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Its a dark night in Haddonfield, 1963 in more ways than one. No one in this compact suburban town could even begin to imagine the unspeakable terrors that would haunt Haddonfield for years to come. The fact that it all began on Halloween, 1963 with a small little boy named Michael Myers is part of the simplistic brilliance of the film. Just think about it! The films commencement includes the sound of children speaking in a monotone voice, amidst the simple image of a traditional 60s home. That's it! Yet, between the sound of the cheering children and the realization from the viewer that you are walking into a horror film, the average viewer will feel frightened and nervous about what's to come. By the time the scene ends, (only five minutes into the film) a six year old kid wearing a mask has murdered his sister, his parents have come home, and have found their son with a bloody knife in hand. These images are not confusing, they don't reveal a lot about what's happening or who anyone is, all we know is some little kid has brutally killed his sister. The fact that an event such as this could happen in actuality, and that the scene isn't drowning in confusion is what makes the scene so effective. This streak of simplicity that continues throughout the film, combined with the phenomenal performances from the main cast, and the haunting cinematography is part of what makes this film a classic.

The horror genre is always in desperate need of help. Questions frequently asked are, when is enough enough, when do supernatural elements become too confusing, and how much development should a character have? Halloween makes you care for it's characters, it has no supernatural elements, which is part of what makes it so effective, and it features barely any blood. These three things combine to make a much better film than if it featured a plethora of blood, one-domensional characters, and confusing supernatural subplots.

In the horror genre, it's always interesting to see how the director asked the director of photography to move the camera. Should the camera move slowly, without any movement to try to replicate a POV shot? Or maybe they should shake the camera excessively, which makes the viewers full of annoyance? Halloween does a little bit of POV wotk which is great, but the main type of cinematography that John Carpenter uses is what would now be considered the Steadicam. When this movie was being filmed, the Steadicam had not yet been invented, but a similar technique was used called the Panaglide. Throughout Halloween, the camera is constantly moving to show the fact that there are a multitude of different perspectives as to the sinister actions that are taking place. Many people walk outside when they hear something unusual, while the camera starts moving with the character. But the movement of this film's camera is unlike that of a dolly or film crane, which often moves too fast to actually be able to enjoy what you are witnessing. In this film, (even though this was during a time when the image was grainy) you can clearly make out what's what, which I can't always do in a modern action movie! This simplistic movement is an immense part of what makes this movie so effective.

Generally, the acting in horror films feel cheesy, generic and honestly, just a big hunk of meaningless crap. There's no better way to say it. However, for Halloween and a few others, I make an exception. The acting in this film makes you feel like you are in real life, watching real people talk about an evil maniac with a mask. The conversations between the characters, especially Donald Pleasance, are enjoyable because of the true range of emotion that these actors give in their performance. Pleasance really is what makes Halloween such a classic 40 years later. He's such an experienced actors, and gives several essential and brilliant monologues on evil, and Michael. The best thing about his performance is several of his conversations are incredibly to the point and (yes you guessed it) simple! Hell, you could give this guy a two page script to memorize about how to brush your teeth and it would be interesting. Why? Because of his knowledge, his impeccable use of words, and his cool voice. No one could ever surpass his radiance and intellect.

All of these topics have at least one thing in common. The cinematography, acting, and plot of the film are all done with attention and in a facile nature. Simple is always best, especially in the horror genre. Halloween has defined the true essence of the horror genre because of it's creation of teens getting stabbed to death, slasher killers, and a multitude of other horror tropes. This film is currently the brightest-shining star in the already bright world of horror movies. Welcome home Michael...

In the late seventies and early eighties, there were a myriad of low budget "slasher films," a group of movies where the premise usually involved a killer hunting down a bunch of stupid teens. Many of these supposed horror films came across as cheesy and dopey, failing miserably at the box office and with critics. However, some of these films were insanely successful at the box office, and are now considered cult classics. Films such as Halloween, Phantasm, The Texas Chainsaw Massacre and Friday the 13th are considered to be some of the more eventful and original horror films of the decade. The 1984 film, 'A Nightmare on Elm Street' is a prime example of the best of the eighties in terms of what these directors had to offer. It's no wonder that because of it's originality, dazzling special effects and fantastic characters that to this day, 'A Nightmare on Elm Street' is still one of the best.

What is it about this movie that makes it a horror classic? The number one reason is because of the originality of the storyline. The film's main concept is one of the more intriguing storylines and themes of horror. It also has an interesting origin story as to how Wes Craven (the director of the film) became inspired to craft this story and bring it to life The story begins when Craven found a Los Angeles newspaper article printed in the seventies which told the story of several Southeast Asian refugees who fled their hometowns as a result of war and genocide. These men later had a multitude of nightmares, resulting in some of then dying in their sleep. This horrific story, mixed with Craven's love for the seventies pop song 'Dream Weaver,' (set the tone for the music in the film) sealed the deal for Craven. In the end, I believe that nightmares, and the endless flow of information that could be revealed about dreams in the future is a fascinating subject matter. Craven's willingness to include this theme is what made the film so great.

One of the most salient issues with horror films is the tendency for the director to fail to craft realistic characters who you care about. While 'A Nightmare on Elm Street' certainly has this issue occasionally, most of the time, the average viewer will actually care about what happens to these characters. Why do you care about these characters, and not others? Because you actually learn certain interesting things about these characters and their home life. For example, we learn that Marge Thompson, the main characters mother is an alchoholic. We learn some interesting facts about Freddy Krueger himself, such as what kind of life he led when he was alive. This development of Krueger really makes you wonder what compels him to commit such horrid acts. You could continue asking questions about these characters for ages because Craven actually gives you questions to ask. Of course, if it weren't for the endlessly interesting main storyline, we wouldn't be able to have the chance to watch these great characters entertain us as much as they do in the film.

In the end, 'A Nightmare on Elm Street' solidifies itself as one of the strongest, most entertaining horror films. Hopefully the great abundance of modern horror directors will learn from some of these fantastic films such as "Nightmare." But no matter how hard they try, the future of the horror industry will never be as successful as it was in the eighties, partly because of the horror masterpiece, 'A Nightmare on Elm Street.

'A Nightmare on Elm Street=95%

• three points taken off for a couple of cheesy scenes

-two points taken off for mild inconsistencies and a slightly boring middle

There will always be a bit of skepticism as to whether a new season of 'The Walking Dead' will succeed. It is a fact that the past two seasons of the show have been some of the worst seasons. Reasons for this include gaps in logic, some overly long storylines and bad dialogue. Going into Season 9, many viewers could feel a little worried, especially once the news came out that Andrew Lincoln would be leaving. I guarantee you, there is little to worry about.

Some of the problems with Season 7 and Season 8 had to do with the fact that once the communites settled in, there weren't really any threats. The only possible threat would be to introduce another villain, which is exactly what the showrunners did. This led to some monotonous plots which have already been done before a million times. This changes immediately in Season 9. In the new season, survivors are forced to find new means of transportation and ways to survive which is what made the show so vital and watchable in the first place.

In previous seasons, the dialogue on this show has felt a bit generic, and boring. This season, some characters still occasionally sound a bit stupid, but for the most part it focuses on the veterans. Andrew Lincoln, Norman Reedus, Lauren Cohan, and Danai Gurira are prominent in this episode, which is great. The performances in this episode are among the best ever.

Finally, the ongoing storyline involving 'All Out War" is over. This was the weakest aspect of the past two seasons. Now that the storyline is finally sidelined, the showrunners can focus more on the core characters. They can also focus on the problems that will undoubtedly arise when communities shift and change over time.

This is 'The Walking Dead' at it's best. It's the best it's been in years because of the revitalized strength in the actors, the faster pace, the focus on the core group, and the plots involving survival that provided the main plot for the first couple of seasons. I'm still a bit worried about some of the pace throughout the episode, and it's focus on too many characters. However, overall, the show is much better, all thanks to Angela Kang.

'A New Beginning' =90% -five points taken off for still being a bit boring -five points taken off for some annoying, over used characters

Big Mouth cannot compete with any other comedy show right now. 'What Is It About Boobs' the second episode of this comedic show, proves that even more. The one criticism that I had with the first episode, was that it felt a little bit out of focus, and had featured too many characters for comfort. All of that is fixed in this second episode.

The dance numbers on 'Big Mouth' have always been somewhat comedic, but the dance routine in this episode is extremely well-choreagraphed and it actually advances the plot. The show really does a great job of blending some of the funnier moments with some really good metaphors and messages that are essential in guiding oneself through the world of puberty.

This episode also focused a lot on some of the lead characters, which should be the case for every show. Sometimes the creators of a particular show think that it's a good idea to sideline some of the main characters in favor of some of the supporting cast. In some cases, that's a good thing, because the average viewer could get tired of seeing the same three or four characters over and over again. It's a bad thing in the case of 'Big Mouth' because many of the supporting characters aren't as interesting as the leads. Luckily, Episode 2 focuses more on the main characters, and advances several hysterical plots.

Hopefully 'Big Mouth' will continue it's streak, because right now, it has my attention.

'Big Mouth' has returned and is greater than ever. One of the best things about this show as a whole is the fact that it is hysterical, but at the same time tells a meaningful, intriguing plot. This is particularly prominent in Season 2, which is funnier, grittier and better than ever.

'Am I Normal' really gives the average viewer a lot of insight as to how much it will balance humor, social commentary and educational satire involving growing up and puberty.

It is really hard to create a perfect comedy movie/TV show. In most cases, these movies or TV shows fails and go unnoticed. But sometimes the movies/TV shows become successful and become noticed for it's successful contribution to the genre by seamlessly combing humor and heart to the story. 'Big Mouth' is a fantastic example of this, and if 'Am I Normal' proves anything, it proves that the show has a long and hopefully fantastic future ahead of it.

Episode 1: 'Am I Normal=95% -five points taken off for some boring sub plots

"We will tear your soul apart."

"What I care about is a new skin."

These are just a few lines muttered from some of the sick, depraved souls who make up the main storyline of this perverse, disturbed film known as 'Hellraiser'. This film actually contains only one good person in comparison to the other six characters who are just pure works of the devil, and the one character who is slightly disturbed, but means well. Before the average viewer decides to give this movie a go, they should understand a couple of things first. 'Hellraiser' is a highly disconcerting and troubling film, including many controversial themes such as violent treatment towards women, sexual violence, extremely vile and unspeakable pleasures (demon to some, angels to others) and most importantly, rivulets of blood and gore. Therefore, some reviews are mediocre because of the many vexed topics, shown in several detailed and gory visuals throughout the film. Many will be turned down by the film because of it, but if you do decide to watch it, with the exception of some mediocre acting, the film is masterful, considering the expectations that arise while watching a horror movie.

In it's best moments, 'Hellraiser' is a horror film about the slow, ever so palpable feeling that that there is an abundance of evil in this world. Ninety percent of the characters in this film are trying to accomplish evil tasks. One could argue that these characters decide that its a decent idea to commit sins of the highest level because of the one object that propels the film forward, and the souls stuck inside it. A big golden box, called The Lament Configuration. If the box is opened, it opens up a portal to another world, (essentially hell) where four demons, known as the Cenobites rule this land of what is considered pleasure (angel) to some, or torture (demon) to others. So, in the first scene of the film, someone unleashes hell and opens the box. What follows is some of the most unsettling, torturous and yet deliciously pleasurable scenes in the history of horror and possibly the entire film industry.

The reason why the film is so pleasurable and brutal is because of these Cenobites, and the extreme blood and gore. If it wasn't for these scenes full of carnage then the movie would just be full of miserable performances, and distasteful plot holes. So every time you enter this insane world, you can thank me for luring you into the deranged world of 'Hellraiser'.

'Hellraiser'=90% -five points taken off for mediocre acting -two points taken off for having no real developed characters -three points taken off some predictable plot points

There are many things that make 'The Bridge' the best episode of The Handmaid's Tale thus far. The show always seems to be at its best when the directors check in on all of the characters briefly, but focus primarily on one or two characters. This is precisely what the ninth episode of the series does, and it is superior because of it. The character's who are focused on are Janine and June/Offred, and therefore features some of Elizabeth Moss (June/Offred) and Madeline Brewer's (Janine) most magnificent work on the show so far. Whenever they are in a scene together, they deliver such raw and palpable emotion, that creates a vast array of tension. The fact that this episode focuses on them the most, is a great thing, and is probably the greatest part of the episode, which wouldn't have been as good if not for the miraculous performances from the lead actresses.

Another particularly marvelous aspect of this episode is the sensational cinematography. The director of photography on this show does some incredible work in this episode, showing off some of the most dazzling colors on the palate possible. Whenever a consequential or a particularly melancholy or dreary scene is presented, the lighting is darker, and more atmospheric-looking, but there are several moments of scenic beauty that are displayed with much lighter colors. Some examples of the lighter-lit scenes includes one of the most salient and intoxicating scenes, set on a bridge, which provides some of the most exciting and intriguing drama on the show.

The final thing that makes 'The Bridge' so entertaining is the heavy themes that are put on display. Themes presented in this episode include mothership, the many rights that women should have in this harsh world, and most importantly, the development of heavy plots that are to be set up in the future. 'The Bridge' fuses together the themes of the former two, and concludes with the latter, in a breathtaking last twenty minutes.

'The Bridge' brings together several salient themes which are related to the overall theme of the show as a whole, and also provides life-changing performances from the entire cast, but especially Elizabeth Moss, and Madeline Brewer.

Episode 9: 'The Bridge'=96% -four points taken off for a slow beginning

'Jezebels' follows a similar pattern that some of the previous episodes follow. The episode continues to excite, by creating memorial sets (in this case, Jezebels) but at the same time, brings together another slow-moving plot.

The sequences involving Nick, and his introduction to the world of the Handmaid's, while extremely important, can't help but be a bit off-kilter because of the pacing once again. It's hard to get pacing right, and I just wish that the pace could pick up in a few sequences, in order to make the episode better.

The Jezebels sequence is by far the best of the episode. June/Offred is taken to what is basically a strip club version of The Overlook Hotel, where there are a wide variety of eccentric characters, engaging in a ton of perverse acts. But this isn't the core of the episode. June/Offred eyes her friend, Moira from afar, and because of instinct, choose to each go to the bathroom, one after another. These are phenomenal sequences, that are important to the story once again. On top of that, Elisabeth Moss gives her best performance to date in this episode, having the most dialogue since the pilot episode. She also has to deliver an inordinate amount of emotion when Moira reunites with her for the first time in three years.

'Jezebels' can't help but follow this similar pattern of having one outstanding storyline, while at the same time, placing a slow-moving one right beside it. It is the continuation of these outstanding sequences which makes for such a good episode.

Episode 8: 'Jezebels = 90% -five points taken off for being one of the slowest episodes -five points taken off for focusing too much on Nick, and not enough on June/Offred

There are few episodes in television that have been so slow-paced, and yet so intriguing and intense as 'The Other Side' was. This brilliant episode fills in the blanks as to what happened to Luke, June/Offred's husband. While it features other characters, 'The Other Side' really is a spotlight on Luke.

Before this episode, the viewer doesn't really know what to think of Luke. We don't really know anything about him. The viewer really only knows that he was considered to be a kind person, but in this episode, we really get to learn about his overall personality.

The Handmaid's Tale is for the most part, a morbid drama, and while 'The Other Side' has it's fair share of gruesome moments, it really shows how friendly Luke was, and how willing he was to get back to his family.

While these are all phenomenal scenes, there is definitely a dreaded feeling throughout the very beginning of the episode. Luke spends a great deal of time wandering around, not really accomplishing anything. This, mixed in with the grim, ominous, snowbound location makes for a particularly tiresome first half of the episode. However, the pace really picks up when Luke finds several survivors, and goes on different, intriguing journies with them.

Overall, this episode once again proves incredibly successful because of it's content. It once again saves itself from being to boring by introducing and creating fantastic characters.

Episode 7: 'The Other Side' = 88% -10 points taken off for being the slowest episode -2 points taken off for having irritating characters

There are multiple ways to make a TV show sensational. The director can choose to include dazzling action sequences, or he/she can mix genres, or they could craft a storyline pivotal to the show as a whole. However, one of the most essential aspects to making a good TV show is creating a strong, superior backstory for it's main characters, or supporting characters.

'A Woman's Place' the sixth episode of The Handmaid's Tale presents a remarkably melancholy backstory for Serena Joy and Commander Waterford, while at the same time continuing June's/Offred's storyline to great effect. Even though these two characters can be ruthless at times, you also can't help but feel bad for them after this momentous, phenomenal episode.

Sometimes the thing that can make a standalone episode mediocre is when the director chooses to focus on one or two characters too much. While 'A Woman's Place' definitely tends to focus more on the Waterford's, we also get some great moments between Nick and June/Offred following the immensely important finale of the last episode, 'Faithful'.

Overall, 'A Woman's Place' succeeds in every area, more so than 'Faithful'. It gives us incredible backstories, a much faster paced episode, and a fantastic monlogue delivered by Elisabeth Moss at the end of the episode. Continue the magnificent work everybody!

Episode 6: 'A Woman's Place' =98% -2 points taken off for being slow moving (much less though)

'Faithful' is probably the most salient episode of The Handmaid's Tale thus far, but it certainly isn't an episode to watch late at night. It is often considered the slowest episode of the series, but it does set up several important stories which become essential in understanding the rebellion.

The leisure pace of the episode bring the quality down a bit. Having said that, the scenes involving Nick and June/Offred set up a great storyline. They are such tortured souls, and the sequence in which Commander Waterford decides to choose Nick for the "ceremony" is phenomenal.

There is so much tension in these sequences, that the scenes aren't even considered perverse and weird like they usually are, because they actually love each other.

This storyline made up for another slow episode. I can't wait for what's to come, but at the same time, O I wish that the showrunners could speed up the pacing a little bit.

Episode 5: 'Faithful'= 88% -10 points taken off for being slower than usual -2 points taken off for not featuring enough Nick and June/Offred sequences

In most cases, the third time's the charm, but in the case of The Handmaid's Tale, the fourth times the charm. In the most riveting episode thus far, we are treated to major revelations, immense character development and above all, yet another magnificent performance from Elisabeth Moss.

Whenever a showrunner wants to make their show more engrossing, they should definitely add some riveting sequences in any particular episode. "Nolite To Bastardes Carborundorum" proves this theory and adds some thrilling sequences, and draws several analogies. The analogies involve the title, a Latin phrase which translates to: don't let the Basterds get you down. This Latin phrase is carved on the wall in June's/Offred's closet room. We find out from a chilling conversation with Commander Waterford that the previous Handmaid who lived in the house carved that into the wall after reading a Latin book from Commander Waterford. What's important is that the day June/Offred finds this phrase carved on the wall, she is trapped in this room because she is being punished. (I won't reveal why) She notices the carved phrase. Throughout the episode, this phrase serves as a reminder to her that she is not alone, and can survive her suffering, thus moving on. This a terrific group of sequences, and are at the same time brutal because we have to watch June/Offred suffer immensely until she realizes that she can survive.

These sequences give June/Offred incredible character development. It moves her storyline forward more so than any previous episode. It gave me confidence as a viewer, that she would only have greater moments like these in the future.

This also provides more fabulous acting from Elisabeth Moss. This is her crowning achievment so far.

This was definitely the best episode, full of brilliant performances, many shocking revelations and much character development. Great work everybody!

Episode 4: "Nolite Te Bastardes Carborundorum"= 95% -five points taken off for not having a wide variety of storylines, for mainly focusing on only one character

"Late" the third episode of The Handmaid's Take saves itself in more ways than one because of it's top-notch actors. In the case of this episode, the actress who stands out (although Elisabeth Moss is always great) is Alexis Bledel. She doesn't even have a lot of lines in the episode, yet conveys such much through her facial expressions.

The problem is, not much else happens in the episode. A bunch of the main characters just wander around in circles, not really accomplishing a lot. There are however, a few other great aspects to this episode, that make it worth watching.

There are a multitude of details and truths uncovered about the invention of Gillead, through the use of gripping and haunting flashbacks. These flashbacks are incredibly effective, therefore making it the best part of the episode.

Overall, "Late" still succeeds, because of the phenomenal performance from Bledel, the haunting use of flashbacks, and some of the most disturbing and brutal violence depicted on the show so far. I'm still completely and utterly hooked.

Episode 3: "Late"=89% -five points taken off not much happening, a lot of wandering around -five points taken off for decision to include women on show accusing their boss of firing them on purpose! -1 point taken off still being a bit slow

One thing is certain about "Birth Day" the second episode of The Handmaid's Tale. It is better than the premiere episode in all aspects. The episode has a lot of humor, considering the show is for the most part, dark, morbid and tortorous. It also expands the characters storylines, making the viewer care for each of them more than they did by the end of the premiere.

We actually get an incredibly detailed episode, showing us the daily schedules of the different Handmaids. We see what they go through, and the torture that is inflicted upon them every single day. There are several phenonenal performances throughout the episode, which makes the episode even better.

Overall, each episode is getting better and better. The show has getting a better grip on it's characters, and the overall storyline. Count me in.

Episode 2: "Birth Day"= 93% -5 points taken off for being slow

• 2 points taken off for not having a clear understanding of the world of Gillead and it's rules

There are diverse opinions as to whether or not the second entry in the Indiana Jones Series is any good. Some say that Temple of Doom doesn't feature any decent chracters, and is too brutal and distasteful for the liking of young children. That may be true, but it is also worthy of a good watch, because there are several fantastic aspects to the film.

Many directors have the option to use exotic settings to give their movie a bit of style, some use too much (this is called style over substance), but when used correctly, exotic settings can make a movie more entertaining. In the case of Temple of Doom, the exotic location only helps the film, as Pankok Palace, (the exotic location) is introduced in the second half of the film, after a somewhat slow start. Not that the beginning of the film is bad, but in comparison, the second half (in my opinion) is much better.

While many critics argue that Temple of Doom isn't a great film, no one can argue that the movie expanded the film industry in a time period where the industry needed much reviving. These parts of the film only make the movie greater.

1. It basically invented the PG-13 Rating Because of the films disturbing violence and gore, studio executives determined that the film was too violent for young children, but not disturbing enough that teenagers couldn't watch it. Therefore, they can up with the PG-13 rating and re-rated it years later. This was a great thing for the film industry, because as a result of this film and Gremlins, (both films Spielberg collaborated on) films had more variety in subsequent years.

2. The offscreen relationship between Spielberg, Capshaw and Harrison Ford led to greater performances During the filming of Temple of Doom, Spielberg became quite enamoured with Capshaw, who had a major role in the film. Years later, they were happily married, and still are married to this day. Even if some viewers don't like the film, one has to appreciate the fact that Temple of Doom intertwined two lively souls. To this day, they are possibly the greatest and humblest celebrities, and it's all thanks to Temple of Doom.

3. It officially made Indy an indestructible hero By the end of the film, Indy and his gang have been through a multitude of horrid situations. Every single obstacle that they face, Indy gets them out of. Even after he's been tortured endlessly and possessed, in the end, Indy saves the day, which should make any viewer happy and a bit tearful.

Overall, is Temple of Doom better than Raiders of The Lost Ark? Absolutely not! But does it offer another great entry with awesome special effects, great characters, and a surprising amount of humor? Yes! That's good enough for me.

Temple of Doom=89% -5 points taken off for being overly melodramatic and silly with it's characters -5 points taken off for not deciding on a clear tone and mood -1 point taken off for having irritating characters, who don't have backstories

Over the course of it's 4-Season run, Better Call Saul has never felt more like Breaking Bad than "Quite A Ride", the season's fifth episode. Each of the three storylines get equal weight and attention, resulting in an altogether fantastic episode.

Kim/Howard Storyline: 8/10 The Kim/Howard Storyline is still by far the weakest of the three storylines that take up Better Call Saul's episodes every week, but it is certainly getting better. Depending on the episode, the storylines involving these two characters could come across as a bit boring, but in the case of this episode, it is quite the contrary.

Kim trying her hand at becoming a criminal lawyer is incredibly entertaining. Certainly she seems to be enjoying this side of the law much more. Just watching her communicate with different people who have committed crimes is so incredibly thrilling to watch and I hope that this storyline continues to get better and better, because it has been running a bit slow recently. However, one has to wonder, what happens to Kim and Howard that makes them not end up on Breaking Bad. I guess we'll just have to wait and see then.

Mike/Gus Storyline: 10/10

This storyline is without a doubt the greatest storyline currently on Better Call Saul. Watching Mike work more and more for Gus is so incredibly entertaining. We know that at some point Mike will be working full-time for Gus, but for now, we will wait in anticipation.

This episode certainly does a very good job of taking the viewer slowly back into the world of Breaking Bad by introducing the Superlab shown in Breaking Bad. Incredible cinematography is displayed as we see Mike try to find a person who can restore the lab. It's exciting to see where Vincent Gilligan and Peter Gould go from here in terms of this storyline.

Jimmy/Kim Storyline: 9/10

Normally I would give this sequence a 10/10, but this episode brings it down one point. We spend the whole episode showing great character transformation for Jimmy, by showing him go around town selling pay as you go phones to criminals. Stunning cinematography and acting from Bob Odenkirk once again as he sells the phones and runs into several thugs in a familiar Breaking Bad restaurant, Dog House. We are also treated to the first actual scene with Odenkirk acting as Saul Goodman in the beginning of the episode. The scene takes place in between two top-notch Breaking Bad episodes, Ozymandias and Granite State. Getting back to the current storyline, everything is going so wonderfully until everything goes down-hill for Jimmy. After making money from selling the phones to different criminals, he gets robbed by three teenagers. The scene was stunningly executed, but I felt a little bit robbed because we spent the whole episode with Jimmy finally scamming people, and acting like Saul, and then it all gets undone. I have no doubt however that this episode ended up with Jimmy closer to becoming Saul than he ever has been before, which is fantastic.

Overall, this episode was a great episode of Saul, really showcasing all of it's incredible, top-notch actors, all while retaining a good tone and pace, with excellent cinematography as well.

"Quite A Ride": 94% -two points taken off for Jimmy still not entirely transforming into Saul -two points taken off for backtracking Jimmy's transformation by having him get robbed (also telling guy that he still has the intention of continuing partnership with Kim, even though he's probably not going to do that) -two points taken off a little bit of a slow pace for Kim/Howard Storyline.

The second episode of this drama is definitely, in my opinion better than the premiere. It succeeds in setting up more of the family Dynamics, and takes the viewer on a journey to the church, where all of the main characters attend a funeral. It is during this visit to the church where we get to see some quirky interactions between some of the characters. It is certainly becoming more and more apparent that whatever happened to the main character, Camille's sister, Marion is similar to what happened to the two girls who have recently died. The fantastic funeral sequence reminded me of the Twin Peaks funeral! Overall, the show seems to be improving with each episode, as the characters develop more and more. There is certainly still an incredibly slow pace that seems to be ruining the show, which is otherwise, pretty great. Episode 2: Vanish= 88%

The first episode of Sharp Objects does a decent job at introducing all of the central characters, while setting up the tone of the show. However, this all happens at a very slow pace, making the average viwer wonder how long this slow pace will continue. The shows cast is phenomenal, all of them top-notch, really. The cinematography is intriguing, a breath of fresh air, in the all but too mundane world of cinematography. The direction of the show seems to be in good hands, considering the director, Jean Marc Vallee's phenomenal work on Big Little Lies. The main problems with the show so far involve the fact that the show is so incredibly slow for huge chunks of time. Also none of the characters are particularly likeable, although that is sure to change. Sharp Objects certainly has promise as a show, and parts of the plot are certainly incredibly original, which is refreshing. Episode One: Vanish= 85% -10 points taken off for slow pace -5 points taken off for bad sound, and annoying characters

The Good, The Bad and The Ugly is the first real Spaghetti Western that I ever saw. I hadn't even heard of the Spaghetti Western genre, I just watched the movie because I was a fan of Clint Eastwood at the time. After watching this magnificent masterpiece for the first time when I was a little kid, I was officially introduced to what would become one of my favorite genres, Spaghetti Westerns.

Now an amateur Spaghetti Western fan might ask, "why is this the best Spaghetti Western? Why not Django, or The Great Silence or even Once Upon A Time In The West?" Well I'll tell you why, all of those other films are fantastic films, but this one actually has a great plot, unlike some of the other Spaghetti Westerns that could come across as mindless and boring. This film follows a group of three fantastic main characters, none of whom you really trust, as they all compete to find a fortune in Confederate gold that is hidden.

Leone also excels the most in this film in terms of the phenomenal cinematography, the top-notch gun duels between the main characters, and the epic scope of the film. Everything time I watch this film, I see more and more of the extravagant scenery and I feel as if the whole landscape of the film is getting larger and larger.

In the end, The Good, The Bad And The Ugly succeeds in every area, and more so than any other Spaghetti Wester. Maybe it succeeds even more than any movie ever made. It is certainly my favorite movie, and I hope that it continues to age is well as it has since its release dat in 1966.

The Good, The Bad and The Ugly: 98% -two points taken off for it being a bit slow at certain points, and for it being too long.

Raiders Of The Lost Ark is without doubt one of the greatest films I've ever seen. This was the first Steven Spielberg movie that I saw. Ever since I saw this movie, Spielberg has been my favorite director. This movie is a prime example of everything that a great action movie should have.

This movie has some of the greatest action sequences I've ever seen in my life. What always amazes me is the fact that even though there are several humorous scenes throughout the film, it still manages to tell an incredible story, with great protagonists and antagonists. Indiana played by the brilliant Harrison Ford will always be one of my favorite movie characters. He was always such an inspiring person. I always wanted to be just like him.

Finally the movie never grows old. I have seen this movie so many times over the years, and each time I see this film I find new great things about it that make the movie so much better to watch. I am so happy that I saw this movie when I was little, and still love watching it to this day. This movie will live on for decades to come!