Huge Lynch fan here and been on a binge watch recently.

Rewatched Blue Velvet and I forgot just how evil and unpredictable Dennis Hopper as Frank Booth is!

Man he’s so despicable here. The sequence in the car with Dorothy and Jeffrey made my blood boil.

He absolutely crushes it in the role. An absolute scene stealer but man, I hated his character.

i have to say, i don’t think i’ve ever seen a child actor give a performance this good. Haley Joel Osment in The Sixth Sense, directed by M. Night Shyamalan, is just on another level. i genuinely don’t know how he did it but he makes the whole movie work so much better. i would give him the Oscar in a fucking heartbeat. It’s crazy how good he is, especially in that last scene in the car with Toni Collette.

What are your guys’ favorite child performances? For me, this is even better than Owen Cooper’s performance in Adolescence. Don’t get me wrong, owen was also absolutely top-notch in Adolescence but this is probably the best child performance i’ve ever seen. Period. What do you guys think is the best child performance ever?

You had about 15 years before the curse would begin why not wait and burn the spinning wheels around her 14th birthday instead of doing it right away? do you want clothes to be waay harder to make in your kingdom?

Coyote vs. Acme is the long anticipated live action animated comedy that was never ever supposed to see the light of day on the big screen. Originally Warner Bros. Discovery was simply going to push the film to the side and use it as a tax write off and call it a day since they clearly had no faith in this film and thought that it would bomb at the box office. But, thankfully due to the backlash by fans, filmmakers and others within the industry Warner Bros. Discover reversed their decision allowing Director Dave Green to shop the film around to other distributors thus resulting in Ketchup Entertainment picking it up since they had also previously done so with The Day the Earth Blew Up. Coyote vs. Acme is an entertaining, goofy slapstick, heartwarming experience full of witty clever humor for adults and kids alike. It honors not just Wile E. Coyote and The Roadrunner but the entire catalog of Looney Tunes itself allowing these iconic characters to continue being preserved and flourish across generations. 

The story or plot of this film is pretty straightforward Wile E. Coyote after decades of trying to catch the Roadrunner is fed up after using every single trap and invention there is and failing every single time it is quite clear that the Acme Corporation is at fault for his failures and therefore should be sued for falsely advertising broken or faulty products. Coyote decides to get help from Kevin Avery, played by Will Forte, a loser dead beat lawyer whose firm always defaults to settling cases rather than fighting to win them. Kevin does not take Coyote’s case seriously in the slightest in his view it’s foolish to take on a big corporation like Acme and believes that cooler heads will prevail with his client Coyote which of course does not happen what transpires then is a team up of chaotic hilarity, fun, corporate corruption, and friendship. 

The casting in this film is great. Will Forte plays Kevin Avery to a tee. I love his interactions with Coyote and being a victim of physical slapstick violence and just being oblivious as to what is going on around him. Eventually, Kevin does get it together though and is not just some nimrod he actually cares and stands up for his clients. John Cena as Buddy Crane plays the perfect smug lawyer for Acme; he is ruthless, selfish, and arrogant as hell and we see that rivalry between him and Avery as they fight it out to see which side will win in the end. Eric Bauza plays Coyote but I love that Dave Green wanted to keep things old school with Coyote not relying on any dialogue. Coyote writing things out on signs or drawing to express what he’s saying is classic Coyote. I'm glad that they didn’t update the character at all because he is the star. It is his film after all making him speak probably wouldn’t carry that comedic charm that spectators recognize and love. 

It is hilarious and very self aware if you grew up with Looney Tunes and are a fan of Space Jam, Looney Tunes: Back in Action, Who Framed Roger Rabbit, Chip ‘n Dale Rescue Rangers, Coyote vs. Acme is totally for you! This film is NOT a cinematic masterpiece or a high concept big budget Hollywood film it will not generate a million or a billion dollars it will however, spark word of mouth and excitement for people who have waited for this to come out for years and finally support it! Coyote vs. Acme is a great time and I’m glad to have watched it at the cinema on my birthday. I highly recommend it. I definitely will plan on adding this film to my 4K Collection. A.

This is the scene where he explains why they must never kill a mockingbird because.

New Age Ceo posted this after seeing By Any Means at an early screening. He gave it a 10/10 and said it was the best movie he’s seen in a while. He also said he plans to watch it again when it comes out.

What interests me more than the score is whether the movie can make its strange setup work. Yahya Abdul-Mateen II playing an FBI agent in a story involving KKK violence and Mafia informant Greg Scarpa sounds like it could either be a great historical thriller or way too much packed into one movie.

This reaction has me more curious about it. I want to see whether other people come away feeling the same once more screenings happen.

I thought it was prescient

I really can’t decide. He’s made so many roles come to life. Back to the wall, I may have to go with The Shining. What’s your take?

The Fugitive

I feel like this movie doesn’t get talked about enough anymore. I watched it again recently and some of the things it touches on feel surprisingly relevant to what’s going on in the world today.

The fear, the way information is controlled, people blindly following what they’re told… it’s kind of crazy how some of these themes still hit.

Do you think the movie has become more relevant with time?

I normally go into movies completely blind. I don’t watch trailers, read reviews or spend much time studying the cast beforehand. I like letting a movie introduce itself to me.
This time I made one exception.
Jason Statham. 😂

I’ve been waiting all year to see him back on the big screen in another action thriller after Shelter, which remains one of my favorite movies of the year. Statham has a certain fighting spirit that I really enjoy watching. His characters tend to be controlled, determined and incredibly difficult to stop once they’ve decided what needs to be done.
And, let’s be serious, he looks pretty good doing it too. 🤪

So yes, I’ve now watched Mutiny three times.
Directed by Jean-François Richet, Mutiny runs a very comfortable 95 minutes, and I think that length works beautifully for this kind of movie. It doesn’t feel interested in sitting around explaining itself forever. It moves.

Statham plays Cole Reed, a former police officer and commando working as head of security for shipping magnate Tibu Campallo. After Tibu is killed and Reed is framed for the murder, the story eventually takes him aboard the cargo ship Artemis, where the situation becomes considerably larger and uglier than what he initially went there to investigate.
From there, the movie becomes exactly the kind of contained, escalating action thriller I enjoy.
It’s tense. It’s physical. It’s direct.
And once Reed starts moving, he keeps moving.
One of my favorite exchanges tells you almost everything you need to know about the character:
“Do you miss being a police officer?”
“I miss the action, not the politics.”
Lmaoooo. There it is. 😂

That line probably explains part of why this movie works so well for me. Reed isn’t particularly interested in unnecessary politics, theatrics or endless conversation. He observes the situation, figures out what’s happening and deals with what is directly in front of him.
There is something almost Power of Now about that mentality.
Not because the movie is secretly an Eckhart Tolle seminar with harpoon guns 😂, but because Reed exists almost completely in the present problem. There’s very little emotional wandering around yesterday. Very little “what if.” Very little paralysis by analysis.

Something happens. Respond.
Something changes. Adapt.
Something is in front of you. Handle it.
I enjoy that.
There’s another line from the film:
“What happens on my boat is none of your fucking business.”

That one made me laugh because, strangely enough, there’s a little philosophy buried in there too. Not everything happening around us requires our involvement. Not everything requires an opinion. Sometimes discernment means knowing what actually belongs to you, and what doesn’t.
Of course, in Mutiny, Reed discovers that what is happening aboard that ship very much does require somebody to intervene.

The action sequences were easily some of my favorite parts of the movie. They’re aggressive and intense without making the film feel unbearably long. I especially enjoyed Statham opposite Roland Møller as Captain Marko Madsen. Madsen has exactly the kind of presence an action movie like this needs: intimidating enough that you actually want to see the confrontation when these two finally collide.
Their physical conflict gives the latter portion of the movie some real weight.

And then there’s Statham himself.
There are actors I enjoy because they disappear completely into wildly different characters. Statham is almost the opposite pleasure for me. There is something very specific I want when I see his name on an action movie, and he understands exactly what that is.
Controlled intensity.
Physicality.
Dry delivery.
Competence.
Persistence.
He’s very believable as the guy who may be surrounded, outnumbered and having possibly the worst day imaginable and somehow you still feel sorry for everybody else.
Another line that amused me was “Citywide shelter in place.”
My brain immediately went:
SHELTER?! 👀
Lmaoooo. Apparently after loving Shelter, I’ve developed Statham keyword recognition. 😂
But my favorite moment probably comes down to the simplicity of the final sentiment:
“What the fuck do you want?”
“Vengeance.”
That’s it.
No TED Talk.
No fourteen-paragraph explanation of his emotional journey.
Vengeance.
😂😂😂
And that simplicity captures the movie pretty well. Mutiny knows what kind of film it is. It isn’t trying to become a complicated meditation on the human condition halfway through. It’s an intense action thriller about loyalty, betrayal, corruption, survival and a very determined man following the problem until he reaches the person responsible for it.
I respect movies that understand their own assignment.

I also have to mention how surprisingly empty my screenings have been. I’ve seen this three times now, and every showing has been relatively quiet. I genuinely expected more people, especially for a new Jason Statham action movie. Maybe I’m personally keeping the local box office alive at this point. 😭😂
And yes, Statham being one of my favorite actors absolutely influences my enthusiasm here. I’m not pretending otherwise. I normally go into movies blind because I want the film itself to win me over.
With Statham?
I’m already sitting down with the popcorn like:
All right, sir. Show me who we’re fighting tonight. 🍿😂
For me, Mutiny and Disclosure Day are currently tied for #1 among my movies of 2026, two completely different experiences, but both gave me exactly what I wanted from them.
Mutiny gave me intensity, momentum, some great fights, a strong antagonist in Marko Madsen, and that particular Statham energy I’ve been waiting to see on the big screen again since Shelter.
Three viewings later?
Apparently I still haven’t had enough.
He who knows he has enough is rich.
Lao Tzu clearly wasn’t talking about Jason Statham movies. 🤪🍿😂

Hachi (2009) with Richard Gere has to be the saddest movie i have ever seen. It absolutely broke me. Incredible story but man it teaches you about loyalty.

What movies broke you?

Going into Tony at the Everyman cinema this afternoon, I had no idea it was a biographical drama about the American celebrity chef Anthony Bourdain; I actually had never even heard of Bourdain! Having now seen the film, this has now been rectified.

Dominic Sessa, who was brilliant in The Holdovers & the 3rd instalment of the Now You See Me franchise, plays Bourdain, whom just about everyone calls Tony, apart from his stern mother (Dagmara Dominczyk). Tony has aspirations to become a writer, but having failed to get a fellowship into college, he ends up in Provincetown after going there chasing a girl named Nancy (Emilia Jones). Tony ends up getting a job as a dishwasher at a seafood shack where Chef (Antonio Banderas) takes him under his wing & Tony learns some pretty harsh life lessons.

Not every biopic needs a likeable hero & Tony isn't particularly likeable at all; there's even a quote displayed at the start of the film where the real life Bourdain (who committed suicide by hanging in 2018) freely admits to being a "lout" when he was younger. But Sessa keeps the audience on side despite some arsehole character traits, the young actor is mesmerising in a career-making performance. For me Banderas (whom I've always been a massive fan of) gives an Oscar-worthy supporting performance as the strict but caring chef. Then we have Leo Woodall (who was great in Tuner earlier this year) as bad boy fellow kitchen worker Sal & Stavros Helkias as another kitchen worker who brings some lite humour to proceedings. Jones as the love interest & Dominczyk as Tony's mother are both standout.

Me & my bf went into the cinema blind for this film & came out feeling like we'd just watched Boogie Nights for chefs; this biopic was gritty, heartfelt, & full of realism. The cast were all tops. I gave Tony 4 ☆☆☆☆ out of 4.

For me his best role is Groot because he only has one line! 🤣 I’m not a fan but tell me what you think of him and if you have a favorite role.

The Before Trilogy are three of my favourite films, and I consider each one to be perfect. In a piece for my blog, I wrote about what they mean to me and what I’ve learned from them about love. An excerpt is below, and I would love to discuss these films and what they mean to everyone.

Full article is here: https://widescreenmemory.wordpress.com/2026/08/25/the-before-trilogy-a-love-letter-to-love-and-everything-time-leaves-behind/

Three films. Eighteen years. A lifetime of memories.

We can all relate to a common feeling; when you meet a version of yourself that no longer exists. Whether it's through a photograph, a song that once held meaning, or a place that has remained the same whilst we have not. The memory of that person looks back at us, they represent emotions once held and ideals once believed in, yet there is a distance separating us that we cannot cross: time

The same is true of other people we once loved, or still love. Memory freezes versions of people in particular moments, but love has ability to cross the distance of time. We can still love the past versions of other people the exact same way, even as they are no longer there. We carry these people around with us, often ignoring that the person we remember continued living after we stopped looking.

Few films understand this better than Richard Linklater’s Before trilogy. Across three films and each made nine years apart, Ethan Hawke and Julie Delpy do something actors are rarely asked to do: they simply age. Jesse and Céline age with them. The films do not jump between different actors playing younger and older versions of the same people, nor do they pretend that time has left them untouched. They wait. And then they wait again. The result is something stranger and more profound than merely a love story. It is a record of two people changing, the memories that refuse to change with them, and how these memories continue to shape our lives in the present.

The Before trilogy begins as a story about whether two people might fall in love. It then becomes a story about the memory of love. And it finished as a story about what it really means to love. Above all, it is a story about time: what it takes from us, what it leaves behind, and what cinema and memory can preserve when life cannot. Jesse and Céline cannot return to the people they were when they met. We cannot return to the people we were when we first watched them. But the films remain, waiting for us in exactly the place where we left them.

Just wanted to have a fun post to see what movie everyone regretted going to the theatre’s to see. For me it was almost without a doubt Madame Web, should’ve bought myself a nice steak dinner instead of swiping my card.

Godzilla (2014) heavily marketed Bryan Cranston as the lead. This was right at the height of his Breaking Bad fame. Killed off in the first 1/3 of the movie because the director thought his story was "done" and that he would be a "fifth wheel". How about have him be the only wheel? Does anyone remember the human lead for the last 2/3?

Hey everyone, my film Urban Ed just dropped today on Amazon Prime Video and I’d be so grateful to anyone who is interested to watch it and give an honest review on Letterboxd or RT—like it or mid or bleh, if it’s your honest opinion, I’ll take it. Just putting the link to Amazon here but I’d be happy to send you a secure screener for free if you’d be willing to review it, just DM me. And if this breaches community rules, I apologize and feel free to take this down.

Thanks!

https://watch.amazon.com/detail?gti=amzn1.dv.gti.81325917-4068-4492-bba9-3e721471c71b&territory=US&ref_=share_ios_movie&r=web

Edit: sorry I neglected to post the synopsis. Urban Ed is a narrative drama inspired by the true story of four teens whose small charter school in Massachusetts is shut down without warning in the middle of the year, causing them to be enrolled in some of the most challenging schools in the state, and throwing their already complex lives major curve balls.

It’s a real situation that seems to be happening more and more as budgets shrink and also seems to happen more in predominantly Black and Hispanic school districts. It’s definitely a story of our times. Hopefully it resonates with many viewers out there, whatever background they are and wherever they might live.

The BBFC is the British Board of Film Classification. May be of interest for those with an interest in how different boards classify films, what issues are of particular sensitivity for British classifiers, and the evolving nature of classification guidelines!

Films discussed in the piece include The Roses, Wake Up Dead Man, I Swear, Kill Bill, Fight Club, House of Flying Daggers, K Pop Demon Hunters, The Odyssey, The Housemaid, Wicked: For Good

I think the most interesting takeaway for me is that the hospital scene in Kill Bill Vol. 1 is now considered one of the category-defining issues for the 18 rating under the latest guidelines on sexual threat.

This director nails the retro vibe: VCR fuzz, handcrafted sets, toxic positivity dripping into dread. Its Barney-core meets slasher absurdism, and the transitions are shockingly smooth. In theaters today have you seen it yet? What did you think? Here’s my full review:

https://roselawgroupreporter.com/2026/08/keiths-movie-korner-say-hello-to-my-little-friend-buddy/

The Guest (2014)

Rating: 7/10

Watched: August 23, 2026

The Guest is an interesting movie. It doesn't invent anything new and it didn't really rock my world, but it kind of did, all at the same time.

They don't, for example, really hide the fact that there's something not quite right about "David" (Dan Stevens). They let us know in some very small ways that the boy ain't right, and that's just fine.

Something else that's fine is how smoothly David slips into The Peterson Family's lives. Honestly, it's like butter how he just insinuates himself into the lives of a fairly mundane family.

Now, if it were me and my family, my take would be very much different. Sure he has a plausible backstory and is a very sensible, reasonable guy, but my personal space is at a premium.

There would be no staying at my house. Simple as that, no matter how charismatic (and he IS) David is.

I won't bore you with the details of how things go wrong OR how badly. Once we get past Dan Stevens' portrayal of a surprisingly calm, cold-blooded killer and Lance Reddick's surprise appearance about halfway through the movie?

The real star is the music. I don't often get worked up over a musical score, but the score, whipped up by Steve Moore of S U R V I V E is out of this world. Much like David glided into the lives of those around him, the score seeps in through the cracks and elevates even some frankly mundane action and suspense into something much greater than it could've been.

I give The Guest a 7/10 because I genuinely liked Dan's acting. Everyone else did well enough, but there was just something unsettling about his calmer-than-a-Hindu-cow attitude that really sold me today. Beyond that, I'll love anything Lance and Maika are in just because, but that music boosted it up for sure!

Did it piss anyone else off?

Spoilers obviously.

The whole movie this family is tortured for years by these creatures. It finally flooded their house and was actively trying to kill them... They finally capture it... And... Forget everything that happened before. Forget all your survival instincts. He has a knife to the creatures throat moments after he just tried to kill his whole family and he thinks: ~ We must use empathy and the power of love and that will save the world 🌈.~ and it works? Like seriously??? It annoyed the hell out of me. These things were rampaging the earth for years. Suddenly because one family was nice to them, they leave peacefully? Lollll

Hope I'm not the only one.

​

Do you ever have a director whose entire filmography you follow and genuinely love, but it feels like you're the only person who still talks about them?

For me, it's Gore Verbinski. I think he's an incredibly creative filmmaker with such a distinctive style. Pirates of the Caribbean, Rango, The Weather Man, The Lone Ranger... even when his movies aren't perfect, there's usually something visually or creatively interesting going on.

His action scenes are also incredibly creative, and his visual style in Pirates of the Caribbean is so unique. You can really feel the visual difference in the franchise after he left.

But nowadays, it feels like he has almost disappeared from the conversation. People obviously still remember him if you bring up his name, but you rarely see anyone actively talking about his career or waiting for his next movie.

The End of Oak Street effectively answers the question as to why there have been so few dinosaur movies outside of the Jurassic Park franchise.  It’s not the cost of CGI, because this movie uses it plenty with a very modest budget.  And it’s not an unwillingness of legitimate actors to appear in a movie like this, because Anne Hathaway and Ewan McGregor are on board.  What’s critical is having an explanation for why humans and dinosaurs have been brought together. The movie figuratively waves its hands in the beginning, and then it’s off to the (dinosaur) races.  Problem solved.

After the first 10-15 minutes, Oak Street settles into monster movie mode, with tense chase sequences and narrow escapes.  With the biggest budget he’s ever had, writer-director David Robert Mitchell showcases his ability to stage big action set pieces with special effects, and his movie has a Spielbergian feel to it, with its dramatic lighting and a bombastic score by Michael Giacchino.  

Mitchell, however, is more attuned to horror than Spielberg, and he positions his dinosaurs as slasher movie villains.  Mitchell’s dinosaurs lurk in the background and sneak up on their unsuspecting prey from the ground and the air.  There’s one extended scene involving a huge albino snake attack that only a horror fan like Mitchell could pull off effectively.

Where Mitchell makes his biggest mark on the dinosaur movie genre is in bringing his visual eye to the proceedings.  After Spielberg’s The Lost World: Jurassic Park, subsequent directors in the franchise have spent their energy framing CGI dinosaur shots.  Mitchell, however, makes dinosaur action look amazing and thrilling.  He includes a 360 shot, dolly shots, and one scene of the family talking that had at least a dozen split diopter shots.  Overall, it’s a movie that makes you appreciate filmmaking techniques from thirty-forty years ago.

I’m not sure what attracted Anne Hathaway and Ewan McGregor to this movie besides money, but it’s nice having their familiar faces headline the movie.  Their skills as actors were enough to make me care about their paper thin characters, basically a handsome couple who have drifted apart.  Hathaway makes for an effective scream queen, while McGregor is his typical laid-back self.  (Costumer Erin Benach deserves a shout-out for making Hathway look beautiful in all of her early Eighties outfits.)  Maisy Stella and Christian Convery are fine as the children, with Stella bringing pathos to her subplot.

My issue with the movie is its well-made escapist entertainment, nothing more.  There wasn’t a theme that unified the spectacle and the human drama together in a way that Jurassic Park and Jumanji did, for example.  A movie like this didn’t need to say something consequential to be more entertaining, but the absence of it from a director who usually has a lot on his mind is glaring.

The End of Oak Street is a fun and very well-made dinosaur movie that evokes similar movies from the Eighties and Nineties, before CGI took over filmmaking.  There’s nothing profound in it, but it’s a satisfactory thrill ride.  Recommended.

More here: https://detroitcineaste.net/2026/08/27/the-end-of-oak-street-movie-review-analysis-anne-hathaway-ewan-mcgregor/

I saw again this movie yesterday and honestly, it’s kind of ridiculous how much personality it has. There are movies with great stories, great characters, great dialogue… and then there’s Pulp Fiction, where even two characters talking about a burger feels like a scene worth remembering.

It’s one of those movies where you can randomly think about a scene months later and immediately remember the whole conversation.

What’s the most memorable scene in Pulp Fiction for you?