It's disheartening when a children's animation tries to create a loveable yet imperfect main character but ultimately ends up creating a lead far from likeable. The environmentalist themes and political messaging aside, I found it impossible to feel any sort of empathy for Mabel. The movie expects the viewers to buy into her journey, yet her empathy is excruciatingly selective. She remains largely indifferent (albeit a little disconcerted) when innocent critters are gobbled up in front of her eyes, yet the idea of Jerry, this largely antagonistic figure up until this point, being morbidly threatened is a moral catastrophe. Her hypocrisy becomes increasingly evident when she, tiring of the Butterfly Queen's speech, squishes her like nothing. In this fantasy setting where a human can verbally communicate with insects, treating one of their deaths as a disposable gag for a mere three-minute chase scene really says a lot about Mabel's clearly sanctimonious principles. This entire sequence even puts her newly-made beaver king "friend"'s life in danger—while Mabel is merely a tourist, a fraud, her "death" in her beaver body would only mean she gets transported back into her human carnage.

The messaging doesn't sit right with me either. What's the takeaway here, "newgen liberals and greedy politicians need to just have a heartfelt talk-sesh and make each other understand what truly matters"? This really just feels like such sanitized, outdated liberalist advocacy propaganda that feels incredibly out of touch with the current political climate. There is no real discussion on climate change and what it means to "destroy the planet" aside from vague, aesthetic threats about "taking away wildlife" (which, in retrospect, is better than nothing I suppose. Not the worst way in the world to get children to "care"). The beaver king's character—and the question he imposes about whether trust is important right now, despite the constant threat of disappointment and betrayal—is just about the only substance worth chewing on, and not even he is enough to carry this dumpster fire of a movie. The children of this generation deserve better.

And what good is a chameleon if it can't blend into its surroundings?

A few years ago, I was seeing this guy who told me that Soul is probably his favorite animated film. We watched Inside Out 2 together once. I bawled my eyes out. Piano was his life and passion. I've remembered this time and time again, and yet I'd never really bothered checking it out like I said I would. It's interesting how all these moments, though thoroughly insignificant to me now, stays so prominent in my memory. We don't talk anymore, we haven't in a good long while now. I was just... living life, and I still am. I was much less secure in myself back then compared to now, and yet I feel as though I had more of a purpose in life back then. I feel a bit more lost now, but not in a bad way. I struggle through some bad days, some really bad days, but I live. I bask in the moment, the opportunities, every last bit of life. I hope he's doing well, still motivated.

Why are all the posters for this movie so cheap looking? Why is Gru having a whole ass baby at like 60? Why do the children not age? So many questions

They kind of brought it back with this one. I know it's a MINIONS movie, but hot take, these minions are nothing without Gru.

You know, after the release of Despicable Me 2, I never really cared or heard anything much about the mainline franchise. I was well into my adulthood when I even found out there was a Despicable Me 3. Nobody watched this. And rightfully so.

Don't ask the minions where they were between the years 1933 and 1945. Or 1915 to 1923. Or 1932 to 1933. Or from 1937 to 1938. Or during any other tragic event in history.

Would you rather have Homer Simpson as your husband or have him as your older brother?

Detroit: Become Human if the AI in question had 0 likeable qualities to her and overexplains every minor detail because it thinks the viewer is a 5 year old child.

I had to start watching this shit on 2x speed just to make the little timer on the upper right hand corner go faster to put my mind at ease. Can we put Chris Pratt on trial for this atrocity? I fucking hate cops and I fucking hate AI and I fucking hate Chris Pratt with every inch of my soul. Stop hiring this fucking guy in everything. I genuinely got so angry watching this piece of dog turd in the morning that I'm actually considering calling in sick to work today. Fuck you. I'd rather go watch Ice Cube take his glasses off and put them back on 2 seconds later. Jesus fucking Christ.

I'm by no means a stranger to Verbose Verbinski's tendency to blabber on for far longer than necessary—if anything, I'd say I'm definitely guilty of doing this exact thing all the time myself. And that's why I'm drawn to his work. I've seen The Weather Man for the first time this year back in January and adored all those wordy, packed inner monologues brought to life by Nic Cage. It's part of his character; there's much to be spiraling about, to be completely unhinged about, all the while trying to seem normal on the outside. The same rambling speech is happening here, but instead it's an outer dialogue, and somehow... it doesn't work?

Don't get me wrong. I love this premise. I love this setup. The opening sequence was absolutely brilliant and a treat for the eyes. The composition is without a doubt a great skill and asset for Verbinski. But there's just... so much. When it all really just comes down to... "phones bad, AI bad, teenagers are being brainwashed". I felt so overwhelmed each and every time a new situation was thrown at me, not because of the lack of originality but moreso because I feel like I'm being fed the same spoonful of mashed peas for 30 minutes straight. There are good moments, really great ones in fact. Then there are some others that really disappointed hard.

It's fine, it's fun, I have some questions about the time traveling aspect but it's whatever, I'm just a bit nitpicky about my time traveler tropes. A bit tiring, but otherwise it's a fun Verbinski film. You will feel like a boomer after watching this. Exhausting or not, the man's right, TikTok AIslop is the plague.

This is like one of the only movies my mother can even remember the premise of. It would probably be in her top 4 if I asked her. But like also I'm fairly certain she's seen a good amount of pre-aughts films in the past but she cannot for the love of god remember anything about them. But anyways yeah she's a huge Whoopi Goldberg fan. Loves Sister Act.

Coming from a family that didn't sit together for meals, enjoying food with others only became a large part of me later in life. I often ate like a peasant during my childhood, for a lack of better words, due to my mother's lack in culinary expertise. In high school, I made unforgettable friendships with whom I frequently ate inexpensive but valuable meals with. Between the pandemic and my repatriating, I found myself at a lack of these companions. I had to teach myself to cook for myself and my family.

The art of a delicious meal cannot be taught by any expert chef; it must be grasped on your own, from trial and error. It cannot be rated on a numerical scale, be assessed based on symbolic medallions such as Michelin stars—but a truly delicious meal will be ambrosia on the lips, nectar coursing down your throat and throughout your body. It will bring people together, either in silence or in discourse. It will force two spouses long beyond their expiry date to revel in the joys of the flavor and embody veracious amiability with one another. It will command two foes to reconcile and accept each other's flaws and wrongdoings.

Babette is graciously welcomed by Filippa and Martine to take refuge in their home, to work as a housekeeper preparing humble meals for the reverent sisters and rather pious community. Having worked 14 long years for the community, when she finds out she has earned 10,000 francs from her country, she decides to spend it all cooking a meal she takes pride in for them instead of going back to her home. Although hesitant to revel in such worldly pleasures, the sisters eventually agree, albeit reluctantly, for Babette had never asked for anything before this day.

During the entirety of the meal, she stays in the kitchen with the coachman and untrained garçon, remembering to feed the two as well amidst all the preparations of the food. She is behind the scenes for the whole day, bringing the diners together closer than ever before. Over the course of the meal Babette successfully convinces the villagers that such an extravagant meal is more than earthly pleasures, a witch's Sabbath; it brings warmth and community, despite their Calvinistic preconceptions. A delicious meal is truly art; a pleasurable artform that serves as a vehicle for heavenly joy. Her 10,000 francs, her flesh and blood, serves to prepare this faithfully eucharistic meal to repay the community for the good they have done her in a time of need. There is great irony to be seen where the person who has most understanding and appreciation for her cooking is also a man who partook in killing her husband and son. But even knowing this, Babette shows the utmost care in making sure his dining experience does not disappoint.

Babette's Feast is such a warm embrace, a message of love and appreciation carried in the food and even through the screen, bringing comfort to the characters and the viewers. Every notion of this film is so subtle, everything from the humor to the sound design, and intentionally so. It shows us to consume and create to experience and understand the joys of all that we have—be it simple or extravagant.

I've always found a sense of fascination in these self-proclaimed right-wing "alpha" males' obsession with the "perfect" wife. There's something about self-sufficient, successful women in the workforce that these men latch onto, yearn to dominate. Obviously, their desires are deeply rooted in much outdated toxic patriarchal ideologies. But why is it that these men, clearly finding attraction in the capable, accomplished individuals at first, eventually try to change everything about them to become textbook traditional housewives? Why not find someone who fits into their ideals to begin with?

Every couple that makes the move to Stepford does it because they feel unhappy in their lives. But there's a clear difference between the "husbands" and "wives" (or, in the case of Roger, a stereotype of a relatively effeminate gay man)—the former are easily influenced whilst the latter need to be fully reprogrammed with microchips. Mike is the "manosphere" before social media that indoctrinates. Each step women take in reclaiming our power, men brainwashed by the patriarchal society of the past feel their bones aching as every accomplishment by a woman is a hit to their fragile masculinity.

The Stepford Wives amidst all of its satirical campy glory, is a glaring social commentary on the toxicity of traditional gender values and societal norms. But also, at its core, this movie is really just a camp comedy starring Nicole Kidman being really hot as usual.

white man in japan

"Ejecto-seato, cuh!"
Fluorescent Miami lights, the ridiculous electric tridents, the gaudy cars embellished with vibrant paint jobs and excessive body mods. The power ranger-ification of mainstream media in the 00s was THE vibe. Just look at that nasty Honda S2000 and the Spyder GTS! Bringing this aesthetic back into mainstream media would fix half our problems right now. Easily the most stylistically superior title in the franchise. Like come on, Tokyo Drift can not beat that. Like this movie is the first one I think of vibe-wise when anyone talks about Fast & Furious. And the stupid jokes. This movie is fucking hilarious and I will die on that hill.
Also, look at Paul Walker's gaze holding Eva Mendes' while executing the "stare and drive". Now look at any of the looks he's giving Tyrese. Case in point.

Paul Walker and Vin Diesel being gay as fuck for like a hundred minutes

Glad to see the lord has cured her legs bc if I got shot by gay people at a pride parade I'd be a raging homophobe as well

i cried 4 times watching this movie at 12pm on a wednesday with two other(probably unemployed) guys in the same theater and headed to work with tear streaks on my cheeks. yeah whatever sue me

so many moments i saw coming. they ticked all the boxes for plot armor cliches i'd normally get pretty annoyed by. but man ryan gosling's performance in this movie completely outdid all his other roles for me. like that is a fucking dorky ass scientist guy if i've ever met one. anyways whatever i'm crying over a damn piece of rock

Visually hypnotizing liminal space sets with the blueprint for 90s- and early 00s- kids nostalgia. There's something there about the satirical portrayal of the consumer exploitation capitalizing on children in the name of war, but quite frankly it feels more like a ketamine trip gone wrong.

Capitalists would never actually agree to such an economic model because such a system would allow poor people getting rich quickly and legally

We as a society are not bringing enough awareness to the issue of these poor women in marginalized communities being terrorized by dykes shoving their boobs through glory holes in dingy outhouses

The concept of Jake Gyllenhaal being a 30s talkies star... Silly, freaky, gothic, cinematic, a tad bit crude at points. The movie does seem to get lost in its own discrepancy between the political, feminist messaging and the pride it holds over its comedic capabilities, but regardless it's hilarious seeing christian bale playing a lonely virgin thoroughly enamored with jessie buckley. Also he curbstomps an attempted rapist. Why the hell not, I guess.

<< Ma vie... sont ici. >>

Delightfully gory, awfully hilarious. Complete with that classic film bright red blood, devout lesbianism, and an American tourist who won't stop poking her nose into others' affairs.

Goofy just may be one of the most irresponsible drivers in the history of cinema. Like which fucked up dmv worker made the decision toapprove his license? Also cockblocking your son from scoring a date just because you'd never gotten an invite to a party is crazy work. Do better!

Willem Dafoe is protective of his girl (uses her to honey trap guys trying to rip him off), anti-capitalist (just prints money when he feels like it), and incredibly sexy. Call that a triple threat.

Most diabolical blood smear of the century. Take away her doctorate!

Make a sequel where hugh grant gets pregnant instead then we can talk.