<n>Read the explanation of method, madness, and <b>spoilers</b>.<fn></n> <ol> <a href="#Doubt">Doubt (2008)</a> --- <a href="http://www.imdb.com/title/tt0918927/">8/10</a> <a href="#Impossible">Mission Impossible - Dead Reckoning Part One (2023)</a> --- <a href="http://www.imdb.com/title/tt9603212/">7/10</a> <a href="#Tomorrow">Der Morgen Stirbt Nie (Tomorrow Never Dies) (1997)</a> --- <a href="http://www.imdb.com/title/tt0120347/">7/10</a> <a href="#Puss">Puss in Boots (2011)</a> --- <a href="http://www.imdb.com/title/tt0448694/">7/10</a> <a href="#ID4">Independence Day (1995)</a> --- <a href="http://www.imdb.com/title/tt0116629/">9/10</a> <a href="#Mummy">The Mummy: Tomb of the Dragon Emperor (2008)</a> --- <a href="http://www.imdb.com/title/tt0859163/">6/10</a> <a href="#Happy">Happy S01 (2017)</a> --- <a href="http://www.imdb.com/title/tt2452242/">9/10</a> <a href="#Riddick">Chronicles of Riddick (2004)</a> --- <a href="http://www.imdb.com/title/tt0296572/">8/10</a> <a href="#Shane">Shane (1953)</a> --- <a href="http://www.imdb.com/title/tt0046303/">5/10</a> <a href="#Pitch">Pitch Black (2000)</a> --- <a href="http://www.imdb.com/title/tt0134847/">7/10</a> </ol> <dl dt_class="field"> <span id="Doubt">Doubt (2008)</span> --- <a href="http://www.imdb.com/title/tt0918927/">8/10</a> <div>This movie combines two great things: absolute master-classes in acting by Streep and Hoffman, and a running time of just under 105 minutes. It was long enough to tell the story but didn't overstay its welcome. This is the story of Sister Aloysius Beauvier's (Meryl Streep) crusade against what she considers to be the overly lax, nay <i>louche</i> Father Brendan Flynn (Philip Seymour Hoffman). She is a scold. She is a harpy. She is a shrew. She is without life and without humor. She is relentless. She is certain. And she is neither to be stopped nor tamed. Flynn is close with the boys, taking them under his wing. Sister Beauvier sees only malice and lewdness. She despises what she sees as his coddling of the poor boys. One boy in particular is a black boy named Donald, who is mistreated by the other boys, not only because of his color but also because he is almost certainly gay. Flynn takes Donald under his wing, arousing even more suspicion in Beauvier and also her immediate charge Sister James (Amy Adams). Aloysius meets with Donald's mother (Viola Davis) to chisel at her to turn on Flynn, but she seems much less concerned about that because she ends up confirming that, not only is Donald a black boy but he's also gay. His father beats him mercilessly for it. Flynn is the only man who's shown Donald kindness. She'll stick with Flynn. She isn't given the chance since Aloysius continues on the warpath, threatening Flynn with going public with her accusation even though it would be insubordination and would mean she'd be thrown out of the church. She is an incorrigible gossip and cannot admit any mistake. She manages to force Flynn into requesting a transfer. Aloysius's bluff---read: lie---about having contacted one of his previous parishes...it worked. When James expresses shock and crushing disappointment in her superior, Aloysius replies, <bq>In the pursuit of wrongdoing, one steps away from God.</bq> This was a great, small movie---a tight 105 minutes---with incredible acting and a gripping story. Highly recommended.</div> <span id="Impossible">Mission Impossible - Dead Reckoning Part One (2023)</span> --- <a href="http://www.imdb.com/title/tt9603212/">7/10</a> <div>I <a href="{app}/view_article.php?id=5102#Impossible">watched and reviewed</a> this just about a year ago. From the first third or so, I have to wonder how I rated this movie an 8 rather than a 7. The all-knowing AI is grating; the introduction to Grace (Hayley Atwell) is done nearly entirely by simply reading lines, and Esai Morales's all-knowing, all-powerful character is just as annoying. Christ Atwell is a bad actress. I'd also forgotten about how stupid it was that AI could crack whatever encryption it wanted to. I do like Tom Cruise in one of his best roles, as well as the liberal use of dutch angles to remind us of which movie we're watching. I also would be remiss if I failed to point out the very fun cinquecento/Fiat 500 chase in Rome.</div> <span id="Tomorrow">Der Morgen Stirbt Nie (Tomorrow Never Dies) (1997)</span> --- <a href="http://www.imdb.com/title/tt0120347/">7/10</a> <div>The pre-credits scene shows a weapons market, run by Henry Gupta (Ricky Jay). The stupid admiral decides to fire missiles at it but Bond only shows that there are nuclear-tipped missiles on the site afterward. Not that a missile hitting nuclear missiles would "ignite" them, but it's a fun premise and a good way to get James into a fighter jet. Next, we're watching a submarine sink a British ship and making it look like the Chinese did it. Elliot Carver (Jonathan Pryce) created this bit of news and then sends it around the world via his enormous news network. The rather unique-looking Stamper (Götz Otto) is Carver's main henchman. James picks up his mission from M (Judy Dench) and Moneypenny (Samantha Bond) in a wonderfully filmed scene---a ride through London---and picks up his toys from Q (Desmond Llewelyn) in an obvious ad placement for Avis and BMW, which is an unfortunate stain on an otherwise entertaining movie. We meet Carver's wife Paris (Teri Hatcher) at a party. We also meet Wai Lin (Michelle Yeoh), who's a Chinese agent posing as a journalist, just as James is posing as a banker (as usual). They don't buy James's ruse for long and Stamper sets his henchmen on him. James escapes, like, of course. Paris bangs and helps James get into a secret lab. She leaves him to return to Carver, who has, in the meantime, discovered her betrayal. Wai Lin is there as well, but they're at odds rather than working together. James uses the fingerprint scanner that he'd gotten from Q to find and steal the tracking computers that Carver had used to fool the British ship into sailing into the wrong waters. Bond and Lin both escape but not together. Paris is quickly made to pay for her betrayal with her life. Thankfully, because Teri Hatcher is a terrible actress. She'd been killed by the equally short-lived Dr. Kaufman (Vincent Schiavelli). After disarming him with the phone-taser that he'd gotten from Q, James kills him with extreme prejudice. Then he uses his super-BMW that he got from Q to escape the other henchmen, "returning" the car to an AVIS office by jumping it from the fifth floor of the parking garage directly into the office window. James lands in a helicopter, meeting Wade (Joe Don Baker) at an airport to show the tracking computers that he'd stolen from Carver. James does a HALO jump with scuba gear into the South China Sea to find the sunken British ship. He drops into the ocean and finds the ship <i>immediately</i>. No muss, no fuss. At the same exact time, Lin is also there, also scuba-diving. What an incredible coincidence. When they get to the surface, Stamper has taken over her junk, so yet another coincidence. There is a long, showy speech by Carver about his plans, with threats of torture by Stamper. James and Lin are handcuffed together but they manage to vanquish everyone and get away, exiting into the street and then absconding with a motorcycle (a BMW, to no-one's surprise). Once again, the CGI-free filming of the action scene is somehow magical and exciting in a way that CGI can never achieve. Lin slips around on a moving motorcycle, dropping obstacles in the way of their pursuers. This is way more Hong Kong action than typical for Bond. Not surprising since they're in China. Or Vietnam? They're up on a roof---or series of roofs---with a helicopter with endless ammunition in hot pursuit. It tips forward to use its rotor as a chopping blade but fails to get to Lin and Bond. She flips around again, as Bond navigates narrow alleys. The chopper is back. Bond and Lin drag a clothesline cable through the rotor, jump into a fountain and escape the explosion. Switch to a shower with a pretty hot, young Yeoh. She picks the lock on the handcuff and escapes, jauntily skipping away as only a lifelong martial artist can. I remember how she stops to steal a small jacket and puts it on before disappearing into the crowd. Cue a kick-ass Kung Fu fight with Michelle Yeoh and a bunch of toughs. James is close behind and takes out the last guy for her. They plan their next collective move from her secret base, heading to the location of Carver's stealth ship. Lin and Bond sneak onto it but Lin is captured. Bond wreaks havoc. The British and Chinese have been informed that the war is fake. Bond and Lin clean up, trying to stop the missile launch. Bond kills Carver; Stamper has captured Lin (like, for the third time?) and now it's a battle to the death between Stamper and Bond while Lin drowns. Can Bond save her? I bet he can.</div> <span id="Puss">Puss in Boots (2011)</span> --- <a href="http://www.imdb.com/title/tt0448694/">7/10</a> <div>Puss in Boots (Antonio Banderas) is a fugitive, hunting for the giant's magic beans. He's not alone, though. Jack (Billy Bob Thornton) and Jill (Amy Sedaris) are a comically murderous couple also looking for them. Kitty Softpaws (Salma Hayek) thwarts Puss in Boots. Humpty Dumpty (Zach Galifianakis) is also involved. There is a lot of backstory with Humpty and Puss having been raised together in an orphanage but then having been estranged and separated. They all head up the beanstalk together to discover that the giant died long ago and that the goose is still shitting out golden eggs. They're everywhere. They're pretty heavy, though. So they decide to steal the goose instead. The <i>Great Terror</i> is the goose's mother, who starts wreaking havoc on the town with the orphanage. Jack, Jill, and Kitty are working for Humpty, though and there's a bunch of intrigue there but even the misguided Humpty sacrifices himself before being saved by the Great Terror, who's not so bad after all once she gets her gosling back. The townspeople are all rich because there are golden eggs everywhere. The orphanage thrives. Puss and Kitty are an item. This was a relatively entertaining movie, although I liked the sequel better. The characters are good, the animation is good, the voices are great, and it just works. There's a great scene that's taken from a Sergio Leone classic, with vultures surrounding Puss.</div> <span id="ID4">Independence Day (1995)</span> --- <a href="http://www.imdb.com/title/tt0116629/">9/10</a> <div>I last watched this <a href="{app}view_article.php?id=5102#Independence">just last year, in 2024</a>, but it was on in German and I wanted something I didn't have to pay too much attention to, running in the background while I organized my <a href="{root}/albums/view_calendar.php?id=771">pictures from my recent Vienna trip</a>. I (re-)learned the word <i>Haudegen</i>, which <a href="https://dict.leo.org/forum/viewUnsolvedquery.php?idThread=1008647&idForum=1&lang=en&lp=ende">means</a> "old warhorse", but can also be used to indicate a "swashbuckler" or anyone who is "audacious, brash, daredevil, madcap, overbold, overconfident, reckless, foolhardy." President Whitmore (Bill Pullman) was describing Russell Casse (Randy Quaid), of course.</div> <span id="Mummy">The Mummy: Tomb of the Dragon Emperor (2008)</span> --- <a href="http://www.imdb.com/title/tt0859163/">6/10</a> <div>I last <a href="{app}view_article.php?id=2897#Mummy">watched and reviewed this in 2013</a>, after having <a href="{app}/view_article.php?id=2503">first watched it in 2008</a>. I didn't write too much at the time but it takes place in China. There are giant Yeti that help the good guys. The review stands. I watched it in German this time.</div> <span id="Happy">Happy S01 (2017)</span> --- <a href="http://www.imdb.com/title/tt2452242/">9/10</a> <div>This show feels a bit like <a href="{app}/view_article.php?id=2880#Constantine">Constantine</a>, a bit like <a href="{app}/view_article.php?id=2722#Crank">Crank</a>, and a bit like <a href="{app}/view_article.php?id=5322#Payne">Max Payne</a>. It follows Nick Sax (Christopher Meloni), an ex-cop who seems capable of taking incredible amounts of punishment as well as copious amounts of drugs and alcohol. He is embroiled in dirty dealings with the mob underworld, as represented by Blue Scaramucci (Ritchie Coster) and in which his ex-partner Meri McCarthy (Lili Mirojnick) is also caught up. None of them are tragic figures, as they are all pretty corrupt with gusto. This is a dark, noir-ish, adults-only satire based on the <a href="https://imagecomics.com/comics/series/happy">comic-book series</a> of the same name. When Sax's estranged daughter Hailey (Bryce Lorenzo) is kidnapped, her imaginary friend Happy (Patton Oswalt) seeks out Sax and eventually convinces him to put a pause on his life of debauchery and violence and help him find Hailey. Her mother and his ex-wife (Medina Senghore) is also looking for her, with her path crossing Meri's as well as, eventually, Sax's. Hailey has been kidnapped by Very Bad Santa (Joseph D. Reitman), who's sorta-kinda working with Blue and his henchmen, like Smoothie (Patrick Fischler). There's also a Scaramucci family involved, most of which members are killed by Sax early in the first season. In particular, Isabella (Debi Mazar) is trying to find her son's missing body using old-world, Italian witchcraft. There are quite a few moving parts, woven together with magic and demons, even though most of the action takes place in what is more-or-less the real world. As noted, Nick seems pretty indestructible, and Very Bad Santa seems to be quite <i>strong</i>, but there is no suggestion that anyone is super-powered. Happy is written and voiced well and his interactions with Nick are great. Nick's just enough of a psychotic, alcoholic, loose cannon that no-one around him really notes that he's begun speaking to an imaginary friend. It's just taken in stride as Nick being Nick. Nick is also preternaturally violent, a veritable force of nature. When he unleashes, he unleashes <i>hard</i>. After finding his daughter swept up in a kidnapping program where Smoothie is indoctrinating the children and preparing them for delivery as life-sized dolls---in boxes---for Very Bad Santa, who is somehow embroiled with the almost-certainly psychotically but certainly sociopathically evil Sonny Shine (Christopher Fitzgerald), who is working with demonic outer-space creatures called "wishies" that star on his children's program, Nick pummels Blue nearly to death. Blue survives, though, and is then infected by Isabella's missing son Mikey's zombie, transferring the demon Orcus to Blue in its last breath. Sax almost dies in this fight with Very Bad Santa---and most people think he <i>is</i> dead---but we see him survive and rejoin with Happy. An extra point for Christopher Meloni, who really ties this whole show together. He produced this thing and he looks <i>just like the guy on the cover of the comic book.</i> I guess the universe was calling to him.</div> <span id="Riddick">Chronicles of Riddick (2004)</span> --- <a href="http://www.imdb.com/title/tt0296572/">8/10</a> <div>This film quite competently, if not elegantly, introduces us to its own unique universe without too much exposition. There's just a hint of a scene to introduce the Lord Marshal (Colm Feore) of the Necromongers. We meet Riddick (Vin Diesel) as he escapes from a bounty hunter Toombs (Nick Chinlund) and his crew on a winter planet. He dispatches them and steals their ship, heading to the imperial planet to hunt down those who put the price on his head. There, he meets the Imam (Keith David) and Aereon (Judi Dench) before escaping together from the closing fist of the imperial guards. The ships of the Lord Marshal enter the Imam's star system. The chips are fantastic, streaking with starstuff, emblazoned aft with a giant bust of the Lord Marshal, thousands of ships swarming off of the motherships, attacking the planet. Lots of practical effects mixed in this CGI, to keep things much more grounded than they would be in later films. The ground troops are formidable, inexorable. Everyone's costumes are pretty fantastic, as are the sets, with their quasi-imperial and monumental appearance. We meet Vaako (Karl Urban) and his wife (Thandie Newton). The Lord Marshal exhorts all of captured people to become Necromongers, demonstrating that the only alternative is to have your soul ripped from you. Riddick interrupts the festivities to kill the Lord Marshal's top henchman, then is "invited" on board the capital ship. The imperial aesthetic continues, with enormous and mesomorphic statues everywhere, in the halls, on the walls, looming from the ceiling. Everything is done so well, with such attention to detail, building a whole new world, consistent in the design and presentation. The psychics that "interrogate" Riddick are ghostly wisps emanating from vibrating pools of liquid trapped in large, Giger-esque constructions that swivel and slam to the ground around Riddick. Riddick breaks free and the bounty hunters shoot down the giant ship hunting him to get him for themselves. They banter, with Riddick tied up in the back of the ship but, as before, seemingly in charge of the situation. Dame Vakko cajoles Lord Vakko to consider taking the throne for himself. This movie has the same vibe as <a href="{app}/view_article.php?id=5199#Element">The Fifth Element</a>, where every detail was lovingly created for the film instead of stolen from another film. The non-CGI scenes lend so much more credence and fun to it all. The machinery looks like they made at least some of it for real. For 2004, it's incredibly hard to see where the CGI ends and the practical effects begin. They head to the prison planet Crematoria to rescue Riddick's former partner Jack. Jack is now Kyra (Alexa Davalos); she attacks him and is uninterested in going with him. She has some pretty slick fighting moves. Toombs and the crooked guards argue and fight over the price for Riddick and they all kill each other, except for Toombs. Riddick and the rest of the prisoners go topside, to the control center, taking over the prison. They decide to run the surface, locking up Toombs and leaving him behind. They run ahead of the oncoming sunrise, which brings 700ºC temperatures with it. They're going at top speed. The surface is basically magma most of the time. The world is covered in ash before and after---and in between, the atmosphere explodes. They make it to the escape location, where the Necromancers are waiting for them. But they get into a firefight with the guards, leaving themselves open in the rear to an attack by Riddick, Kyra, and co. The only quibble I have is that the action scenes are sometimes a bit hurried, leaving them confusing and muddy. They were trying to convey the speed at which these enhanced beings fight. And, all the while, they need to avoid the next sunrise, which comes much too quickly every time. Riddick is knocked out; Kyra is kidnapped. The Purifier (Linus Roache) remains to tell Riddick where they went before committing suicide by sunrise. He tells Riddick that he could escape, and will be hunted no more. That is unlikely to be Riddick's choice. They're on the capital ship. Riddick is there. The aesthetic is well-thought-out: giant statues, arcane machinery with medieval-looking grips, semi-futuristic but still medieval-looking armor. The detectors with blue masks look like human hounds, shells of human beings. They have "data ports" from which what they see and sense can be read, even after they are dead. Riddick battles the Lord Marshal, and is pretty helpless against him, until Kyra throws off her Necromancer brainwashing to stab and wound the Lord Marshal. He kills her for her trouble. Vakko tries to kill the Lord Marshal but Riddick stabs through the Lord Marshal's soul, taking him out for good---and taking over the Necromancer empire, according to the laws of succession in that empire. This is really just pretty good storytelling, using some well-placed effects and props to tell an interesting visual story. Severance could learn a <i>lot</i> from this. It could also learn a <i>lot</i> from Vince Gilligan, who can make eating a Cinnabon visually interesting.</div> <span id="Shane">Shane (1953)</span> --- <a href="http://www.imdb.com/title/tt0046303/">5/10</a> <div>Shane (Alan Ladd) appears in the distance, coming over the plains on his horse, approaching a small ranch owned by Van Heflin (Joe Starrett). His son Joey (Brandon De Wilde) had spotted him first. He's there when the local landowner threatens to take Starrett off of his land. Shane backs him up, is invited to dinner, and then helps Starrett get rid of a tree stump. When Shane goes into town for work clothes, he has a run-in with the rancher's men, who call him a "sodbuster"---a homesteader---and push him out of the bar and general store. The homesteaders get together to figure out how they can protect themselves from the cattle ranchers, who are grazing their cattle all of the homesteaders' claims. The movie is mostly men. Starrett's wife Marian (Jean Arthur) has no friends and has most of her conversations are with her son. They return to the general store. As the first time, Chris Calloway (Ben Johnson) starts trouble with Shane. There follows a very long and drawn-out barroom brawl, in which Shane and Starrett get the better of a much larger group of men under the command of Rufus Ryker (Emile Meyer). Rufus swears revenge---with <iq>gunsmoke</iq>. He calls Jack Wilson (Jack Palance) for help. The boy is obnoxious and has very fixed ideas about how everyone needs to fight about everything all of the time. He's kind of like a little devil that sits on Shane's shoulder, urging him to do the worst thing at every opportunity. His lines are quite outdated, the script being 70 years old. The movie is incredibly long for the story that it tells. The homesteaders continue to take damage, with Jack Wilson killing one of their own. At the man's funeral, they notice that Ryker had his men burn down a homestead right behind their backs. They pull together to go put out the fire, with a fleeing homesteader returning to his own home instead. The drawn-out but simple plot winds its slow way onward, with Ryker sending men to have Starrett meet him, then Shane getting into a fistfight with Starrett to prevent him from going. It's wild, with all of the horses, dogs, and livestock going nuts as they're knocking each other down and dragging each other out. Shane wins the fight by cold-cocking him with his pistol. Shane keeps the date for him. Everything takes forever in this movie. Shane's ride to the settlement/town takes at least five minutes, if not ten minutes of screen time. The boy chases him the whole way, accompanied by his dog and a rousing orchestra. He <i>finally</i> gets there, decked out in his deerskin shirt and pants. He leans against the bar, and starts "dealing" with Ryker. Jack Palance is good, though. His voice is like gravel sliding over metal plates, sibilant, like a snake's hiss. The skin is spread tight over his skull, his nose a blade, his grin pasted on his face without mirth. He's no match for Shane, though, who takes out not only Jack, but Ryker and another henchman who tried to get the drop on him. The boy warned him of the last one. I mean, good for him, because he looks kind of brain-damaged most of the time. Shane rides off, wounded but clear-eyed and upright in the saddle. The boy can't stop shouting at him to come back. What a weird movie.</div> <span id="Pitch">Pitch Black (2000)</span> --- <a href="http://www.imdb.com/title/tt0134847/">7/10</a> <div>I first <a href="{app}/view_article.php?id=2665#Pitch">watched and review this in 2012</a> and then <a href="{app}/view_article.php?id=3350#Pitch">watched it again in 2017</a>. Since I'd just watched <a href="#Riddick">Chronicles of Riddick</a>, I figured I'd leave it on. My original review was correct in saying that the sequel was <i>way</i> better than this original. This movie is a bit of a cheap sci-fi movie with most of the effects being a blueish light meant to indicate the light of an alien. Riddick is pretty cool and stealthy and strong, so it's not hard to imagine why they made a sequel. They're on a creepy and dangerous planet but the most dangerous thing there is Riddick, who is hunting his former captors. "They" are the Imam (Keith David)---who would be in the next movie---pilot Carolyn (Radha Mitchell), Copilot William Johns (Cole Hauser), Jack (Rhiana Griffith)---also in the next movie---and a couple of less memorable others. Riddick allows himself to be captured---something he does <i>twice</i> in the next movie---but quickly turns the tables on them, as they seek his help in taming the planet. It's got promise in that it's stylishly shot. It's nice to see that the sequel improved on almost everything, keeping the best parts from this original. The harsh sunlight of the three suns and the shadows are well-used. When they ride to loot the ship's batteries, there's a lot of visual goodness---we see that Riddick and Johns have a detente of sorts, we see that Jack has built himself sunglasses like Riddick's, we see Riddick pop a finger up to indicate that Jack should duck. The eclipse is coming and it brings with it a whole host of monsters that only come out at night. Riddick sees them all, as he has night vision that he got in a dark prison before he escaped it. In the dark, the nasty creatures see less than Riddick but they pounce immediately when they detect motion. Riddick glides out of the shadows, with inventive lighting. Even their campsite is nicely lit, and artistically shot from above, at first. They set up some fiber-optics and a battery to take light with them. They have torches. It is not enough. Their panic ruins their plan. They can't hold together. Ogilvie (Lewis Fitz-Gerald) goes first, heading into the dark, extinguishing his lights---and all of the others. They get backup torches. He meets hundreds of aliens. They continue for a long-ish while, maybe a bit too long. Riddick rescues the captain and Jack from an attacking monster, killing it with his bare hands. They've lost their fiber-optics; they've lost their light-sticks; they're down to torches: fire. It starts to rain. Riddick laughs, <iq>Wo zum Teufel ist deinen Gott jetzt?</iq> Riddick makes it back to the ship while the others are trying to use photoluminescence to escape a cave. He waits a bit, then closes the loading-bay door and prepares for takeoff. The captain rushes to him, to show that they've also survived. He opens the back loading-bay door again. He tries to convince the captain that she should leave with him, abandoning the Imam and Jack. She attacks him, exactly as he was trying to provoke. They go back to rescue the others; this time, it's Riddick who's left behind, but he can see the creature in the dark better than it can. Now there are two of them. She goes back to rescue him. He's injured but he seems to have killed both. She is seized by a monster and flown away, into the rainy night. <iq>Nicht für mich [sterben]</iq> he shouts after her. Riddick is flying the ship out of there with Jack and the Imam. The monsters are <i>really</i> well-rendered for 2000. Riddick waits until the creatures have surrounded their ship, then takes off: <iq>Wir können nicht losfliegen, ohne Gutenacht zu sagen,</iq> and then he fries a ton of the creatures and plows a ton of others out of the way. I watched it in German.</div> </dl> <hr> <ft>These are notes for me to remember what I watched and kinda what I thought about it. The amount of text is not proportional to my enjoyment. I might write less because I didn't get around to it when it was fresh in my mind. I rate the film based on how well it suited me personally for the <i>genre</i>, my mood and. let's be honest, level of intoxication. I make no attempt to avoid <b>spoilers</b>. Links are to <a href="https://www.imdb.com/user/ur1323291/ratings">my IMDb ratings</a></ft>