to anyone who enjoys an exciting and nuanced morality tale told within an immaculately built world.

Upon viewing Christopher Nolan's Oppenheimer, the following words come to mind.

Riveting. Stirring. Engrossing. Horrifying. Haunting.

This 3-hour epic is undoubtedly Nolan's magnum opus, his masterpiece.

Every performance is simply perfect.

Cillian Murphy's portrayal of J. Robert Oppenheimer shows his transformation from wonder, to pride, to apprehension, to shock, to overwhelming regret in such a nuanced, emotive way that it guarantees him an Oscar nomination (I hope he wins it).

As Strauss, the man who ultimately tries to take Oppenheimer down, Robert Downey Jr. Gives THE performance of his career. It is a stunning portrayal of a man who uses his political muscle to shame and scour the career and reputation of a man he feels slighted him at an event once. Particularly in today's political climate, the implications of his machinations to destroy Oppenheimer based on such a slight are intensely real. I wish I could say his actions are shocking, but those of us who remain politically aware will be far from shocked.

The two powerful female performances of the film belong to Emily Blunt and Florence Pugh, playing Kitty Oppenheimer and Jean Tatlock, respectively.

Florence Pugh gets her chance to shine, particularly in what amounts to the most explicit sex scene in Nolan's ouevre, a scene filmed in such a matter-of-fact way that the explicitness of it is entirely beside the point. I wish we'd had the chance to get to know her character better, but in a film packed with so much to get through in 3 hours, it's understandable that her part of the story has to end relatively early, and her presence is far from forgotten by the end.

Emily Blunt as Kitty Oppenheimer grows immensely in the third act, as she is the only voice in the room begging her husband to "fight back, for God's sake." She becomes the voice of the audience, growing increasingly impatient with Oppenheimer's willingness to martyr himself before a committee that is clearly intent on blaming everything that transpires on him.

Matt Damon plays a small, but integral part that the Colonel-turned-General who brings Oppenheimer on to the Project in the first place. He also provides some much-needed humorous moments to the proceedings.

This is a film that sticks in the mind. The implications of the conclusions reached here are chilling and all too important.

If there was one element I'd change, it might be to put the big reveal of the test explosion at the very end of the film, rather than having it happen 2/3rds of the way through. That, however, is a minor gripe.

This is a near-perfect film, one filled with dynamic performances and perfect technical elements, one whose message is deeply, thoughtfully felt, whose implications live on far beyond the viewing experience.

This is beyond recommended. It is a must see.

This movie was spectacular from start to finish.

The level of talent on display here - from the cast, to the direction, to the musical arrangements, to the incredibly realistic CGI - is as vast as the open sea.

Halle Bailey's performance as Ariel is a masterclass in acting. Particularly when she loses her voice and has to communicate through body language, she showcases her unique ability to make us hear her without words, to express her longing and her desire for a new life without uttering a sound.

Her singing is utterly magical as well. She takes what the magnificent Jodi Benson did in the 1993 film and builds on it in interesting and exciting new ways, and I can't wait to listen to the soundtrack and the score over and over and over again to revisit the wonder and majesty of it all.

Jonah Hauer-King was excellent as Prince Eric. One of his songs - a new tune composed for the movie about his intense desire for Ariel to "come find him again" - is among the best of the new material, and he performs it beautifully.

Javier Bardem as King Triton brings a gravitas to the underwater portions of the film that Bardem brings to every performance, frankly. He is a fantastic actor, and he showcases King Triton's fears and concerns for his wayward daughter in every facial expression.

Melissa McCarthy is an absolute standout as Ursula. She channels a combination of a drag persona and Kathleen Turner in her later years to come up with a performance that's new to her while being highly effective, relatable, and, above all else, immensely entertaining. She has some of the best comic relief in the film.

I would be remiss not to mention the work of Alan Menken here. He's taken his original score to the 1993 film and expanded on it in ways that will linger with me for weeks after watching. The new songs are phenomenal, thanks to new arrangements by Menken that bring out all new spectacular moments in the score. Lin-Manuel Miranda, the genius behind Hamilton, puts his considerable lyrical skills to work here as well.

Rob Marshall's direction was top notch. The shipwreck and early above-water scenes were so intensely shot. I was on the edge of my seat. The story seemed to move at a natural pace, and the direction showed us exactly what we needed to see at any given moment to carry us into the next scene. This is among his best work ever, rivalling the masterpiece Chicago and eclipsing Into the Woods.

It's a phenomenal movie, one that needs to be experienced in the largest theater possible to really capture what I felt watching this: the sense of awe, of joy, of sadness, of wonder; the chills down my spine as Halle Bailey & Co. Transported us under the sea into a spectacularly realized world that I'm sure we all wish we could visit too.

It will be stuck in my head for weeks.

A triumph!

What do you get when you mix Michael B. Jordan as actor AND director (his directorial debut), Jonathan Majors, Tessa Thompson, and a screenplay by Ryan and Keenan Coogler?

A really freakin' awesome movie, that's what!

I felt like this movie started, picked up steam, and then BAM! It was over all too fast. Those two hours flew by!

This is the first Creed/Rocky film without Sylvester Stallone, and honestly, his presence isn't missed.

Michael B. Jordan proves he's as capable a director as he is an actor, displaying some exciting cinematic flourishes that worked beautifully. I'm looking forward to his next outing in the director's chair.

Jonathan Majors is fantastic as Damien "Dame" Anderson. No notes! His screen presence is palpable.

The first Creed did $25 million its first weekend out. The second Creed did $35 million in its first weekend, already an impressive feat. This movie started out with a whopping $45 million in its first weekend, proving that no matter who wins the title fight at the end, Jordan, Majors, Thompson, the Cooglers, and the Creed franchise are all winners, managing not only to maintain profitability, but to escalate it, and for good reason! It's a winner all around.

This one is a must-see!

Why, God? Why was I subjected to this? What did I do do deserve this?

This is the first film I've watched in 2023 so far that I've truly hated.

It's not because of the performances. Timothee Chalamet, Taylor Russell, and Mark Rylance do fine work in their respective roles.

It's not because of the direction. Luca Guadagnino assembles some compelling imagery here (though it pales in comparison to Call Me By Your Name, and ultimately it amounts to nothing).

It's because NOTHING happens. And what DOES happen doesn't WORK. I was so bored, I almost chewed off my own hand.

Not even the supposed "frightening" portions titillate. The only thing "frightening" about this is how many professional critics had their heads up their asses saying this is "profound" and "visionary." Give me an overly-bloody break.

So what "happens," you ask?

Well, it's that classic story, of course: Girl is a cannibal. Girl's father abandons her because of her cannibalism. Girl meets boy. Boy is a cannibal. Boy's father was a d-bag to him. Boy and girl travel around being cannibals, searching for girl's long-lost mother. Girl finds her mother, who tries to eat her (of course she does). Boy and girl are stalked by weird guy whose presence is never explained.

Absolutely nothing else of note happens. Boy and girl have zero chemistry. Boy and girl casually eat some people. I sit in the background yawning and wishing for my 2 hours and 10 minutes back while contemplating ways to exact revenge on the screenwriter.

The only reason I even gave this two stars was because of the performances, which harken back to the glory days of all of these actors being in movies I don't hate with a fiery passion.

The "story" here is so nonsensically ridiculous, it's offensive.

This one should've stayed in the drafts, as they say, Luca Guadignino.

Do yourself and watch just about anything else instead. I watched this so you don't have to. 🤣

I avoided this film when it first released, because like so many others, I know how this story ends, and I knew the experience of watching this would be painful.

Well... "painful" hardly begins to describe it, but that is a testament to how superbly this tragic story is told.

From the masterful direction by Chinonye Chukwu, to the actually-perfect performances by every actor involved, to the screenplay that does not waste a *single* moment by Chukwu, Keith Beauchamp, and Michael Reilly, there is nothing to critique.

The center of this story is Mamie Till-Mobley, the mother of Emmett Till, portrayed by Danielle Deadwyler. To say that Danielle Deadwyler's performance as Mamie is "good" or even "great" is a *radical* understatement. There aren't adequate words in the English language to describe her portrayal.

She does not utter one false word. She does not let out one false tear. It is THE performance of 2022, and the fact that she was left out of the Best Actress category is an absurd travesty.

The film ends on a sad, pensive note...the only way it can possibly end. Because it is truth. It is reality.

How much has the world really changed since then? How much impact did Mamie really have on the way White people perceive Black people? She did the very best she could. She did more than most. She left behind a powerful legacy.

These issues and more are explored deeply and profoundly in "Till." It is, not to mince words, a perfectly made film.

I recommend this film on its merits and because of its undeniable importance. It deserves to be seen. It is perhaps the most important story anyone will watch on screen in recent years.

Prepare yourself for the inevitable feeling of doom and gloom if you choose to go on this journey. Watch with a heavy heart, but do watch it, if you can.

Megan Fox has grown a LOT as an actress since her big debut in 2007's Transformers. I'd even use the word "riveting" to describe this performance.

Fox plays Emma, a former photographer turned kept wife living in a truly frightening "relationship" with her husband, a man who supposedly dotes on her, but who increasingly reveals himself to be a COMPLETE psychopath.

When her horrifying husband takes her out to their lake house for a retreat, things turn ugly very quickly (no spoilers!).

The thrills start early in this film, and they keep coming until the very last frame. Fox is excellent all around. She proves herself to be quite the capable action star. Eoin Macken is equally charming and ruthless as her maniac husband.

It would spoil the film to say anything more about it, so I'll just say this: WATCH IT!

If you're a fan of the original Enchanted, you will love rediscovering the world of Andalasia - and taking a new adventure to the suburbs! - with this incredible cast and crew.

Amy Adams slips back into her role as Giselle 15 years later as though no time has passed at all. She's absolutely marvelous. RADIANT!

Patrick Dempsey shuffles between a doting husband and father and a man bumbling around attempting to be a hero, and does so with humor and grace.

Gabriella Baldacchino plays the couple's daughter, Morgan, a teenager with more than a little cynicism about her world. I found that her cynical tone added a depth to this film that was missing from the original Enchanted, because in the original, Giselle's worldview was not challenged to such a degree that she was forced to adapt her entire personality, but here, the challenges come furiously and often from her teenage daughter, usually to humorous effect.

As the villainous Queen, Maya Rudolph is everything I wanted her to be. She was hilarious, thoroughly devious, and she ate up the screen! (Would we have expected any less from her?)

But the absolute highlight of this film is James Marsden. Not only does he have a *wonderful* singing voice, but his Andalasian Prince character had me rolling from the moment he came on-screen. Marsden does not get the credit he deserves for being a fantastic comedian as well as an accomplished actor and singer.

As for the technical prowess shown, everyone is on their A game. The "magical" scenes flew across our screen at home, captivating us. The effects are top-notch. I was transported!

But it's the MUSIC that struck me more than anything else. The songs and score here are grand, timely, beautiful, and *more* tonally complex than anything from the first film. I loved every song (Idina Menzel, for instance, hasn't sounded this good since the original Frozen) and I will be purchasing the soundtrack!

Bravo, Alan Menken. Decades of accomplished music under your belt, and you're still as talented as ever. (Could an Oscar nomination for Best Song and/or Best Original Score be in this film's future? I hope so.)

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This movie was a delight from start to finish.

If you enjoyed "Enchanted" at all, or if you just love a good family-friendly, heartwarming musical, this will be worth the trip to Andalasia and beyond.

Black Panther: Wakanda Forever ⭐⭐⭐⭐⭐⭐⭐⭐⭐⭐/10

I'll preface this by stating that I do NOT understand the mixed reviews. There is not one element of this that I would've done differently.

This 2-hour-and-41-minute epic had me hooked from start to finish. No other Marvel property in my opinion, particularly in Phase 4, can match this level of quality, and that's in no small part due to Ryan Coogler, Angela Bassett, Letitia Wright, and the incredibly talented (not to mention gorgeous) newcomer Tenoch Huerta.

The talent on display in *every single element* of this film is going to be tough to match, even from next month's Avatar: The Way of Water.

Speaking of Avatar 2, they now have some SERIOUS competition in EVERY Oscar category next year, thanks to this film. I could honestly see this sweeping every category and making a strong play for Best Picture.

The acting: Fantastic. Angela Bassett is magnificent. Letitia Wright is wonderful. Tenoch Huerta brings a depth to his Namor that is rare in any film, much less a Marvel one.

I believe he is perhaps an even better incarnation of the already-deep Killmonger from the first film. It's hard not to see the world from his perspective at least once.

The technical craft: Spectacular. I haven't wanted to visit a new world so badly (the underwater world of Talokan) since the first Black Panther sent me to Wakanda and the first Avatar sent me to Pandora. It. Is. Breathtaking.

The score: Unparalleled. Ludwig Goransson has outdone himself with this. It's even better than the first film. It's my favorite score for a movie in years.

The writing and direction: Masterful. Ryan Coogler deserves recognition for elevating this DRAMATICALLY above anything else offered up in Marvel's mixed-bag Phase 4. Coogler manages to make an above-par Marvel epic that has meaningful things to say about loss, grief, sisterhood, motherhood, friendship, and moving on, while also ending on a POWERFUL and prescient note about how nations should treat each other in this post-modern world we all inhabit.

What else is there to say? I loved every minute of it.

The Woman King is remarkable.

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The story of the Agojie, the all-female warrior tribe that protects the Kingdom of Dahomey throughout the 18th and 19th centuries, is one rich in complexity and nuance. These are not thinly written characters or caricatures. Each has a distinct personality, and the movie gives them all moments to shine.

Viola Davis delivers a powerhouse performance as General Nanisca, the Woman King who inspires her fellow warriors and commands respect from everyone she encounters. She has rarely been better.

There are many familiar faces in the cast, including John Boyega as King Ghezo, delivering perhaps his most superlative, layered performance yet, but the REAL star here is the incredible Thuso Mbedu as Nawi.

Her progression through her Agojie training into warriorhood and womanhood becomes the film's core focus, and we are all the better for it.

By the time we've reached the film's climax, the audience is fully invested in Nawi's journey. This is HER story and we just KNOW she is going to succeed.

Lashana Lynch impresses as warrior Izogie. This former Bond girl outdoes her previous performances and delivers a performance I know I'll never forget.

Sheila Atim plays her role Amenza with an understated discipline and hardness, but in several key moments, she shows us the woman beneath those enacted defenses, and her character is lent a remarkable vulnerability and depth, often without uttering a word.

The cast aren't the only ones who display incredible talents here. From the crew, director Gina Prince-Blythewood shows she is a FORMIDABLE director, one to watch! One particular scene involving a long single shot as characters are conversing reminded me of classic Scorsese in its precision and effortlessness.

The music by Terence Blanchard brought me to tears several times. Everything from the tribal sounds to the sweeping violin overtures seemed perfectly timed and poised to rip my heart from my chest (in the good way).

The cinematography by Polly Morgan was nothing short of astounding. There are shots composed here that rival the best work of the greats, such as Conrad L. Hall.

The art direction and costume design by James Collett and Gersha Phillips (respectively) was wonderful. I felt like I was transported back into That Time, into That Place.

What else is there to say? The film is a masterpiece. If there's any justice in this world, this will win Oscars next year and catapult every woman involved to stardom.

GO SEE IT!

If you're reading this, consider this review a 10/10 and don't even bother reading the rest! Go watch this now! :)

Every element of this show is perfect. Sir David Attenborough is a wizard at narration. The cinematography is mind-blowing. The CGI effects are so seamless, I couldn't believe it. The score is brilliant, beautiful, moving.

One of the greatest documentaries of all time has begun.

If you're going to watch this, don't watch the 2 hour 14 minute theatrical version. Go for the 2 hour 33 minute Director's Cut.

John Woo was forced to cut down the runtime by the studio, and unfortunately he cut a good number of important character-building moments.

I firmly believe that if everyone had seen the Director's Cut instead of the cut-down version, this movie would've landed around a 7/10, rather than a 5/10.

It's a worthwhile watch for anyone interested in the codetalking elements or the historical conflicts shown. Watch the DC.

It took Oliver Stone four tries and ten years of edits to get this film right...but he finally does.

The Final Cut, released in 2014, shuffles the story elements around so the narrative is fast-paced and cohesive. Alexander's bisexuality is explored much more deeply. Those close to Alexander are further explored.

If you're going to watch Alexander, watch The Final Cut. It's far and away the best version.

Even in the first five minutes, before the words "In The Heights" appear on screen, we witness one of the most striking visual moments in a movie musical ever. You'll know it when you see it!

From then on, it's a continuously joyful, fast-paced feast of gorgeous costumes, dynamic sets, and actors who actually sing their parts!

I could talk about so many specific moments, but to do so would spoil the experience! Just know that it is a triumph from start to finish.

In The Heights is a masterpiece, sure to be regarded as a classic among movie musicals.

This movie is utterly wonderful. It's heartfelt, romantic, real, and topical. It made me think, laugh, and cry.

The Groundhog Day setup may seem stale, but they get so many fresh ideas out of the concept that it solidifies this film as a future cult classic.

I was never really a Samberg fan. I am now!

I've seen this film three times since Thursday. Each time I watch it, I pick out fresh new details and quirks that I missed before in certain scenes.

The performances, the music, the cinematography, Jordan Peele's sometimes-funny-sometimes-serious screenplay, it's all top-notch.

All I have to say is ignore the haters. This movie is a masterpiece.