chera_khalid
Joined Aug 2015
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I went into The Exorcist (1973) knowing its legendary status-often hailed as one of the scariest movies of all time. While I respect its place in horror history, personally, it didn't fully hit the mark for me. It's not a bad film by any means, but it felt more admirable than impactful. I see why it shook audiences back then, but watching it today, it lands closer to "not so bad" than "masterpiece."
Acting: The performances are actually quite strong. Linda Blair gives a shockingly bold and committed performance for her age, and Ellen Burstyn delivers raw emotional depth as the desperate mother. Max von Sydow and Jason Miller bring gravity and calm intensity to their roles. The cast gives this supernatural story a surprisingly grounded and believable feel.
Cinematography: Visually, the film is atmospheric and moody. The framing, especially in the house and during the exorcism scenes, is deliberate and eerie. Shadows play a major role, and the contrast between the mundane and the demonic is captured well. But for all its visual impact, there were stretches that felt a bit too slow and static.
Special Effects & Makeup: For 1973, the practical effects are impressive and clearly ahead of their time. Some of the makeup and possession sequences are genuinely unsettling. That said, a few moments haven't aged well and can even come across as unintentionally humorous today. Still, the commitment to physical effects adds a sense of realism that modern CGI sometimes lacks.
Music and Sound: The music, particularly the now-iconic Tubular Bells, creates a memorable sonic identity. It's minimalist, haunting, and effective. The overall sound design-creaks, growls, whispers-works well to build tension. It's not overwhelming, but it leaves an imprint.
Themes and Meaning: At its core, The Exorcist deals with faith, innocence, and the confrontation of evil in its purest form. The battle between science and religion is subtly threaded throughout. These themes are handled seriously, but for me, the emotional impact wasn't as strong as the film wanted it to be. The horror felt more intellectual than visceral.
Pacing and Direction: This is where the film struggles a bit. The slow burn approach works for some, but I found the buildup longer than it needed to be. William Friedkin's direction is precise and confident, but some scenes could've been tightened without losing atmosphere. The climax delivers, but it takes its time getting there.
Final Thoughts: I get why The Exorcist is important, and I appreciate the artistry and ambition behind it. But as a modern viewer, I found it more interesting than frightening. It's definitely worth watching once, maybe even twice, just to see where so many horror tropes originated. But for me, it's a 6/10-admirable, unsettling at times, but not something I'd revisit often.
Acting: The performances are actually quite strong. Linda Blair gives a shockingly bold and committed performance for her age, and Ellen Burstyn delivers raw emotional depth as the desperate mother. Max von Sydow and Jason Miller bring gravity and calm intensity to their roles. The cast gives this supernatural story a surprisingly grounded and believable feel.
Cinematography: Visually, the film is atmospheric and moody. The framing, especially in the house and during the exorcism scenes, is deliberate and eerie. Shadows play a major role, and the contrast between the mundane and the demonic is captured well. But for all its visual impact, there were stretches that felt a bit too slow and static.
Special Effects & Makeup: For 1973, the practical effects are impressive and clearly ahead of their time. Some of the makeup and possession sequences are genuinely unsettling. That said, a few moments haven't aged well and can even come across as unintentionally humorous today. Still, the commitment to physical effects adds a sense of realism that modern CGI sometimes lacks.
Music and Sound: The music, particularly the now-iconic Tubular Bells, creates a memorable sonic identity. It's minimalist, haunting, and effective. The overall sound design-creaks, growls, whispers-works well to build tension. It's not overwhelming, but it leaves an imprint.
Themes and Meaning: At its core, The Exorcist deals with faith, innocence, and the confrontation of evil in its purest form. The battle between science and religion is subtly threaded throughout. These themes are handled seriously, but for me, the emotional impact wasn't as strong as the film wanted it to be. The horror felt more intellectual than visceral.
Pacing and Direction: This is where the film struggles a bit. The slow burn approach works for some, but I found the buildup longer than it needed to be. William Friedkin's direction is precise and confident, but some scenes could've been tightened without losing atmosphere. The climax delivers, but it takes its time getting there.
Final Thoughts: I get why The Exorcist is important, and I appreciate the artistry and ambition behind it. But as a modern viewer, I found it more interesting than frightening. It's definitely worth watching once, maybe even twice, just to see where so many horror tropes originated. But for me, it's a 6/10-admirable, unsettling at times, but not something I'd revisit often.
Thunderbolts is one of those films that walks the fine line between being just good enough and almost amazing. I went in expecting a darker, more grounded twist on the Marvel formula-and while it delivers in parts, it doesn't fully commit to its potential. Still, I found myself enjoying the ride, even if the storm didn't hit as hard as it could have.
Acting: The cast is where Thunderbolts shines most. Each performer brings a distinctive flavor to their morally gray character. Florence Pugh continues to own every frame as Yelena-her charisma and emotional depth are the film's pulse. Sebastian Stan's Bucky carries a brooding calm that contrasts well with the chaos around him. David Harbour provides the humor, and while not all the jokes land, he humanizes the team when things get too grim. Some of the supporting cast feel underused, but the ensemble has chemistry that hints at what could've been a more dynamic character study.
Cinematography: Visually, Thunderbolts sticks to the gritty, shadow-toned palette you'd expect from a team of anti-heroes. The camera work is confident, especially in close-up combat scenes where tension and movement are emphasized. Still, it doesn't quite push boundaries-stylistically it feels more like a side chapter than a cinematic centerpiece. That said, a few wide shots (especially those set in urban decay or icy backdrops) stood out for their moody composition.
CGI & Action Sequences: The CGI is solid overall. Nothing groundbreaking, but no glaring flaws either. The action choreography is tight and practical where it counts-fewer giant sky beams, more boots on the ground. I appreciated that. There's weight to the hits and a rawness in the hand-to-hand combat that suits the tone of the story. Some larger set pieces felt slightly over-polished, but they never broke immersion.
Music & Sound Design: The score does its job, adding tension where needed, but it doesn't leave a lasting impression. I wouldn't say I walked out humming any themes, but the ambient tones supported the bleak energy of the plot. Sound design during the fight scenes was punchy and immersive, especially in enclosed or claustrophobic environments.
Story & Themes: Narratively, Thunderbolts juggles a lot-trauma, redemption, betrayal-but it doesn't always go deep enough. The characters have scars, but the script tends to scratch the surface rather than dig in. Still, there's a clear attempt to explore what makes someone a "hero" versus a weapon, and I respect that. The pacing drags in the second act, but the third pulls it back together, even if it ends a little too neatly for such a morally messy crew.
Overall: Thunderbolts is a good movie with flashes of greatness. It sets the stage for more layered storytelling in the MCU, but stops just short of breaking the mold. As someone who appreciates stories that let flawed characters breathe, I found enough here to enjoy-but I also left wishing it had gone further. Still, a 7/10 feels fair. It's not thunderous, but it's definitely a rumble worth hearing.
Acting: The cast is where Thunderbolts shines most. Each performer brings a distinctive flavor to their morally gray character. Florence Pugh continues to own every frame as Yelena-her charisma and emotional depth are the film's pulse. Sebastian Stan's Bucky carries a brooding calm that contrasts well with the chaos around him. David Harbour provides the humor, and while not all the jokes land, he humanizes the team when things get too grim. Some of the supporting cast feel underused, but the ensemble has chemistry that hints at what could've been a more dynamic character study.
Cinematography: Visually, Thunderbolts sticks to the gritty, shadow-toned palette you'd expect from a team of anti-heroes. The camera work is confident, especially in close-up combat scenes where tension and movement are emphasized. Still, it doesn't quite push boundaries-stylistically it feels more like a side chapter than a cinematic centerpiece. That said, a few wide shots (especially those set in urban decay or icy backdrops) stood out for their moody composition.
CGI & Action Sequences: The CGI is solid overall. Nothing groundbreaking, but no glaring flaws either. The action choreography is tight and practical where it counts-fewer giant sky beams, more boots on the ground. I appreciated that. There's weight to the hits and a rawness in the hand-to-hand combat that suits the tone of the story. Some larger set pieces felt slightly over-polished, but they never broke immersion.
Music & Sound Design: The score does its job, adding tension where needed, but it doesn't leave a lasting impression. I wouldn't say I walked out humming any themes, but the ambient tones supported the bleak energy of the plot. Sound design during the fight scenes was punchy and immersive, especially in enclosed or claustrophobic environments.
Story & Themes: Narratively, Thunderbolts juggles a lot-trauma, redemption, betrayal-but it doesn't always go deep enough. The characters have scars, but the script tends to scratch the surface rather than dig in. Still, there's a clear attempt to explore what makes someone a "hero" versus a weapon, and I respect that. The pacing drags in the second act, but the third pulls it back together, even if it ends a little too neatly for such a morally messy crew.
Overall: Thunderbolts is a good movie with flashes of greatness. It sets the stage for more layered storytelling in the MCU, but stops just short of breaking the mold. As someone who appreciates stories that let flawed characters breathe, I found enough here to enjoy-but I also left wishing it had gone further. Still, a 7/10 feels fair. It's not thunderous, but it's definitely a rumble worth hearing.
Nadine Labaki's Capernaum is a profoundly emotional and eye-opening film that transcends borders and speaks to the heart of human dignity. Told through the eyes of a child, it confronts the harsh realities of poverty, neglect, and survival with an authenticity that's as heartbreaking as it is powerful. What makes the film especially remarkable is its naturalistic performances, particularly from the young lead, whose raw and deeply affecting portrayal feels almost documentary-like. The cinematography captures the vibrancy and despair of life on the margins, grounding the story in a world that's all too real. Despite its bleak setting, Capernaum radiates empathy and resilience. It asks urgent questions without lecturing and compels viewers to look beyond their comfort zones. The storytelling is intimate, human, and unforgettable. This is a film that doesn't just move you-it awakens you. Powerful, tender, and deeply necessary.