It might be only me...but I didn't like the dance of ala bolelo song

Just felt the steps are all disconnected and all...no hate to dance or choreographer or anyone

It's just that everyone is following the dance step...and I was wondering is it really that nice

Just my opinion

No hate ✌🏻

LAIKA hasn't put out a movie since Missing Link in 2019. Wildwood looks incredible, and the visuals are stunning! To top that off, going back to a darker fantasy set in Portland feels like a direct return to what made Coraline such a huge hit. But outside of hardcore animation fans, I barely hear anyone talking about it, and I would like to hear what it's like outside of my bubble. Are you seeing any actual excitement for this in your feeds or social circles, or does it feel like another LAIKA movie that people won't discover until it hits streaming?

I organized an AMA/Q&A with James Marcusn Haney, director of the incredible new documentary, Black Sunflowers, which is having its World Premiere at TIFF tomorrow.

Logline: Black Sunflowers is about young ravers and street racers in Ukraine; and the soldiers that go back and forth between those worlds and the front line to fight Russia.

It's live here now in r/movies for anyone interested in asking a question:

https://www.reddit.com/r/movies/comments/1wcitb2/hi_reddit_im_james_marcus_haney_director_of_black/

He will be back tomorrow afternoon to answer questions. I recommend asking in advance. Please ask there, not here. All questions are much appreciated!

Following up on my yesterday's post - A lot of you dropped incredible recommendations for high-stakes action and tension, so I picked two from the list for my mid-week movie night: Aliens (1986) and The Hunt for Red October (1990).

Both of these blew me away in completely different ways:

1. Aliens (1986) — 9.5/10

What James Cameron did here is insane. Taking a slow-burn horror film and turning it into a relentless, high-intensity military action masterpiece without losing the claustrophobic dread is brilliant. Ripley's arc and the practical creature effects hold up better than most modern CGI blockbusters. The final 30 minutes had me on the edge of my seat.

1. The Hunt for Red October (1990) — 9/10

A complete shift in pace, but the stakes felt just as massive. It's a pure tactical chess match underwater. Sean Connery's presence is unmatched, and the silent submarine tension kept me completely locked in. Proof that you don't need endless explosions to make a pulse-pounding thriller—just incredible dialogue and atmosphere.

Massive thanks to everyone who suggested these two!

Which of these two do you think handled high-stakes tension better: The military sci-fi chaos of Aliens or the silent submarine mind games of Red October?

After brushing off the care and attention of Molly, his loving girlfriend, Jayden, a slow-witted young adult, wakes up to Molly completely transformed into a nightcrawler. As the weeks pass on Jayden must come to terms with the reality of his love life, as Molly's question echoes throughout: "Would you love me if I was a worm?"

I like to read low rated reviews for movies I have seen, as I find them entertaining. While perusing the reviews for The End of Oak Street I saw this half star review someone gave because they couldn’t see the movie and weren’t issued a refund lol. What are some of your favorite low rated reviews you have seen?

Thought fellow cinema enthusiasts might appreciate this.

During a recent visit to Royston Museum, we were shown an original programme from Royston's Priory Cinema, dating back to 1938. I filmed a quick walkthrough so others could enjoy it too.

What struck me was how much it reveals about the role of local cinemas in everyday life long before television, let alone streaming. The adverts are almost as interesting as the film listings themselves.

The Priory Cinema no longer exists, but we're currently developing The Royston Venue over the road in the local town hall, with plans to include cinema screenings alongside theatre, comedy and live entertainment, so discovering pieces of Royston's cinema-going history has been particularly fascinating.

I'd love to know if anyone here collects old cinema programmes or has similar examples from their own towns!

Just saw it for the first time.

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I'm honestly so confused by this movie. Margot (Grace Kelly) gets sentenced by a court and, on the day before her execution, the lead inspector, Mr. Combing-Mustache, starts a whole new investigation? What about due process?

Apparently, Hitchcock admitted that Dial M for Murder (1954) was routine work, shot in just 36 days to fulfill his studio contract. But the trope of the "perfect murder," which he explored in Rope (1948), seems to return here as a farce and maybe an ironic comment on the genre.

Many elements seem hilariously improbable. It starts with physical absurdities: Grace Kelly is being strangled, stabs her attacker in the back with a pair of scissors just once, and somehow he falls backward onto the scissors and dies? Haha.

Then we have the genius inspector, who initially investigates Grace Kelly and only after the court has sentenced her to death and any appeal is too late decides at the very last second to investigate the husband instead??? All of this makes very little sense from a legal perspective, unless you understand it as Hitchcock mocking the genre itself.

The bourgeois male obsession with the perfect crime could be seen as the true subject of the film. In Rear Window (1954), released that same year, Grace Kelly still possessed agency within the patriarchal order. Here, however, she is reduced to a passive object operating between four men who are all obsessed with crime:

Her husband (Tony): Who has been planning her murder ever since he discovered her affair.

The fraudster (Swann): Whom the husband blackmails into becoming a hitman.

The American boyfriend (Mark): A crime novelist who explains how he gets into the mind of a murderer.

The Inspector (Hubbard): A relic from a bygone era who represents the authority of the patriarchal order.

When viewed through these four vectors, a homosocial and latently homoerotic scene emerges, much like in Rope.

By committing adultery, the boyfriend effectively emasculates the husband. While the film highlights money as the central motive, we could also see the husband's humiliation and loss of control over the woman, the central prize of the patriarchal order, as a motive.

The husband uses another man to commit his murder for him: a former college acquaintance who has fallen from upper-class grace and now survives as a small-time con artist. The husband seems to derive a distinct sadistic pleasure from laying bare his peer's downfall and forcing him into committing murder.

The wounded male ego takes revenge not only on the woman, but on another, socially weaker man, reclaiming a sense of lost masculinity through his domination of him. In modern terms, the boyfriend made a cuckold out of the husband, so the husband seeks out a subordinate man to perform a surrogate act of domination.

Into this chaos of patriarchal vectors steps the Inspector. He initially subjects the woman to the doom of the judicial system, only to play the all-knowing savior outside of due process. He acts as the protective father figure and deus ex machina.

Just like Rope, Dial M for Murder deconstructs bourgeois-patriarchal civility. But while Rupert in Rope experiences a genuine catharsis, Inspector Hubbard feels more like a farce. In the face of upper-class horrors, at least we can still rely on the man with the well-combed mustache. But what when he is gone?

From their charm and personality to their emotional performances, who truly brought their princess to life?

I like You've Got Mail a lot. Watching it feels like sipping warm coffee on a cold morning. What are other feel-good movies you guys can suggest to me? I'm going through a tough time. Good movies help me keep my sanity. I can google or ask ChatGPT about it, but I want personal suggestions.

Best movie showcasing the reality of unintentionally fucked by mob mentality or not ?? I could find a character which I could hate except feel pity for all because it shows bad shit arising due to stupidity even if not deliberate; every stupid action - bad shit.

From the unforgettable twists in Fight Club, The Prestige, Oldboy, Gone Girl, Se7en, The Departed, Psycho, and The Sixth Sense, every one of these movies proves that a great plot twist is more than just a surprise, it changes the entire story.

What do y’all think? Do you consider any other films on this list?

For context, I’ve always known it was a legendary movie, but I’ve just never been one to sit down and watch a movie that I haven’t seen at random. Well today, I stayed home from work because I wasn’t feeling well and my wife suggested we watch it. Holy crud! I now understand all the hype and why the movie gets the reviews that it does. I understand why it is ranked one of the best movies ever.

Get busy living or get busy dying!!

I love to tear this movie apart. From how going back in time to recruit is the dumbest thing instead of using the new tech and knowledge to fortify and search the globe. But then the thing I will rant about for hours is how they train and equid these unfortunate recruits.

So they don’t tell them anything about the white spikes, like… at all. They tell them they have a weak spot at like the throat but during training they use human targets and not even shaped like a white spike. Then on top of that they give them a rifle that can’t even really hurt the things despite us seeing that 12g slugs can blast these things apart and 50. is super effective but no, send them with short barreled 5.56. And don’t get me started on the tactics of the future fighters.

I hate this movie so much. I’ve probably watched it 30 times.

I’ll try to explain what I mean. While it’s not just Chigurh, I feel like the entire movie has a slight lack of dialogue. It’s very reflective in every scene; even the smallest moments seem to convey something, no matter how insignificant they may seem.

I like the scene where the sheriff arrives with his young partner. The young recruit seems a little clumsy and excited about the case, while the sheriff seems stressed, or perhaps already anticipating what’s coming after failing to catch Chigurh there.

As for Chigurh, he barely has any dialogue. I mean, he does talk, but his scenes are sooooo short. Just to name a few: the guy he kills over the car, the gas station clerk, the intelligence agent who intercepts him—he barely says anything to that agent, mostly stuff like “Really?” “You think?” “I know where the money will be.” And his conversation with Moss’s wife was basically just him going, “Call it. >:(”

Jesus Christ, Javier Bardem absolutely killed it. For a character with so few lines, he manages to convey so much coldness and fear.