Me and my friend were talking about this the other day and I wanna hear more opinions, the convo started with us talking about your iconic Horror movie killers and then it switch up to the newer ones. and I said that I feel like these filmmakers these days are creating these Cool designs to make their killer stand out with hopes that some day their killers becomes part of the main roster with, Michael Myers, Jason Voorhees, Ghostface and like Leather Face. Which is cool I don't care, and then there is those killers that is actually cool and interesting in a way that they might get to be on that main roster of iconic killers. But some of these killers in these movies feels like the only intention is to get their killer to be part of the main iconic killers in cinema history, if that makes sense? do y'all get what I'm saying?

EDIT: For as an example M3GAN, Heart eyes and like Johnny from In a Violent Nature

This is my entire review of the 2003 film....

...OK, no it isn't. It's a fine film but I recognise why some don't like it. I am glad the reboot/sequel with Edward Norton led to the MCU that we have now though, there is something reminiscent about many 1980s films with the MCU. They are the perfect example of a family film, people die and get hurt but it's done in a way that is suitable for a wide range of ages, much like Raiders of the Lost Ark or The Goonies are.

As for Hulk 2003 I have no issue with the actors or the casting and the storyline makes it clear that Hulk is a Frankenstein's Monster style creation. They didn't ask to be who they are, they are treated like a bad monster yet really they are the victim and they struggle with being who they are. I don't think i'll be in a hurry to rewatch it but I do think Jennifer Connolly makes a better Betty than Liv Tyler.

The Prestige (2006) is a well-written, mind-whirling movie directed by the man who would make the best Batman movie of all time [The Dark Knight (2008)].

Hugh Jackman [X-Men, 2000-present, Prisoners] and Christian Bale [The Dark Knight trilogy 2005-2012, Public Enemies] as rivals really blew away the crowd. Confusing, revengeful, and heartbroken by their personal problems, they created such intense and amazing “heart attacks” that really sold the movie. It is their movie! Robert Algier and Alfred Borden.

As the movie continues, their lives creates more chaos. Bale is cheating with his wife (Played by Rebecca Hall) along with ScarJo added into the mix, his performance absolutely outshines the audience both on and off the stage. I love how bitter Angier gets when he learns that Borden’s twin tied the knot, and we believe as the audience thought that Borden himself is the culprit. As an audience, the culprit is not the answer here, it just becomes a mystery of every man for himself. They are BOTH an antagonist of themselves. Who do we root for now? Do we root for Algier with his bitterness and antiques to destroy Borden’s life, or do we pray for Borden’s mercy and forgiveness because Algier planned his own death all along?

The rest of the cast were great in their roles: Rebecca Hall, Scarlett Johnasson, Andy Serkis, Michael Caine, and the late David Bowie, may he rest peacefully. Caine does what he does best with the support of Nolan by his side. Caine delivered a great performance to teach and guide the two talented tricksters.

This movie is 20 years old, and I still thoroughly enjoyed it. I watched it this evening and still to this day my mind is still scratching with the ending of the movie. It still tickles my brain to acknowledge how Nolan delivered this masterful trick. But still, it’s a great movie from his work overall.

Has anyone seen this movie, and did anyone else enjoy this movie? Jump down to the comments section and let me know your thoughts! 🤹🏻‍♂️

Hello!

Halloween being right around the corner, I’d like to watch a few horror movies. However, I feel like a lot of horror movies rely on jump scares rather than real creepy stuff. In other words, they use surprise rather than eerie elements. I’ve watched too many of those, and always felt like it doesn’t leave me scared or thinking about it a few days later. Maybe what I’m looking for would be psychological horror?

Any recommendations?

Thank you!

I want movies where the main characters find perspective or find themselves after losing their sense of self. Ideally these movies would make me reconsider everything I know about life or open me up to new perspectives I hadn't considered before. I would prefer something emotional and poignant. Bonus points for found family , friendship, growing up , losing friends and relearning friendships - themes like these.

This is a variation of the "5 great albums in a row" question concerning musical artists. I don't know how many directors have done this. It doesn't necessarily have to be written and directed, though I suppose that would help make it more of a movie they "made." I don't really subscribe to auteur theory, though.

I have a complicated relationship with Lynch movies. I love his movie-making phylosophy, the complex mysteries he creates, and the non-standard plot development.

BUT. I truly cannot stand his aestetic direction. The cheesy, drippy soap feeling of Twin Peaks, the vaseline lens of Mulholland... I'm a late millenial and it just completely pulls me out of the movie. It gives me 80's vibes and I'm not too fond of it. I've never been able to completely get into a creation of his because of it, except for Eraserhead.

So my question for you is: who are directors that create movies with his same energy, his same uncomfortable and mysterious strangeness, but with a different aesthetic? I don't even necessarily want modern-looking movies, although I will admit the clean colors of something like Midsommar or I'm thinking of ending things are more my speed. I'm glad to try anything!

I finally got around to watching Disclosure Day and noticed just how obvious the lens flares are. I recall Crystal Skull and The Fablemans also having a decent amount but I figured it was just a phase or something. I’m really confused and a little disappointed as I personally find the constant use very distracting.

Spielberg is a master of his craft and I just don’t understand why he has been leaning so heavily on this style choice. JJ Abrams is “Mr. Lens Flare” but I believe modern Spielberg should be added into the conversation.

Side Note: a decent amount of the CGI in his films has looked really poor. Kinda disappointing for the guy that made Jurassic Park and pioneered the use of it.

EDIT** yes, “as of late” meaning more current than his classic works. Apologies on the phrasing.

Hi, I have a spreadsheet of all 1,681 movies that I've watched and I rank them. This is my review of movie 1,682, which is F*** Marry Kill, starring Lucy Hale and directed by Laura Murphy. 

The unfortunate popular opinion about Lucy Hale movies is that they are gonna be boring and she’s gonna play the same type of female character. Somewhat ditzy, somewhat confused and either very promiscuous OR very prudish. All of that is true in this movie, except for the movie being boring. This is actually a decent watch and if you have a negative opinion about Lucy Hale movies, I suggest you watch this one with an open mind.

It’s a slow moving Act I, laying down the groundwork of the plot. It’s possible that one of her dates that she meets on a dating app is killing women they meet on dating apps. Scary and very real in 2026. But there’s a bit of comedy inserted into it and the comedy in most instances is refreshing. This movie mixes serious situations with comedic performances with supporting cast members Virginia Gardner and Brooke Nevin. 

The ending is a little bit sloppy, in my opinion. The twist is good and you might not see it coming, but after the reveal, it becomes more obvious who it was the whole time. I personally don’t believe this was the best ending for the film. It feels like the type of ending someone puts in their movie just for the sake of it being a twist, and not really making it make sense. But I also get that "making it make sense" is hard to go when you are trying to make serial killing people logical, but it's mainly trying to follow the path of reasoning. "X person did X thing and because of that I am going to start killing certain people" can be logically followed, but in this instance it just doesn't.

With all that said, both pros and cons, I give it a 6/10 or 3/5, which puts it at #590 of 1,682.

hi reddit! We're Dave Koz and Mickey Duzyj from SMOOTH WORLD, here to answer your questions.

Synopsis: Exiled from radio for being lame, the world of smooth jazz has secretly thrived as an underground paradise for senior citizens. Now, as the last smoothies face extinction, they band together to find a new leader who can save their beloved Smooth World.

Cast: Dave Koz, Kirk Whalum, Norman Brown, Mindi Abair, Vincent Ingala, Cory Wong, Alexander Zonjic, and more.

Trailer: https://vimeo.com/1225286270

• Website: http://smoothworldfilm.com
• Mickey on Pablo Torre Finds Out: https://youtu.be/O7doIzSlT70?si=N3NteIeowglYEVgX
• New York Times Reel on the film: https://www.nytimes.com/video/the-athletic/100000011052674/embark-on-a-journey-into-the-secret-world-of-smooth-jazz.html
• Newport Beach Film Festival tickets, World Premiere, Oct 21: https://nbff2026.eventive.org/films/6aa310251699924621fc6f6c

Release date: World Premiere on October 21 at the 2026 Newport Beach Film Festival.

Bios:

Dave Koz, saxophonist. Nine GRAMMY nominations, 11 No. 1 albums on Billboard's Contemporary Jazz chart, and a star on the Hollywood Walk of Fame. He has recorded with Stevie Wonder, Celine Dion, Barry Manilow, Rod Stewart, and Luther Vandross, among others. He hosts the nationally syndicated Dave Koz Lounge on SiriusXM, the annual Dave Koz & Friends At Sea cruise, alongside several other tours and cruise events. He received the Presidential Lifetime Achievement Award in 2023.

Mickey Duzyj, director. Creator of the Netflix series Losers (multiple Emmy nominations), animator on OJ: Made in America, and director of shorts about a dismissed racehorse, a stadium Jumbotron fan, and competitive birders. The Guardian called his work “genius.” Correspondent on Pablo Torre Finds Out.

Ask us anything! We will both be back at 4:30 PM ET on Tuesday 10/20 to answer questions.

Sometimes you turn off the TV after watching a movie and see your own reflection in the now black screen. You stare at it and wonder what you did with your time but before your brain goes down that existential rabbit hole you pick up your phone and start doomscrolling.

Maybe there's a point to these netflix films after all. They keep us from seeing ourselves waste away on the couch.

The Whisper Man isn't bad exactly. The performances are decent. So is the cinematography. It has themes. It's about fathers and sons. In a way it's about belief both in each other and in the fictions we make up to make sense of our lives. Its plot makes sense.

There are the sort of scenes that you'd see in great movies like a retired detective meeting the killer he put away years ago and with whom he shares a strange bond. Or the scene where a lone detective finds herself trapped with the killer she's searching. Maybe the problem is that these are cliches by this point in the thriller genre.

What a bland nothing movie.

That said, it's the kind of movie that it I can imagine a few people actually enjoying (and I say that without judgement). All the ingredients are there.

Would you rather have Leonardo DiCaprio be in a David Fincher, Guy Ritchie and Steven Soderbergh film, or Brad Pitt in a Christopher Nolan and Paul Thomas Andersen Film?

Leonardo DiCaprio has worked with a lot of talented Directors. James Cameron, Steven Spielberg, Quentin Tarantino, Christopher Nolan and a lot with Martin Scorsese, and lately with Paul Thomas Anderson But he has yet to work with the likes of David Fincher, Steven Soderbergh and Guy Ritchie that are also auteurs in their own right.

While Brad Pitt has also worked with David Fincher and Quentin Tarantino quite a lot, he is yet to have collaborate with Paul Thomas Anderson and Christopher Nolan (Also Martin Scorsese, Steven Spielberg, James Cameron for that matter) but still.

I think I would like to have Leonardo DiCaprio work with David Fincher, Guy Ritchie could also be something. But I say this as someone that regards Guy Ritchie as my favourite Director of all time, it should really be a certain kind of film he should do with him that fits. But else Im less convinced that we might ever get a Guy Ritchie film or project in general with Leonardo DiCaprio

I was born in 2000 so please let me know if I’m missing something. But I noticed a decent amount of 90s movies captured such a tangible feeling of Boomers/Gen X being bitter and spiteful toward the traditional 9-5 suburban American lifestyle. From stories that were more about fantasy escapism (Truman Show) to ones that expressed it with rage and violence (Falling Down)

The Matrix

Fight Club

Office Space

The Truman Show

American Beauty

Falling Down

Suburbia

Happiness

Hell, I’m even rewatching Friends now and obviously I’m taking it with a grain of salt given that it’s a damn sitcom but on paper Chandler is by far the most successful one of the bunch, I mean he has what by modern standards at least is a very lucrative career as an early form of a data analyst/scientist, is being handed out promotions and money like candy despite not seeming to give a shit. And the show/other characters are always making fun of his job, he’s constantly complaining about it, it’s a running gag basically how dumb and stupid it is. Etc.

I know times were different but I can’t help but feel a bit bitter and resentful about it myself. This is about to be super reductive and not fair to the stories listed, but it’s like oh nooo my job where I just sit around at my desk pays me too much, the house i bought at age 26 and my loving family that I can support on one salary are just too depressing and boring, I’m so unfulfilled and angsty. It just seems so tone deaf and eye rolling in current circumstances.

If I had to guess it was the first signs of people’s dissatisfaction and disillusionment with the promise of the perfect nuclear family and American dream that was ingrained into American society throughout the 50s-70s. A feeling that there had to be more out of life after hitting all the traditional milestones of success and then a palpable frustration about not being able to find that.