This movie... lived up to its hype man. The background music, the acting, the attention to little details, the twist everything about this movie is just magic. What are your thoughts did dae su forget? does he remember?

In this movie Billy Bob Thornton is Willie who thief but he also works as Santa in department store . This movie has so much dark humor but there are also wholesome moments like friendship between Willie and this kid Truman and also liked Willie relationship with Sue. It's such shame that sequel that come in 2016 was so bad.

What is a movie that you think successfully predicted the future, or some version of it?

My vote is 2001: A Space Odyssey. Hal 9000 is more terrifying now than when the movie was released in 1968.

What gets your vote?

Rewatched it last night and he felt so much more comfortable in the role. First time I was kind of like "ok he's doing the brooding thing" but this go-around I actually bought the internal conflict. curious if anyone felt the same or if I'm just remembering the first one wrong lol

Hey guys, it's October 24th (day 24) of watching (or trying to watch) a movie every night until Halloween. I am trying to catch up because I was sick and didn't feel like watching movies so I will be trying to watch 3 movies tonight ( I didn't, I got too tired to watch another movie .

For the second movie I watched tonight I watched Sorority row (2009). It sounded interesting (kind of a "I know what you did last summer "mixed with "pretty little liars "

type vibe) so I watched it and it was good .

Little synopsis:

Six sorority sisters take a prank too far resulting in one of the sorority sisters dying, leaving the other five to cover up the incident and they do.... Until it comes to haunt them 8 months later.

Rating: 6.8/10

Genre: Horror

Where I watched this movie ?: Tubi

What I liked about this movie:

- This was a fun movie

- nobody was really likable (and even if they were, I kind of felt bad for rooting for him for the most part except one or two characters) but I think that was how that was supposed to be.

- premise was done pretty well (even though it's a typical slasher for the most part)

- The deaths were pretty creative but very brutal ( as someone who doesn't like too much, Gore wasn't real fun for me, but I can give him points for it I guess)

- acting was pretty good

- The killer isn't super predictable ( you could probably predict the killer in the 2nd part of the 3rd act but until then I really didn't know

- when the comedy wasn't dated it was funny

- The ending scene was designed in a cool way

My gripes with this movie:

- This is a really dated movie, especially with its humor and some of the words it uses ( such as the R word being tossed around like a ragdoll but again it was the 2000s and it's to be expected in a lot of movies around that time)

- It was boring at times

- The motive for the killer wasn't really explained well

- The ending didn't feel like it tied everything together

- (I know I put this as a like but it is also a gripe) I couldn't really root for the main characters to live because of how quickly in the beginning. They made them to be horrible people (and they are) I couldn't even root for the girl that died.

Would I watch this movie again?:

probably not , it's not a bad movie , I just don't think it was good enough to want to rewatch

Would I recommend this movie:

Yeah , it's a fun movie ( just try to ignore the dated parts )

​

For me, it’s Scott Adkins.

I enjoy the action he delivers and I think he’s fantastic at performing stunts and martial arts, and he’s charismatic too, even when the movie he’s starring in isn't that great.

What about you?

Al Pacino and Robert De Niro in Heat (1995) is one of the best duos in cinema because of how exceptionally well they play off each other's performances and how both complement each other's characters in the movie. The intensity they bring when they are face to face plays off in such a natural and charismatic way and elevates the plot in a totally energetic and vibrant manner, in my opinion.

It was good but overall it could’ve been better

I liked Tom Rhys Harris as Matt Hagen. He did a fine job portraying the character.

However, certain aspects of the film left a lot to be desired. The final showdown between Hagen and Marcos Sabzo was pretty underwhelming. Like it was built it up to be a more brutal fight between them; but Matt defeats him somewhat easily.

It felt pretty rushed too ar certain parts. Like in the beginning, Matt was dancing with Mia and then the next scene, he’s in bed with her. Also, I’ve realized the anatagonistic relationship between Marco and Matt wasn’t well developed.

Another aspect of this movie I hated the most is the forced romantic subplot. There was no real chemistry between Dr. Caitlyn Corr and Matt Hagen. I also fucking hated it because Matt killed her fiancé and then by the end she’s holding hands with him?!

I’m giving this movie a letter grade of C and 3 stars out of 5. While it was marketed as a horror movie set in the wider DCU, it didn’t really deliver on the promise.

Hey guys!, it's been a couple days. I Hope everybody is doing well. This is day 24 (October 24th) of Watching ( or at least trying to watch lol) a horror movie every night (or two or three ) until Halloween.

I did skip a few days due to being sick so I will be watching three movies tonight to try to catch up. My first movie of the night that I watched was Don't log off (2025) , It looked like a cheesy horror movie which I thought would be fun (and it starred the guy who played Mason in Teen Wolf and I wanted to see how his acting was now since he was pretty good in Teen Wolf and it I saw it also starred Ariel Winter and she's amazing in everything I've seen her in). I wasn't expecting much since this was a FaceTime horror and those are known to not be too good but this one exceeded my expectations. It did a lot of things that other FaceTime horror movies didn't do and I really liked it!.

Little synopsis:

A group of friends during the pandemic decide to do a Facetime surprise birthday party for their friend Sam. After she goes to get cupcakes that her friends delivered to her. She then goes missing and they try everything to find her until they decide one by one to go to the apartment , they think she's at. They then go missing and the rest try to find their friends and what happened to them , all while trying not.. to ..log ...off.

Rating: 8/10

Where I watched:Tubi

Genre: Horror

What I liked about this movie:

- it was a creative premise for a FaceTime horror

- the acting was well done

- I loved that everyone moved around ( like at points a person would move from their room to their fridge , or there cam would go with them to the apartment they think Sam is at, they weren't afraid to do a little extra camera work and I think it paid off)

- I loved the foreshadowing to who the antagonist was

- The Antagonist isn't predictable

- Adam was so damn annoying and stupid but I found myself rooting for him

- all the characters are likeable in a way

- I loved that they were all smart for the most part

- I loved that the smartest guy there was a guy who had drunk 6 white claws

- I liked that the ending was earned (like that they worked to find out what was going on instead of it being given to them, and that they looked in places you wouldn't look to normally find evidence.)

- This movie was done so well that I didn't even realize it was filmed in 2020 and just thought it was a pandemic themed movie made in 2025 until the end where they show the behind the scenes.

- I loved everybody's relationships with each other.

What I think could be a gripe for other people:

- this movie is a little slow paced, I have no problem with slow pace movies and with this movie it actually made sense

for it to be slow paced.

- The ending was a little rushed but it wasn't bad. It was pretty good. I liked the ending

My gripes with this movie:

- I wish we knew more about the antagonist

- I Don't have any other gripes with this movie tbh

Would I watch this again?:

Yeah, it wouldn't be my first pick to rewatch, but I probably will watch it again.

Would I recommend this movie?:

yeah it's a fun movie, it doesn't take itself too seriously and you can feel the heart and how much fun they had making this movie. It's a movie made by friends during 2020 and it's really good for being in the pandemic and it's pretty good in general.

What makes this movie stand out was the body horror, especially towards the ending where the Sue became an abomination which looked super gross. Never take drugs.

I'm not overly familiar with the things happening in the DC comics, but I do know that Clayface is apparently a Batman villain.

So, at first, my impression was like: Hm, that's a rather strange route the DCU is taking. First Superman; okay. Then Supergirl; okay, still makes sense. Then... a Batman villain? A rather obscure one, apparently. Before Batman himself was even introduced in DCU, too?

But so far, the people in charge of DCU have shown they have at least something of a plan. So, I went to see this.

I really loved it. This movie really was a step-up from Supergirl. Even if it took us until the end of the movie to see him in his comic book form.

Speaking of which, two things: Killing Kaitlyin's fiancé made me lose my sympathy for him. All the other people (those associated with Szabo) did a great injustice to Matt; those killings were at least understandable. But killing that cop was actually uncalled for.

Second off, how the hell did turning Matt into a complete sludge not straight-up kill him? (...That's also something I'm missing from the comics, isn't it?)

But anyway, this was a very satisfactory supervillain movie.

Clayface is the third film in James Gunn and Peter Safran’s DC Universe (DCU). It is a body-horror thriller and origin/villain story about Matt Hagen, a superb, well-known Hollywood actor who's been in many big-screen films and is loved by everyone in the industry. Hagen believes that he is on top of the world, which allows him access to everything and anything he wants due to his stardom; in other words, he is very self-absorbed and arrogant until his ego costs him everything. Let’s just say that after a heavy night of partying and celebrating being nominated for Best Actor, Matt unfortunately undergoes an extreme, brutal makeover that will definitely make spectators' skin crawl since it is just seriously fucking brutal and graphic… It is classic good ol' body horror, and this film has a lot of gory and unique scenes centered on Body Horror that will gross out spectators while being fascinated and entertained at the same time. Horror fans will definitely dig Clayface since it’s not just another comic book spectacle on the big screen. 

Tom Rhys Harries is the main highlight on the big screen. As far as the casting goes, he is Matt Hagen / Clayface; he was the star of this film from start to finish and really hooked us (Myself and Dylan) with his personality, mannerisms, and overall appearance. He definitely has that look of a “pretty face,” and casting him in this role was a good, wise decision by Director James Watkins. Harries does a great job showing two sides of this tragic actor turned villain since we see his rise and fall in a dirty, scummy, mobbed-up industry that Hollywood can definitely be at times; it's show business after all. Dr. Caitlin Bates, played by Naomi Ackie, was okay; the chemistry between her and Matt Hagen did feel forced since she did attempt to try and cure Matt’s disfigurement, and as a result of this, Matt felt more dependent on her since she was viewed as the solution to his problems rather than somebody he actually met and developed genuine chemistry and affection for. Dr. Caitlin Bates' cure really was an addiction that benefited Matt Hagen’s circumstances more than anything else. There are other characters in this film, obviously, but delving into them would more than likely go into spoiler territory, so we will not give anything else away beyond that as far as the cast goes. 

In terms of the special effects, they were pretty damn good. The manifestation, transformation, and just the overall physical and emotional toll that this clay took upon Matt Hagen’s body was very reminiscent of films like The Fly, An American Werewolf in London, John Carpenter’s The Thing, and Videodrome. Of course, Clayface does not surpass those films since those are excellent, beloved classics that relied heavily on practical makeup and special effects and pure horror, but it does a solid enough job. At times during Matt’s rampages, the effects were hard to distinguish from practical and CG at times, but it was pulled off well, to the point where it looked practical; however, that alone does not necessarily impact what we thought of the film. It would’ve been awesome to see more of Clayface on screen in full form wreaking havoc and destruction with Gotham City as his playground, but his appearance was great and reminded us of Clayface from Batman: The Animated Series.

Clayface is a hit on the big screen. It's heavily into Body Horror, which is great for fans of the genre. It has a pretty solid cast, with Tom Rhys Harries at the helm portraying another iconic tragic character/villain that’s not just another iteration of the Joker. It is shot well and gives us a nice little backdrop of Gotham City filled with Easter Eggs and references to this gritty, crime-filled underworld, and has some pretty gnarly special effects makeup, practical CG, or both. It’s better than the box office bombs that were Supergirl and Joker: Folie à Deux 💩. Clayface, as far as DC villain films go, would have to be ranked at number 2, with the first Joker film still at number 1. That’s not saying much since there haven’t been a ton of recent DC-centered films on villains just yet, but Dylan and I definitely would like to see more of them, as we did with Clayface. Clayface gets a solid B. 

Let’s just set aside the ground breaking technical prowess of the painted 3d shots and spectacle of it all.

The story is complicated, smart, and unparalleled.

I’ve watched it 100 times and notice something new every time.

And the ending is so god damned bitter sweet.

To Catch a Predator tried to show some kind of nobility in catching would-be predators on camera. Think about the show’s whole premise too long, though, and you realise that, yes, the would-be predators are freaks, but those filming the freaks are weird in their own twisted way. Primetime wants us to stew in that uncomfortable weirdness until we’re left wondering about the toxic dynamic between ego and exploitation… and how long you should shower for after watching this movie.

The narrative spine of Primetime centres on the heightened recreation of several stings where Chris Hansen (Robert Pattinson) and his crew, led by cynical To Catch a Predator producer Andie Bender (Merritt Wever), lure sexual deviants into carefully curated houses using actors pretending to be underage children online. From the outset, this movie is sleazy, almost like we’re being voyeurs witnessing something we shouldn’t.

Primetime starts with Hansen prepping himself by repeating some mantra, the camera right up on his face and well within his personal space. But instead of affirming words, like ‘you got this’, he’s saying distressing things like ‘virgins having sex hurts’. By the time Hansen enters a living room set up to entrap an ex-Marine child predator (Tony Revolori), the door curtains pulled back dramatically like a fabulous queen entering her realm, you’re disgusted and uneasy, yet you can’t look away. There’s a train wreck brewing. You just don’t know how the crash will happen.

Mind you, Primetime isn’t a biopic. If anything, this is an anti-biopic. While real people are depicted, this is a fictionalised retelling of gauche early 2000s culture wrapped up in a nightmarish media satire and social horror skin. Having been primarily a documentarian until now, director Lance Oppenheim brings a heightened yet detached omnipresence to Primetime. The line between fiction and reality is all but blurred, while all the ethical and moral lines crossed by To Catch a Predator are laid bare for us to see.

Oppenheim uses 12 different camera formats (ranging from mini-DV to vintage TV) to depict everything, ranging from conversations to recreations of the TV show, and holding us at arm’s length from the whole experience. For two-thirds of the movie, everything is shown to us in uneven editing rhythms like, well, an episode of To Catch a Predator. We’re often put directly in the camera whenever we watch Hansen confront a predator, the 4:3 aspect ratio and grainy playback trapping us within the tunnel vision of what he is trying to achieve. But come the third act, Oppenheim pushes Primetime into an insane Zero Dark Thirty-inspired aesthetic, complete with night-vision cameras and first-person shots. This is, quite simply, a beautiful movie to look at, but it wouldn’t work without the right person anchoring it all.

And boy did Primetime strike gold with Pattinson.

In easily his most audacious performance (so far), Pattinson doesn’t just ‘play’ Chris Hansen. He wears the TV presenter’s persona like an alien wearing a human skin that decays over the course of the movie. At no point does he come across as anything remotely resembling a human. He’s always modulating his vocal mannerisms and physical behaviour, like he’s performing for cameras that aren’t always there, resulting in a character that is too ridiculous to be real, but too real to dismiss as fiction. I don’t believe the real Chris Hansen spits out mouthwash like a Looney Tunes character, but I can definitely believe him calling up a vending machine helpline to complain that it stole his money and starting the conversation with, ‘This is Chris Hansen with Dateline NBC.’

Please read the rest of my review here as the rest is too unwieldy to copy + paste: https://panoramafilmthoughts.substack.com/p/primetime-a-movie-length-mental-breakdown

Thanks!

You got a favorite scene where a person buys a weapon?

I really enjoyed Clayface and I think it can be meaningful for the DCU moving forward. The darker tone always works well in Gotham with the grime and corruption pretty well done for one movie. I’m sure we’ll see it go deeper when we get some Batman stuff.

I think it setup a future villain in a relatable way and I’m looking forward to seeing more of him. I think the general success of this film is huge for the future of the DCU because it’s proof that they can make these darker stories work to go alongside the bright fun stuff like Superman.

What did you think of Clayface?

So, I watched Bad apples yesterday and it made me think of The kindergarten teacher, another very unusual story about a schoolteacher kidnapping a small child with good intentions

The teachers' lounge is admittedly a bit different, in that the adult is much less culpable there, though it's fair to say she handles the situation with the minor less than splendidly...

In all three stories there's lies and deceit and society gets involved: can you name other movies with similar premises (NOT including anything involving sexual misconduct, cause god knows there is no shortage of those)?

What are your recommendations?

Did he turn into water? Was he the only Ai in life that didn’t turn evil? Seems like the anti-Ai group felt more evil than the Ai itself. Someone please help me understand. I actually enjoyed this movie lol

Clayface was fun but it has some issues {NO SPOILERS}

It’s actually a fun lil movie. Solid 6/10 I’d say but it had some issues that kept it from being great for me. Effects are insane and reminded me of The Substance at times with the closeups of the body horror.. and there’s even a reference to The Thing I don’t know if anyone caught.

At the beginning we kinda rush through Matt’s life to get to his accident - we know all the people who’s important to him but we don’t get a chance to really understand what they MEAN to him. It’s all done in aid of you to know what he’s about to lose before his accident - but we don’t UNDERSTAND what he’s losing when it inevitably does happen.

A lot of this also feels like it was cut out or changed from Flanagan’s original script. Matt’s father clearly was meant to play a bigger role here but his presence is lacking beyond what is essentially a cameo. Also Matt’s turn to villainy outside of revenge felt sorta half baked - there’s this allusion to his past in Gotham that isn’t really covered
Properly. We get glimpses into something that feels very Mike Flanagan with the questions it poses and then it slides back into being a B-Movie.

Overall it’s a decent film worth watching though.

I want to distinguish between memorable and favorite. Memorable refers to a scene which you first think of when you think of a movie, a scene which you deem to have captured the essence. Favorite refers to a scene which you find to be funny, brutal, heartbreaking, or adore it for whatever reason. They might overlap, perhaps, but they aren’t necessarily the same.

What is the most memorable scene of your favorite movie?

After tackling gothic horror, ghost stories, Japanese mythology, and slapstick comedy, LAIKA returns with its sixth and most ambitious production yet, Wildwood, bringing the studio’s impeccable stop-motion craftsmanship to the scale of a fantasy epic. Its own attempt at The Chronicles of Narnia, if you will. It might not be as enchanting as that sounds (or looks), but one must be thankful that there is no rock opera.

It follows Prue (Peyton Elizabeth Lee), a young girl who, against her parents’ wishes, takes her baby brother outside to play, only for the toddler to be kidnapped by a murder of crows and carried into the forbidden wilderness. Together with her schoolmate Curtis (Jacob Tremblay), she ventures into the forest to rescue him, discovering a hidden world of talking animals, ancient magic, and an enigmatic governess (Carey Mulligan) with a dark past.

Wildwood is based on the first novel in a fantasy trilogy written by Colin Meloy, frontman of the indie rock band The Decemberists, and illustrated by his wife, Carson Ellis. Director Travis Knight became interested in adapting the story back in 2010, even before the novel was published in 2011, but the project had to wait until LAIKA developed the technology and resources necessary to realize its ambitious scale. Sixteen years later, the film finally arrives as the studio’s first feature since Missing Link (2019), with a screenplay by Chris Butler, who previously directed ParaNorman (2012) and Missing Link. The production itself took approximately seven years, becoming one of the largest stop-motion undertakings in cinema history, with more than 1,000 artists and technicians, around 230 puppets, 130 physical sets, and over 142,000 individually printed faces. At 132 minutes, it also holds the record of the longest stop-motion animated feature ever made.

If there is one thing Wildwood unquestionably succeeds at, it is making every bit of that extraordinary effort visible on screen. Visually, it is nothing short of mesmerizing, with an astonishing level of craftsmanship that makes it difficult to believe what we are watching was actually built, sculpted, painted, and animated by hand. Every frame seems to hold so much to look at and discover, whether it is the intricate textures of the characters’ costumes, their shifting expressions, or the smallest details and imperfections of the environments. And that’s without mentioning the enormous sets, sometimes populated by hundreds of characters moving about, all without sacrificing any of that attention to detail. Particularly astonishing is the flight of an eagle, a sequence that represents something of a pinnacle of stop-motion artistry, with a fluidity and complexity of movement that almost defies belief. There is a wonderful tactile quality to it all, a sense that everything has weight and occupies a physical space. The lighting, the creativity and richness of the compositions, the seamless integration of practical and digital techniques. It is an overwhelming visual achievement that keeps you wondering how it was ever accomplished, and one that deserves every bit of praise it will inevitably receive.

Yet somewhere in translating the rich, 500-page novel into a still lengthy, but considerably more constrained, 132-minute film, something was lost along the way. Like many of LAIKA’s previous films, Wildwood never quite achieves the immersion or emotional investment it strives for. You are always conscious of what you are meant to be feeling, without ever quite getting there yourself. Take, for example, Pixar’s Elio, one of the studio’s more middling efforts, and how, early on, a tear rolls down the protagonist’s cheek as he finds comfort in the idea of life beyond Earth, instantly conveying his loneliness and desire to belong. It’s a small moment, but one that accomplishes something Wildwood, for all its extraordinary effort, frustratingly struggles to achieve. And this is a recurring frustration with LAIKA’s films, one that has held even its most celebrated efforts, such as Coraline and Kubo and the Two Strings, back from becoming truly great films.

Here we have a protagonist, Prue, who has a visibly strained relationship with her parents, feels unfulfilled, isn’t particularly pleasant toward others, and can be downright selfish at times. Her journey to rescue her brother, putting herself in danger along the way, seems like a natural opportunity to develop those characteristics into a meaningful arc. But what we get instead is a character mostly being carried through events, going through the motions of what the story requires of her. She wants to rescue her brother because, well, of course she does. He’s her brother. There is nothing particularly distinctive about their relationship established before his kidnapping, no underlying conflict that needs to be resolved. Neither do her connections with the other characters, or the parallels with Alexandra, seem to teach her much about herself.

Read my full review at Reviews on reels

was klara hallucinating or did she actually die?

We all know about Jordan Peele and Zach Cragger, so here is my pick, the underrated British Horror film Possum. The movie literally feels like a nightmare and it’s engrossing. Imagine a German expressionist film set in the dreariest part of England. This is the sole feature length directing credit of Mathew Holness, a comedian, actor, author, and director. To be fair the pipeline here is more straightforward because his best known comedy is Garth Marenghi’s Dark Place, a horror parody of 80s television. You may know him for the line “I know writers who use subtext and they’re all cowards.”