The Movie (and TV show) Watching Thread

[Oleg 🇰🇿🤝🇺🇦]

It's hard for me to judge how a woman sees this movie, but I think it's aimed at women as well.

Well, my self-deception about "as well" was wrong. Here is what a female critic writes:

What the film really lacks are elements of horror: the director made a name for himself in this genre after the release of Reincarnation. Unlike the main character, the viewer in Beau is afraid has nothing to fear.

https://journal.tinkoff.ru/beau-is-afraid/

The sample of one person is too small to draw conclusions, however, the difference in response is very significant. The movie seemed to me more terrible than any slasher, where a maniac boringly and unprincipled crushes dummies like a child crushes ants, because it's the horror of fate, the deepest horror that is directly related to me, the viewer. And here the female critic clearly expresses that such a fate does not concern her at all and she does not allow the slightest thought of resemblance, and also in the fate of the mother of the character, she sees absolutely nothing frightening.

[Benjamin Frank]

The Pursuit of D.B Cooper, 1981

A point and a brief film review:
'D.B Cooper' actually referred to himself as 'Dan Cooper.'

I had no idea about the film to start. I thought it was an account of 'D.B' Cooper but it's a pretty much entirely fictional story whose title is literal - it's an action/adventure chase comedy.

The film stars Treat Williams as 'Cooper' who plays him as a likeable easy going type who is a practical thinker but not a deep thinker (i.e all tactics and no strategy) Robert Duvall as the insurance adjuster chasing 'Cooper.' Duvall was 'Cooper's' drill sargeant in the military and Kathryn Harrold (not Jan Smithers) as 'Cooper's' wife.

The film starts off entertaining enough, but I'm not a fan of chase movies and I found it repetitious after awhile, though some of the chase scenes are certainly very creative and spectacular visually.

When the film was made in 1981 and when the real 'Dan Cooper' hijacked a plane for $200,000 in 1971, the United States was only about two generations removed from being a majority rural population country. So, this film can be seen as something of an homage to practical people who weren't deep thinkers (aka 'down to earth' types.) While I didn't really like the film, it did make me desire to live in a rural setting and commune with nature.

In one scene, people are heard on a television news program discussing Cooper and I expected one of them to say "we like Cooper because we've heard he must be a Vietnam Veteran to have jumped out of the plane like that, and we want to make it up to the Vietnam Veterans by supporting Cooper."

It seems there was an entirely different movie filmed with the same actors by a different director in which Treat Williams plays Cooper as a dour Vietnam Veteran who is further embittered by his being regarded as an outlaw hero by Americans in contrast to his negative treatment as a Vietnam Veteran. This version was entirely shelved.

The weakest part of the movie is another veteran who served with Cooper and the drill sargeant who is a third wheel chasing after Cooper as well. He's played as kind of an incompetent dimwit for comedy relief but wasn't really needed as the entire film is comedic.

I haven't seen enough chase movies to know if the 'third wheel' is a trope. The other chase movie I've seen which I liked slightly more is Grand Theft Parsons, a somewhat more truthful story where in Gram Parsons' stepfather is chasing after Parsons' roadie, Phil Kaufman, who had promised Parsons he would burn his body in Joshua Tree.

In that film Christina Applegate played Parsons' estranged wife as the obnoxious third wheel. However, Gram Theft Parsons also featured Robert Forster as Gram Parsons' stepfather who plays the role with grieving dignity.

To end this off with Charles Manson and a conspiracy. Phil Kaufman, who really was Gram Parsons' roadie and really did burn his body in Joshua Tree, had an earlier brush with infamy as he served time being convicted of marijuana possession and met Charles Manson in jail while Manson was serving from 1960-1967. It was Phil Kaufman who gave Manson his first music connection as he told Manson that he would contact a music producer for him to try to help Manson get a contract, which Kaufman also later really did.

The conspiracy is that Vincent Bugliosi's 'Helter Skelter' never mentions this. Certainly his book has been shown to have completely understated the degree of Manson's connections to music people (and actors to some degree as well) in Los Angeles from 1968 to 1969, and I suppose that does play up the notion that Manson, while certainly guilty of conspiracy to commit murder was a patsy for somebody higher up.

[Oleg 🇰🇿🤝🇺🇦]

Who do you think Jeeves is, that shell-shocked veteran from Beau is afraid, who killed his own squad? On the surface, it's a comedic character, like the hapless assassins in Le Grand Blond avec une chaussure noire, but personally I think Jeeves represents time, like King's langoliers. Other people say that Jeeves represents Beau's PTSD. And what do you think?

[Amenhotep Bakari-Sellers]

Flash reminds me of what happened if I changed history, alternate timeline we will never be able to do it unless we develop a Flying saucer not Rocket anyways that's why we can't get to Mars, but we can go to the 🌙

It was a good movie but just like Fast X any movie with Jason Momoa is good

[Oleg 🇰🇿🤝🇺🇦]

The day before yesterday I watched the Shoot 'Em Up movie just because I heard from one streamer that Clive Owen kills bad guys by carrots. Well, a good parody action of the 2000s. It's funny that the bad guys are the groups that are usually the good guys in American action movies. But I didn't understand the plot. It seems that parodic decisions have broken whole its meaning.

[Progressive Pessimist]

This one will be shorter than usual, I promise:

I saw 'Eastern Promises' recently. It's one of David Cronenberg's more accessible films but still features his penchant of visceral gore and violence-but not quite as much as I would have expected, and that plus Cronenberg's overall directorial style and the apparent authenticity of how this film portrays the Russian mafia. Otherwise it's a fairly straightforward, maybe even predictable crime thriller, but still managed to keep me engaged because it so efficiently builds intrigue and suspense. Cronenberg's style truly elevates the movie.

It's comparable to 'The Departed' and as much as I love that movie, Leonardo DiCaprio's whiny  portrayal of his character always bothered me, here I think every actor does an exceptional job especially Viggo Mortensen and the guy who plays the Russian mafia boss. The latter really hooked me in as he starts as an incredibly charming and warm figure who you wouldn't expect to be so evil, but that true nature reveals itself quickly. He is despicable and one of my only other gripes with the movie is that I wanted to see him get his comeuppance when the time came-he does, but it's done very subtlety. That's actually a good thing though because for every subtle moment, which I kind of appreciate in a movie like this, it still delivers on action and violence that may make you wince, culminating in Mortensen fighting off assassins in a bathhouse completely nude. The movie might be worth it for that scene alone, honestly. Not because I want to see Viggo Mortensen's nether region, but more because I've never seen a fight scene like that and it's horrifying to see someone in such a vulnerable state have to defend themselves completely unarmed. It's on Max if you want to check it out, I certainly recommend it.

[Benjamin Frank]

Sole Survivor (1984) A forerunner for the Final Destination film series (which I haven't seen) - if Final Destination didn't steal the concept directly from this film. It's only around 1 1/2 hours, but I'm sure most of you kids these days would find the film too slow paced (you kids these days!)  

The first half is an atmospheric horror film (atmospheric being a euphemism for 'slow paced') but the last act loses the plot with illogic.

I give it a 4 out of 10 and ultimately can't recommend. However, for people who like slower paced horror films with some interesting ideas and some decent characters, the first half is worth a watch.

[Oleg 🇰🇿🤝🇺🇦]

This one will be shorter than usual, I promise:

I saw 'Eastern Promises' recently. It's one of David Cronenberg's more accessible films but still features his penchant of visceral gore and violence-but not quite as much as I would have expected, and that plus Cronenberg's overall directorial style and the apparent authenticity of how this film portrays the Russian mafia. Otherwise it's a fairly straightforward, maybe even predictable crime thriller, but still managed to keep me engaged because it so efficiently builds intrigue and suspense. Cronenberg's style truly elevates the movie.

It's comparable to 'The Departed' and as much as I love that movie, Leonardo DiCaprio's whiny  portrayal of his character always bothered me, here I think every actor does an exceptional job especially Viggo Mortensen and the guy who plays the Russian mafia boss. The latter really hooked me in as he starts as an incredibly charming and warm figure who you wouldn't expect to be so evil, but that true nature reveals itself quickly. He is despicable and one of my only other gripes with the movie is that I wanted to see him get his comeuppance when the time came-he does, but it's done very subtlety. That's actually a good thing though because for every subtle moment, which I kind of appreciate in a movie like this, it still delivers on action and violence that may make you wince, culminating in Mortensen fighting off assassins in a bathhouse completely nude. The movie might be worth it for that scene alone, honestly. Not because I want to see Viggo Mortensen's nether region, but more because I've never seen a fight scene like that and it's horrifying to see someone in such a vulnerable state have to defend themselves completely unarmed. It's on Max if you want to check it out, I certainly recommend it.

I saw this movie in the late 2000s. On DVD. In the Russian box office, the translators for some reason changed the title to Vice for Export.

I was then surprised that the Russian mobsters are shown here with dignity, and the Chechens are bad guys. That is, they are equally mobsters. The movie was set in England and I decided then that the English people are well versed in Russian immigrants (Guy Ritchie is good at portraying them too), unlike the Americans.

I was impressed by the scene of the fight in the bathhouse, too. I then thought that here is humor about adat, which Chechens strictly observe: in the terrible heat of the bath, they cannot take off their clothes and ease their moves, because adat obliges them to be fully dressed in public, and even a short sleeve is not allowed.

The vibe of the movie reminded me of one three-volume cycle of a detailed thriller about the life of a Russian kingpin, which I read at the very beginning of the 2000s. I don't know what Steven Knight based the script on, but he seems to be familiar with this sort of thing. It's the most believable foreign movie about the Russian mafia that I have ever seen. Though real Thieves may still find it funny.

[RFK Jr.’s Brain Worm]

My thoughts on Asteroid City:

…

Nowhere is this more apparent than in the story layering of Asteroid City. Framing this film as a stage play (and then constantly interrupting its momentum with digressions to a secondary plot) adds nothing to the narrative. With The Grand Budapest Hotel, Anderson used his story-within-a-story technique brilliantly-- the layered structure made the film's tale feel like it came from a time that had long since passed, and most importantly, the story itself was allowed to unfold without interruption. But now that he's begun employing that approach in every film-- regardless of whether it's appropriate-- I've begun to wonder if Budapest was simply a massive fluke, the rare instance in which Anderson's default style actually elevated the story rather than detracting from it.

Despite what I've said here, I enjoyed Asteroid City. Multiple scenes made me laugh out loud…

Snipped a few things out, but this was my issue with it. To use a metaphor from Inception, Wes Anderson went a layer too deep with Asteroid City and ended up in limbo. I honestly couldn’t really follow the black and white parts, but I was laughing a lot at the “real story” or whatever you want to call the part in color. I don’t regret seeing it and I imagine I’ll watch it again when it comes out streaming, but I wouldn’t say that it was his best work.

[Benjamin Frank]

Absolute Beginners

1986 film directed by Julien Temple starring Patsy Kensit, Eddie O'Connell and David Bowie. Based on Colin MacInnes' novel, it's a mostly theatrical musical with a great deal of energy, colour and visual creativity about a teenage couple in 1958 London selling out (seperately) to promote the new to London consumer culture set against the backdrop of the Notting Hill race riots.

As is explained in the beginning of the film, it took a while for London to emerge post World War II, and 1958, according to the film (I'm sure if not correct it wouldn't have been much earlier) was the first year London didn't experience shortages.  

Fans of musicals, visual creativity and jazz music will probably regard this as an overlooked gem, but I personally can never get used to musicals where rioting rivals dance to show they're fighting each other.

[Frodo]

Are any of you -particularly those who belong to the LGBTQ+ community- finding yourselves watching (or rewatching) the original 'X-Men' film from 2000?  I remember watching it when it first came out in movie theaters nationwide.  I highly recommend it.  If there is anyone in this movie series you find yourselves identifying with, I have to imagine it would be these mutants.  

[Oleg 🇰🇿🤝🇺🇦]

Damn, sexual orientation is not as obvious as huge adamantium claws or blue skin. It's hard to know that a person is from the LGBTQ+ until they say it themselves.

[President of the great nation of 🏳️‍⚧️]

Are any of you -particularly those who belong to the LGBTQ+ community- finding yourselves watching (or rewatching) the original 'X-Men' film from 2000?  I remember watching it when it first came out in movie theaters nationwide.  I highly recommend it.  If there is anyone in this movie series you find yourselves identifying with, I have to imagine it would be these mutants.  

I did watch it a while back, and I thought it was pretty good. I remember thinking that Magneto and Professor X's philosophies on the Straights non-mutants were similar to the two wolves inside me regarding the Cis.

[Frodo]

Damn, sexual orientation is not as obvious as huge adamantium claws or blue skin. It's hard to know that a person is from the LGBTQ+ until they say it themselves.

If you watch the film, you will find they look like everyone else at first.  That is what makes them mutants.  

[RFK Jr.’s Brain Worm]

I finally saw The Prestige last night. A very good movie and I’d recommend it without saying anything further.

[Oleg 🇰🇿🤝🇺🇦]

If you watch the film, you will find they look like everyone else at first.  That is what makes them mutants. 

I saw it, but that was twenty years ago, and as a normal comic book movie, it didn't make such an impression on me that I would remember it well. Nevertheless, I remember my general impressions and understand why you made this assumption. Still, this comparison is superficial. It will be appropriate in Chechnya, where homosexuals are hunted down as if they were Jews in the Third Reich, or in a Russian prison, although only passive homosexuals are humiliated there, that is, it's more about the difference in the desire to dominate or obey than about sexual orientation itself. In ordinary human society, there is no such gap between LGBTQ+ and straight people and never has been, if only in the minds of some individuals.

[Oleg 🇰🇿🤝🇺🇦]

It has its flaws, but I am ride-or-dyin' with MGM's FROM.  At least it's an original frickin' idea.

I'm in the middle of the fifth episode of the first season. The idea is really quite original, it could be used instead of the banal zombies in Train to Busan or The Walking Dead. It's also original that the cliffhanger is the secret of lore. The secret of lore is so damn lacking in RPGs, especially TRPGs with their huge encyclopedias. But in fact, this mystery is the only thing that motivates me to watch the season in full, because unlike the action-packed drama The Walking Dead, here is a rather boring family melodrama, just in a great wrapper. It also annoys me that the characters get electricity and food just because. The vibe of the series is about survival, and it could have been a vivid storyline like Francis Carsac's Les Robinsons du Cosmos, where the characters could quickly show who is who. Instead, the authors chose to focus entirely on melodrama. Well, the main intrigue still keeps my interest.

[Frodo]

If you watch the film, you will find they look like everyone else at first.  That is what makes them mutants. 

I saw it, but that was twenty years ago, and as a normal comic book movie, it didn't make such an impression on me that I would remember it well. Nevertheless, I remember my general impressions and understand why you made this assumption. Still, this comparison is superficial. It will be appropriate in Chechnya, where homosexuals are hunted down as if they were Jews in the Third Reich, or in a Russian prison, although only passive homosexuals are humiliated there, that is, it's more about the difference in the desire to dominate or obey than about sexual orientation itself. In ordinary human society, there is no such gap between LGBTQ+ and straight people and never has been, if only in the minds of some individuals.

I wonder if they themselves would agree with you. 

[Benjamin Frank]

Three days, three movies.

Tommy (1975) This one has some spoilers.
Directed by Ken Russell, starring Oliver Reed, Ann-Margaret and Roger Daltrey as Tommy.

After seeing Absolute Beginners, I decided to follow up with another British musical. There are many other big names in the movie, but with a couple minor exceptions, they all are in one scene.

This is a very energetic musical that is often exhilarating and often disturbing. Tommy is a film adaptation of The Who's concept album/rock opera. Lyricist Pete Townshend said the purpose of the album was to criticize what he thought is the hypocracy of organized religion, the film is at least slightly different from the album which might be the reason for some confusion.
Spoilers ahead:

Many people including Pulitzer winning film critic Roger Ebert said that Tommy was born deaf, dumb and blind and became a religious/cult leader as a result of becoming the pinball champion. Tommy became psychosomatically deaf, dumb and blind as a result of witnessing a traumatic event and he and his family became very wealthy on account of him being the new pinball wizard, but did not become a cult/religious leader until after being resurrected with his lost senses and ability to speak.

The religious symoblism including being born on the day the world was born anew (VE Day) are obvious enough and Tommy decides to share the power of possibilities (or something like that) to the world based on his personal experience. However, annoyed by Tommy's family's crass commercialization (presumably what Townshend believes organzied religion does with Christ) and the inability to make any practical meaning of Tommy's resurrection for their own lives, the faithful en masse violently turn on Tommy and his family.

In addition to the criticism of religion, I think there was a clear comment on the worship of fans for celebrity (fan, after all, being short for fanatic.) Not only is Tommy presumably able to get his message out due to already being famous as the Pinball Wizard, but, in an earlier scene, Eric Clapton plays a religious/cult faith healer/preacher whose flock worships Marilyn Monroe, and how quickly those fans can turn on the celebrity.

The most exhilarating scenes to me are the scene with Jack Nicholson as The Specialist doctor. Nicholson's singing isn't great but he carries a tune effortlessly (which is apparently more than Oliver Reed could do!) and the song "Go to the Mirror!" is in my opinion the best in the movie (helped out by sounding a fair bit like "Green Tambourine.") However, the seemingly universally agreed best scene is "Pinball Wizard" sung by Elton John during the pinball contest.

"Acid Queen" sung by Tina Turner is both exhilarating and disturbing. Disturbing visually is the 'beans' scene with Ann-Margaret and suggestively disturbing are the scenes where Tommy is badly mistreated by relatives who baby sit him.

Overall, fascinating but far from always enjoyable.

[Benjamin Frank]

All the Marbles (1981 film) starring Peter Falk (Columbo), Vicki Frederick and Laurene London. Renamed California Dolls on video about a female wrestling tag team with Peter Falk as their cut rate manager. I found the film to be a difficult mix of light comedy (meant to be amusing but not laugh out loud funny) and difficult realism.

The film, set during a recession period, is a 'blue collar' type film about the three trying to make it to the top of the female wrestling tag team world while having to make often sad and degrading compromises on their side while often being exploited by promoters on the other side. Peter Falk's character, seemingly incompetent and barely with it (Falk is essentially playing his Columbo character) is later shown to be a very capable person who has been beaten by life but still trying, while the younger women aren't quite as jaded.

I guess to the director and film writer, those things are just sports cliches that can be played with, but to me, mixing that sadness with a light comedy was completely offputting.

[Benjamin Frank]

The Stunt Man (1980) starring Peter O'Toole, Steve Railsback and Barbara Hershey.

Odd movie about a malevolent if not outright sadistic director (O'Toole) who hires a fugitive (Railsback) as a stunt man on his film. Barbara Hershey plays an actress in the film O'Toole is directing who becomes Railsback's girlfriend.

The acting is excellent. O'Toole plays the unpredictable and cruel director with glee, while Railsback often acts as Steve Railsback playing Charles Manson (Railsback played Manson in the T.V mini series Helter Skelter.) Railsback is mesmerizing with his demonic eyes, quivering voice and ability to immediately go from quiet to violent rage. Barbara Hershey is a weak link as the film's female love interest who immediately falls for Railsback despite being far more successful. Hershey's acting as the somewhat naive and idealistic but also adventuresome actress is fine, but women falling for men for little reason is one of the problems of many older films.

The film O'Toole is making is a World War I epic that was initially meant as some kind of anti Vietnam war comment but feels lost as its being made several years after the war ended. Similarly the actual movie, The Stunt Man, was initially meant to be an anti Vietnam War movie but couldn't get made until several years after the war ended. So, instead, it was played in the actual movie as a comment on how Hollywood thought that anti Vietnam War movies were dated.

O'Toole is no longer sure what the meaning of his movie is but feels the stunt man's fugitive situation and the uncertaintly surrounding that provides his film with a needed spark. The film is partly a comment on the film making process and, not to take it too seriously, its 'je ne sais quoi' nature. O'Toole's writer believes that a scene he wrote is the best work he's ever done, but seeing it on film, everyone on the set agrees the scene is a dud. While a battle scene set in a brothel, presumably a throwaway scene just to add in nudity, is agreed by everyone on the set as the emotional core of the movie and the best work director O'Toole has ever done.

I'm still not quite sure what to make of this film

The (black) actor, director, writer and comedian Robert Townend in his film Hollywood Shuffle had the line "you lack that 'je ne sais quoi', know what I mean?"

Columbo watch: Philip Bruns, played Ace in The Stunt Man, O'Toole's top assistant. Bruns played corporate controller turned gym/physical fitness club franchise owner in the Columbo Episode An Exercise in Fatality which starred the wonderfully oily Robert Conrad as the controlling owner of the physical fitness club business (and its related suppliers - unbeknowst to the franchise owners. For any lawyers here: is that legal?)

[John Dule]

Recently saw an indie movie called Fancy Dance about missing and murdered indigenous women. Lily Gladstone, the star, is also starring in Scorsese's Killers of the Flower Moon later this year.

The movie walks a dangerous tightrope in its characterization that some viewers may find off-putting. All too often, movies about marginalized groups go out of their way to romanticize the lifestyle they portray, resulting in shallow depictions of complicated issues. 2020's Nomadland, for example, presents an idealized vision of American poverty that glosses over the harsh reality of its characters' lives, sanitizing its subjects for commercial consumption. Movies like Nomadland have one goal in mind: assuage the guilt of effete liberal audiences by telling them that poor and disadvantaged groups actually have it better than they do, because the simplicity of their lives makes them pure and authentic. This conveniently removes any urgency in remedying the deeper social issues that these groups actually face.

Contrast this with Fancy Dance, a film in which our main characters commit numerous crimes of desperation, harm others, act irrationally and even callously, and steal from vulnerable people and family members. I can certainly imagine some audience members finding this portrayal of life on Native reservations off-putting, but after movies like Nomadland, Moonlight, and Beatriz at Dinner, I was craving this grit and realism. The film's willingness to indulge in moral grey areas might make its main characters less "sympathetic" under conventional Hollywood wisdom, but it also makes their struggles more real and the problems they face more urgent. Lily Gladstone's character in this film is not idealized in the slightest. She is deeply flawed, and viewers ultimately connect with her in a way they never could with the flawless blank-slate archetypes that populate the films listed above. That alone gives Fancy Dance a ton of credit in my book.

[LAKISYLVANIA]

Haven't done updates for may & june so here we go

May

1. Sunset Blvd. (1950) - 9/10
2. Aftersun (2022) - 9/10
3. Rope (1948) - 8/10
4. The Bridge on the River Kwai (1957) - 8/10
5. The Farewell (2019) - 8/10
6. The Treasure of the Sierra Madre (1948) - 8/10
7. North by Northwest (1959) - 8/10
8. The Founder (2016) - 7/10
9. The Breadwinner (2017) - 7/10
10. Persona (1966) - 7/10

11. Wadjda (2012) - 7/10
12. Koto no ha no niwa [The Garden of Words] (2013) - 7/10
13. The Maltese Falcon (1941) - 7/10
14. Personal Shopper (2016) - 6/10
15. Mirai no Mirai [Mirai] (2018) - 6/10
16. Lawrence of Arabia (1962) - 5/10
17. Us (2019) - 5/10
18. Citizen Kane (1941) - 3/10
19. The Void (2016) - 3/10

June

1. Sunrise: A Song of Two Humans (1927) - 9/10
2. La planète sauvage [Fantastic Planet] (1973) - 8/10
3. Corpse Bride (2005) - 8/10
4. Glass Onion: A Knives Out Mystery (2022) - 8/10
5. South Park: Bigger, Longer & Uncut (1999) - 8/10
6. Coraline (2009) - 8/10
7. Eurovision Song Contest: The Story of Fire Saga (2020) - 7/10
8. Dog Day Afternoon (1975) - 7/10
9. Shichinin no samurai [Seven Samurai] (1954) - 7/10
10. Bodies Bodies Bodies (2022) - 7/10

11. Singin' in the Rain (1952) - 7/10
12. Wild Card (2015) - 6/10
13. Cellular (2004) - 6/10
14. Annie Hall (1977) - 6/10
15. Nope (2022) - 6/10
16. The Super Mario Bros. Movie (2023) - 6/10
17. Akira (1988) - 5/10
18. Space Jam (1996) - 5/10
19. Platoon (1986) - 5/10
20. Take Your Pills: Xanax (2022) - 2/10
21. Waking Life (2001) - 2/10

SHORTS:
Bidoof's Big Stand (2022) - 7/10
The Great Train Robbery (1903) - 6/10
Summer’s Puke is Winter’s Delight (2016) - 6/10
Mermaid (2009) - 5/10

[John Dule]

16. Lawrence of Arabia (1962) - 5/10
18. Citizen Kane (1941) - 3/10

4. Glass Onion: A Knives Out Mystery (2022) - 8/10

Literally lmao'd at this, thank you.

[RINO Tom]

16. Lawrence of Arabia (1962) - 5/10
18. Citizen Kane (1941) - 3/10

4. Glass Onion: A Knives Out Mystery (2022) - 8/10

Literally lmao'd at this, thank you.

Good, God, Glass Onion?! Hahaha.

Also, OT - I recently watched Black Bird all the way through the other Sunday when my wife fell asleep.  Solid.