September was the long-anticipated Toronto International Film Festival. I didn’t completely max out the movies I could have seen there, skipping a few days for various reasons. But I did see quite a lot – some great, and some unbearable! Meanwhile, this month I finally signed up for the Criterion Channel because of a TIFF-related deal. This will surely be one of my longest movie blog posts!
Brewster McCloud
United States of America | 1970 | 105m | English
So this is a weird one. There’s some kind of extended metaphor around birds and human society but it always seems loose at best. When Brewster finally pilots his flying machine at the end – was I supposed to see the strings? Because then I might understand the bird metaphor as some kid of “delusion of freedom” experienced by the protagonists, all members of dysfunctional 1970s American society.
Really, though, I think Brewster McCloud is a freeform, postmodernist movie that’s more about the vibes than it is about telling any kind of coherent story. The police suck, society is a cage, we think we can rise above it but we really can’t… it’s cynical but occasionally funny, told via scenes that kind-of-sort-of connect to each other in a way that probably seemed really clever and profound when Robert Altman was jotting down all his ideas between joint hits. In execution, however, it’s a mess. That said, the opening and closing segments are interesting, and the car chase scene is entertaining. I also think this might be my favorite Shelley Duvall performance. “This may be over your head,” reads the tagline. Yeah, no kidding.
Cinemania
United States of America, Germany | 2002 | 79m | English
I loved this documentary about a handful of New York City cinephiles. All of them are odd people to one degree or another; as I watched, I wondered how much, if at all, I could see myself in them. Am I a “cinephile”? Early on, one of the subjects of the documentary remarks that to be a cinephile means that you’ve taken your interest in movies so far that there is some kind of pain – some core aspect of life that you’re neglecting in the pursuit of fitting more and more movies into your daily schedule. Many of the subjects of this documentary, for example, choose not to work, scraping by on inheritances, unemployment checks, or shoplifting. One guy admits to an unhealthy diet but refuses to eat better because then his bowel movements might unpredictably interfere with his screenings. There’s more than one self-deprecating joke about failed romantic lives.
I don’t think I’ve gone that far. I think I count as a cinephile because I “love cinema,” which is the most straightforward definition of that term. As I reflect on what has driven my deep interest in movies, which has grown in particular over the last couple of years, I think one of the main reasons is that it gives me material to write about. Before I joined Letterboxd, I was writing about movies on my personal website. At the end of the day, I love writing more than I love movies. Movies are a means to that end. Cinemania helped me to see that.
Magnolia
United States of America | 1999 | 189m | English, French, German
I can’t remember the last time I saw a movie so derailed by its soundtrack. I’m not talking about the lyrical Aimee Mann songs or the inexplicable synchronized sing-along that happens near the end, but rather the obtrusive orchestral score that spans across so many scenes and doesn’t fit with any of them. It’s so out of place it’s maddening. The music ends up highlighting how overly long and disjointed the movie is.
Alright, I’m sure that there are deeper meanings that I’m missing here on my first watch (I’m not seeing how the Exodus references and the raining frogs connect with anything). It’s a shame because for the first hour or so I was really into this. I want to like Magnolia a lot more than I did because the acting and camerawork is excellent. The multitude of characters reminds of Short Cuts by Robert Altman, which undoubtedly inspired Paul Thomas Anderson. I enjoyed that movie more than this, though I can’t totally put my finger on why. I’ll need to watch this again one day but I don’t think I’ll rush to do so any time soon. Tom Cruise should have said, “Respect the viewer and tame your runtime.”
Demon Slayer: Kimetsu no Yaiba Infinity Castle
Japan | 2025 | 156m | Japanese
Having recently reread the entire Demon Slayer manga within the past month, I can confirm that the “Infinity Castle” arc onward is the best part of the series; now the story can finally stand on its own merits without needing to be carried by Ufotable’s incredible animation elevating the source material. I thought that the last couple of Demon Slayer theatrical outings were pretty awful—not only were they lazy appropriations of the episodic anime, but the story arcs they adapted (Swordsmith Village, Hashira Training) were series low points. Infinity Castle is a return to the winning Mugen Train formula—that being a feature film adaptation of a canon story arc. It gives the animators an excuse to go wild, as they absolutely do in this film with more fights than I can count.
The problem with the movie, as is the problem with the source material, is that Demon Slayer is written without much foreshadowing or evidence of long-term planning. The result is that characters’ motivations are invariably explained through flashbacks hastily shoehorned into the middle of action scenes, which badly hurts the pacing of the story. The worst offender is Zenitsu’s rival, Kaigaku, who is barely mentioned in the story until his big fight in this final arc. Without the adequate build-up, the dramatic impact of those two coming face-to-face turns into a case of “tell” instead of “show.” The movie has to painstakingly tell us that these two are rivals, because this plot point has been insufficiently fleshed out until the last second. I imagine many viewers will come into this movie going, “Who is this character? I must have forgotten the episode he’s from…” No, you didn’t, really. Kaigaku’s first significant appearance, more-or-less, is about 20 minutes before his last appearance.
While the fact that this movie is only the first of three that will adapt the finale of the series is an obvious cash-grab on Ufotable’s end, it’s hard to blame them. Infinity Castle is already smashing records both in Japan and abroad. Seen with the right audience, I imagine the cheers at every onscreen character introduction—farmed for maximum aura, of course—could make for an exceptionally enjoyable communal experience at the theater. The audience in my theater, on the other hand, spent the first half hour or so muttering amongst ourselves about the badly out-of-focus screen that caused everything to appear with an unintended drop shadow (“This isn’t supposed to be in 3D, right?” said one person). Luckily the projector managed to fix it eventually, for which I’m very thankful because dealing with that for the entirety of Infinity Castle’s lengthy runtime would have had me going Karen Breathing: One Star on the Eglinton Cineplex’s Google reviews page after the screening.
Long story short, I enjoyed seeing Infinity Castle on IMAX and of course I’m going to see the final two parts of the trilogy, even if I know that the gratuitous flashbacks aren’t going to get any shorter moving forward. Ufotable is going Transparent World on my ass and can peer inside my wallet to see the dollarydoos I already have allocated for their next movies—I don’t mind!
Star 80
United States of America | 1983 | 103m | English
If you’re watching Star 80 at all, it’s probably because you already know about the real-life event that it is based on—the murder of Playboy model Dorothy Stratton by her husband Paul Snider. Or maybe you were one of the (apparently) few who wanted to catch a movie projected on 16mm at the Revue Cinema late on a Monday night.
While I probably shouldn’t be surprised by how lurid and morbid the film is, I still feel like it fails to really say anything other than, “Look at this terrible thing that happened.” Director Bob Fosse’s more famous movie, All That Jazz, also ends on a bummer note, but at least with that film I felt there had been a message of, “Take care of your health for the sake of your loved ones.” The closest parallel I had in mind while watching Star 80 was the recent TIFF crowd-pleaser Christy, which also tells a true story of a woman who finds fame and success but suffers at the hands of her jealous, violent manager-turned-husband. While that film of course has the benefit of a real-life outcome that differs from what happened to poor Dorothy Stratton, Christy manages to turn its brutal, harrowing scenes of violence into a powerful statement on domestic abuse, highlighting warning signs that viewers might recognize in their own lives so that they can hopefully find help before it’s too late. Star 80, on the other hand, ends almost immediately after the tragedy that it spends the entire film foreshadowing, leaving the viewer with a numb, awful feeling in the pit of their stomach as the credits roll. That’s not to say that Star 80 is a bad film. I think it’s engaging throughout and features some pretty believable acting performances, especially from Eric Roberts as the sleazy, obsequious husband. However, the decision to end the story without filling us in on, say, reactions from Dorothy’s family, the director she ends up leaving Paul for (who in real life was Peter Bogdonovich), or even Hugh Hefner left me feeling that there was no real takeaway to this story other than, again, “Look at this terrible thing that happened.” Sure, movies don’t necessarily need a moral at the end of the day, and you could argue that Star 80 front-loads all these reactions through flash-forwards that depict a number of characters ostensibly giving interviews to police investigators after the fact. But at the end of the day, for me, the movie didn’t totally transcend the trappings of lurid exploitation of Dorothy Stratton’s body, nude then dead. Wikipedia tells me that the final scene was filmed in the same house where the actual murder-suicide took place. Like, why do that?
Maybe I can’t complain. I myself first added Star 80 to my watchlist after learning about the real-life event in Peter Biskind’s book chronicling New Hollywood, Easy Riders, Raging Bulls, and reading that a movie had been made of the incident. (Her husband did what after he murdered her!?) So maybe the morbid, sensational intrigue of this story really is a good hook for a movie. I can’t say I’m particularly surprised that it didn’t perform better at the 1983 box office, though; this is a dark, dark movie that was designed to leave you with anything but a smile on your face when you leave the theatre. And in that, it completely succeeds.
One Battle After Another
United States of America | 2025 | 161m | English, Spanish
Get ready for this to win one Oscar after another. Some theorize that the Academy doesn’t like to reward actors who play scumbags, even if their performances deserve it, but Sean Penn, as system pig Col. Steven J. Lockjaw, might transcend that unwritten rule. In my review of Magnolia I noted the soundtrack that stretched across multiple lengthy scenes; One Battle After Another does that, too, but this time it’s actually to great effect, adding to the constant sense of paranoia. Being able to see this on glorious 70mm IMAX was awesome—not the least reason being that this movie actually maintains the super-tall, fullscreen 1.43:1 aspect ratio for the entire runtime.PTA is one of the best current-day filmmakers we’ve got!
Jigoku
Japan | 1960 | 99m | Japanese
Jigoku is an uneven Japanese art house horror film from 1960. On the surface, it’s some kind of morality tale about how living a life of sin will get you sent to the underworld for an eternity of technicolor torture. The morality tale angle didn’t really work for me, though, given that the hit-and-run death that the protagonist spends the movie fretting over literally wasn’t his fault. If a driver is caught driving too fast, do all the passengers deserve speeding tickets, too? While we’re at it, why did the baby deserve to be sent to hell when all she did was simply die before birth?
Okay, so of course this isn’t a story you can take too literally. I’m sure the answer has to do with hell being portrayed more as an abstract psychological state than a real, physical place. Still, with the moral and emotional thrust neutered by nonsensical story decisions, and all plot twists thudding on impact given how entirely predictable they are, the only appeal left for Jigoku is the visuals. Yes, there are unquestionably some neat, memorable images in this film, but you’ll need to sit through about an hour of melodrama before you get to most of them. But even the visuals, alas, failed to impact me all that much given how all the gore effects appear after sloppy cutaways and how the acting quickly devolves into haunted house-level camp. Characters appear in and out of the spotlit soundstage randomly; I get that hell is a supernatural realm, but I need some kind of narrative logic to the locations and events onscreen if there’s going to be any kind of tension. Jigoku is unlike most movies out there, and it’s interesting to me to see hell portrayed from a non-Christian perspective, but I felt like this movie failed to reach its potential.
Toronto International Film Festival 2025
Good News
South Korea | 2025 | 136m | Korean, Japanese
I really enjoyed Good News, my first film of TIFF 2025. Maybe this isn’t out of the ordinary for South Korean films, but I encounter movies that paint Communists as the morally decrepit authoritarian monsters that they are so seldomly that I can’t help but want to award an extra star or two out of sheer appreciation.
Of course, as Good News makes clear, the governments of the capitalist Japan, U.S., and South Korea are far from blameless themselves, staffed with selfish, bumbling clowns eager to steal glory from their far more praiseworthy foot soldiers at any opportunity. This movie actually reminded me of Godzilla Minus One, oddly enough, in its scathing indictment of a militarist culture that expects thankless sacrifice.
The biggest problem with Good News is that it is a good 20-30 minutes longer than it needs to be. While the opening is strong, it drags towards the end. However, this is still an excellently directed and thoughtful action-farce that served as a wonderful kickoff to this year’s festival.
Mare’s Nest
United Kingdom, France, Canada | 2025 | 98m | English, Catalan
Sorry Ben Rivers, I liked your sloth movie Now, At Last! but Mare’s Nest was absolutely unbearable.
I really have no idea what this film is trying to say, and I paid as close attention as any viewer could. I had no choice—I was in a darkened theatre for the second North American showing at TIFF. Mare’s Nest asks so much of the viewer yet provides so vanishingly little in return apart from a handful of beautifully framed shots, a couple of cool percussion sequences in the soundtrack, and a genuinely tense and creepy scene inside a cave filled with frozen, horrifying adult figures. Unfortunately, none of these are anywhere near enough for me to possibly justify recommending this film to any but the most patient moviegoers. And, uh, Don DeLillo fans, I guess.
The child actors, God bless them, speak in the most unnatural, wooden manner possible. Children don’t talk like this. Human beings don’t talk like this. This is not dialogue; I can’t even describe it as the children taking turns reciting speeches to one another because most of the time there’s no eye contact. Look closely during the Word for Snow segment and you can see the kids’ pupils moving back-and-forth, clearly reading their lines. And the lines themselves—invariably bizarre gobbledygook. I can’t believe these characters or this setting. I can’t connect to anything I’m seeing. I can’t even tell you what in the world is supposedly being communicated.
To me, this film was utterly alien to anything resembling the human experience. I got nothing out of it, holding my breath each time the young protagonist Moon started writing a new interstitial on the chalkboard, hoping to God that it would say, “The End.”
Christy
United States of America | 2025 | 135m | English
Wow, so Christy is the film to beat for my TIFF 2025 People’s Choice Award. Maybe it sticks a bit close to sports biopic conventions at the beginning, but I was deeply moved by Christy’s experiences and triumph over the darkest moments in her life. I’m still feeling emotional over it. Not being familiar with Christy’s story going into this viewing made its impact that much more gut-wrenching. I tell you, the whole theater was gasping! Sydney Sweeney gives the best acting performance of any movie I’ve seen this year. Seeing her and the real-life Christy hug onstage after the screening was really special. God, I love TIFF.
Noviembre
Colombia, Mexico, Brazil, Norway | 2025 | 78m | Spanish
Noviembre is a difficult film for me to review because while I can acknowledge the phenomenal acting from everyone involved and the strongly directed, relentlessly oppressive atmosphere, as a non-Colombian who admittedly had no background knowledge of the real-life event that this film is based on, I felt like I lacked crucial context to understand the who, what, and why of this story. The closest thing I could relate to is the January 6, 2021 attack on the U.S. capitol, but I can recognize that the events depicted in this movie were on an entirely different level. I think this an excellent film, but that is a statement made more on faith than it is on visceral understanding, if that makes sense.
Carolina Caroline
United States of America | 2025 | 105m | English
The script might be a bit derivative, but I thought this well-directed and quickly paced crime couple love story was great. I think the cast and production elevated what could have been something middling into something easy to recommend.
Sirāt
Spain, France | 2025 | 110m | Spanish, French, Arabic, English
Huh. I thought I would like this a lot more. I loved the idea of “hypnotic” rave music undergirding the film—after all, I’m a huge fan of Run Lola Run’s house soundtrack. But the only thing “hypnotic” about this film was its ability to put me to sleep. Granted, it could have been because I watched a 10pm screening at the tail end of a full day at TIFF, but I genuinely struggled to stay awake for a good half of this film. (I also think that my shitty front row seat at the Scotiabank Theatre did not lend itself well to a subtitled movie.)
The EDM music wasn’t as ubiquitous, heart-pumping, or memorable as I wanted. The story takes a few harrowing turns but none of it affected me on any kind of emotional level. (I can only go, “No, not the raver guy! He just wanted to rave!” so many times before I stop caring about these characters.) To be honest, I found a lot of the suspense to be goofy, far more reminiscent of Final Destination than Sorcerer. I want to give this movie another chance when it has a wider release because my screening experience was not ideal, but I can say that my first impression of Sirāt was not particularly great.
Roofman
United States of America | 2025 | 126m | English
Roofman is a nice, inoffensive movie about a nice, inoffensive guy. Well, other than the convictions for armed robbery and kidnapping.
This true story makes for a totally fine movie that could have gone in a number of different directions. The director eschews the opportunity to make this a tense, suspenseful film about a fugitive eluding capture and instead focuses on the Roofman’s choice to assume a new identity as a churchgoing surrogate father figure while on the run.
Some viewers will be here for the brief glimpses of Channing Tatum’s dick as he runs naked through the Toys R Us where he establishes a clandestine home. (He maintains an impossibly good figure for a guy whose diet consists of mostly peanut M&Ms…) But most viewers will enjoy this movie for its heart and characters.
Couture
United States of America, France | 2025 | 106m | English, French
Altman-esque, but in the sense that there are more characters than the story requires and the plot just kind of meanders along until it decides, “Sure, now is as good a time as any to end.” I think the script needed another couple of drafts to successfully reach the ambition that it was aiming for. There isn’t enough character development within the bounds of the runtime to justify this wide-ranging of a story. One character’s narrative climax seems to be that she watches a Marguerite Duras interview on Instagram.
Still, it was pretty neat seeing Angelina Jolie in-person at TIFF!
Lucky Lu
United States of America | 2025 | 103m | Chinese, English
Review may contain spoilers
Reviewers complaining like “why didn’t he steal the watch from the rich yt” are missing the whole core of the film (and frankly telling on themselves in terms of their own morality). Lu realizes the kind of influence that he has inadvertently impressed upon his beloved daughter and decides then and there that he will break a generational curse; he will not allow his family to continue along the same path, even if the way forward is treacherous and unknown. Lu realizes that the price of the watch is more than money—it is his dignity as a father, as a Chinese immigrant, and as a man.
The title Lucky Lu is not ironic; even though Lu ends the film without a sustainable solution to his ongoing daily struggle to survive, at least for today he has a roof over his head and a family who loves and respects him. To me, it called to mind Matthew 6:34: “Therefore do not worry about tomorrow, for tomorrow will worry about itself. Each day has enough trouble of its own.”
Lucky Lu is a beautiful and expertly directed film about poverty, morality, and the American dream. Maybe it’s too bleak for some viewers, but I found it to be deeply moving.
The Furious
Hong Kong, Thailand | 2025 | 114m | Chinese, Thai, English
The Furious won’t win any awards for original storytelling—it’s basically Taken set in Southeast Asia—but wow, does it deserve credit for some of the wildest, most adrenaline-filled fight choreography out there. I’ve never seen a bow and arrow used like that in a movie. Incredibly entertaining from start to finish.
Calle Málaga
Morocco, France, Spain, Germany, Belgium | 2025 | 116m | Spanish, Arabic
Calle Málaga joins Thelma as a top-tier “grandma-core” film. It’s about an elderly Spanish woman who is suddenly forced to move from her lifelong home in Morocco after her daughter sells the property out from under her. The movie moves at a gentle pace, but it’s kept interesting through the constant, underlying question of what the woman will do when her schemes to resist displacement inevitably reach an impasse. The way the film ends elevates the already strong material, leaving us not with a sense of “who won” but rather that life will go on and that conflict is inextricably part of it.
Bonus points for the steamiest septuagenarian sex scene ever put to screen.
The Ugly
South Korea | 2025 | 102m | Korean
First movie at TIFF that I didn’t clap for.
I’m not normally one to use this word to describe the movies I watch, but The Ugly feels like the most misogynistic film I’ve ever seen.
That’s ironic because I’m pretty sure the message the director was going for was that beauty standards in Korean society are absurd and men in particular are cruel to women whose appearance do not live up to their unreasonable expectations. However, in attempting to make this point, the movie gives us 100 minutes of unceasingly bleak, miserable scenes of abuse of a faceless woman labeled as ugly. She’s berated and beaten; she’s mocked and murdered; her corpse—both before and after it is reduced to a broken skeleton—is degraded and defiled. All of the twists in the film consist of finding out that even the few characters we think are virtuous are actually also reprehensible themselves. I waited the whole movie for some kind of redemption for the poor woman but instead the protagonist makes a decision that makes me hate him and this film.
I didn’t stay for the Q&A; I had to run to the midnight madness showing of Karmadonna (which, dear Lord, was somehow even worse than The Ugly). Maybe the director spouted some wisdom onstage that reframed his unbelievably mean-spirited misery porn into something thoughtful and progressive, and I missed it. My impression, however, is that his abilities as a filmmaker are frankly not strong enough to successfully make the point that I believe he was trying to convey. Aw well, I hear Train to Busan is pretty good so maybe he’s better at that sort of thing. He can leave nuanced storytelling to more talented writers and directors.
Karmadonna
Serbia | 2025 | 118m | Serbian
How can something so extreme and depraved be so… boring?
Lord have mercy, Karmadonna is truly one of the worst movies I’ve ever seen in my life. The TIFF midnight madness audience is usually pretty eager to laugh and cheer during ridiculous, over-the-top movies, but I’ve never seen them so quiet (except for the steady sound of their theater chairs folding back as more and more of them walked out). After about 10 minutes or so, it’s like the life was sucked out of the room as it set in that, yes, the digital effects really were going to be that lame, and yes, the cinematography really was going to be that unceasingly garish. Oops, all Dutch angles! If I got to whisper into the ears of the filmmakers like edgy school shooter Buddha does to the characters in this film, my first order would be, “See that Best Buy over there? March in there right now and buy a fucking gimbal.”
I think the biggest problem is the script. “This movie is basically about everything,” said the director onstage after the screening. Well that’s the problem. There’s no focus. There’s no tension. The premise of a pregnant woman receiving phone calls from a mysterious, supernatural entity who demands increasingly twisted, evil acts from her or else it will harm her baby seemed like it held promise. I haven’t seen the recent film Drop but from what I know about that plot, I imagine it would have been something similar—except, of course, with the added degree of depravity expected from the filmmaker who wrote the “newborn porn” scene from the infamous A Serbian Film. Instead, any intrigue quickly gets lost in a bloated, confusing mess of insufficiently introduced characters and long, boring stretches of pseudo-philosophical gobbledygook dialogue between characters whose name or purpose I couldn’t tell you. The editing does the film no favors, either, often cutting away from scenes where something sensational is finally beginning to happen only to stay with other characters whose only purpose is to bloviate into a phone about the decrepit state of the modern world. (Yeah, the modern world sucks—because it produces movies like this!)
The decision at the end to cut to the title of the film (“That’s a cue for the credits, right?” The theatre breaks into applause.) only to then cut back to another minute or two of forgettable dialogue and unremarkable camerawork (“Wait, it’s still going?” The viewers’ smiles fade and their applause dissipates.) was the cherry on top of baffling, incompetent decisions driving this terrible, terrible movie from start to finish.
The director complained during the Q&A that he had been unable to make this film for 15 years because he had been unfairly “canceled” due to the notoriety of A Serbian Film. No, dude, I think it’s because you suck as filmmaker. Your ideas are juvenile and gross, your philosophy is hateful, misanthropic twaddle, and—most offensive of all—your sense of directorial style is boring and inept, surpassed every day by the very same teenagers on TikTok and YouTube who so clearly vex you for some reason.
Fuck this movie and honestly fuck TIFF and midnight madness for wasting a slot on this garbage.
Scarlet
Japan, United States of America | 2025 | 112m | Japanese
I’ll give this a rare combo of three stars + a heart (on Letterboxd). I will say that I enjoyed the whole thing—more than Belle, for sure. Visually it is spectacular. I really love the character design of Scarlet herself. (Though the present-day nurse guy must have been the winner of a contest to design the most generic-looking character possible.) The movie sounded great through the Royal Alexandra Theatre speaker system, so I could forgive the jarring dance numbers.
My gripe is that the story is a lot of surreal nonsense, and given the heavy Shakespeare influence, there’s really no good excuse for the narrative to be this messy. Eventually I just switched off my brain and enjoyed the pretty colors.
Fuck My Son!
United States of America | 2025 | 94m | English
For a movie that makes jokes out of incest, rape, and child abuse, it seems weird to me that reviewers are taking most offense to its use of AI…
Fuck My Son! is a roadshow midnight movie that’s meant to be seen with a rowdy audience. In fact, as the director made clear onstage, they refuse to release the movie on streaming because they don’t want it to be seen any other way. I had fun with the experience of the film—the audience, the filmmaker Q&A, the dual-sided “pervo-vision”/“nude blok” glasses handed out to us by the ushers before the screening… The movie itself? Well, I probably would have turned it off prematurely if I had been watching it alone at home. While some of the practical effects are fun, it really is so obscene and unpleasant that you have to wonder about anybody who exclaims their love for this material. I think comparisons to Pink Flamingos are apt—and not just because the main character is a man in drag. If you can acknowledge what you’re getting yourself into when you step into one of the inevitably rare screenings of this movie, you might have some good, raunchy fun.
Other Movies I Saw This Month
- The Thing (1982) [4/5]
- Splice Here: A Projected Odyssey (2022) [3.5/5]
- Ms .45 (1981) [3.5/5]
- Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean (1982) [2.5/5]
- Kuroneko (1968) [4/5]
- Barry Lyndon (1975) [4/5]
- Nosferatu (2024) [3.5/5]
- Speed (1994) [4.5/5]
- Dunkirk (2017) [4/5]
Best Movies I Saw This Month
- One Battle After Another
- Christy
- The Furious
- Lucky Lu
- Speed
- Cinemania
Worst Movies I Saw This Month
- Karmadonna
- Mare’s Nest
- The Ugly
Josh Anderson 