In my defence, we watched the TV show. I absolutely do not recommend watching this, but I did enjoy it.

This movie made no fucking sense at all. And I say that as a general fan of the series. They're getting more and more stupid and difficult to forgive blatant lapses in realism. They came after magnets?! Oh hell no. Magnets do not work this way.

There wasn't even that many cool cars in it. Sure there's a nice Noble and a new NSX and that '68 Charger is pretty wild but I need these movies to be a cornucopia of outrageous cars and this wasn't it.

It's crazy how much beautiful footage of volcanoes these two got. I really can't oversell it; they were wonderful photographers.

Another incredibly frustrating book/series. The philosophy, sci-fi, characters, and lore in general in this book are amazing and when I started out I could absolutely see how this spans seven books.

But, after a very short amount of time, I got really tired of the constant and unnecessary erotic undertones, and the obsession with all the characters having loads of honorifics that must be written absolutely every single time a character is addressed. I think, in a way, that it was the point that all these silly titles people give themselves are meaningless and largely completely conceited, but it just made this book really annoying for me to read.

I loved the underlying story so much in spite of how much the rest of it annoyed me, though, that I persevere...

Exceptional. Leans into the animation style so hard, and the payoff is pretty huge actually. Builds on the first in every way.

Does rather feel like it ends in the middle though. Not sure I'm happy about where it ends.

I feel like this could be a 100 book saga, with the amount of ideas here, and how they're all coherently stitched together.

I wish I could live for 2,000 years.

This was supposed to be the second book of a trilogy, but ended up being the final book of a duology, and it really felt rushed and lacking in solid ideas and direction.

The premise of this book is so weird that every time something happened in it, I had to think about whether it actually made any sense to me in the context of this new world that had been created. The fantasy side of it is so fun, and it reminds me a lot of games like Astral Chain and Gravity Rush, where some secret parallel dimension keeps leaking into ours (that sort of thing is very much for me), but the side of it brimming with New York stereotypes got old for me quite quickly. This didn't need to be a trilogy, in my opinion.

Blake Crouch is basically Andy Weir, if Andy Weir didn't know how to string a sentence together and didn't have an editor. Some of the prose in this book is absolutely awful, and completely ruins what would've otherwise been a solid story.

This book ruined my life. It's one of the most upsetting, bleak, and realistic things I've ever read. The fact that it was written in 1985 just makes it more upsetting.

An Andy Weir book, but a really enjoyable one.

Andy Weir writes sci-fi for fans of action movies. The same people would like The DaVinci Code, Comic Sans, and Coldplay if someone else hadn't already told them to hate it.

It's enjoyable, but it's nothing more than a shallow page-turner in a spacesuit.

All the tone and energy of Narnia without any of the religious idolatry.

So forgettable I read it twice by accident.

Another that I still think about a lot. A beautiful study of friendships, relationships, and what it is to be human.

Enjoyable read, but so bleak it took me ages to get through it. I had around a two year break in the middle.

Wasn't bad but not really my sort of thing. It did indirectly teach me a lot about how World War One started, though, which was unexpected.

This is an absolutely wonderful trilogy of future fantasy/dystopia novels that I would strongly recommend to anyone with a passing interest in race issues, magic, imbalances of power.

This is a brilliant sci-fi opera that I'm genuinely surprised isn't more popular.

This is a brilliant sci-fi opera that I'm genuinely surprised isn't more popular.

This is a brilliant sci-fi opera that I'm genuinely surprised isn't more popular.

I absolutely loved this book, and I still think about it often. I will accept no other version of a VR future than the one in Snow Crash.

Nope this is not good. It's too long and too stupid and the fight scenes are way too long to the point that they're boring and the dialogue is terrible. The first one was legitimately decent and the rest just aren't worth it. I like the soundtrack though.

If I ever stop loving films like this, just kill me. What's the point in cinema without silly shit like this I mean really.

In my defence I knew what this was going to be and it was it. Utter dogshit but now I'm 1.5 hours older so job done?

God this is awful. I might be an idiot.

I love the nihilistic Luma, and it made me want to dig out and play every Mario game I own. But no. Just no, this isn't what cinema is for, for me.

Solid take on the heist format, but honestly very little in the way of tension. There's never any point in this movie where I wasn't 100% certain that Jason Statham was going to end a load of lives.

More American borderline-war-crime propaganda and attempts to justify the war on drugs. Let it go, folks. You lost. It's entertaining and tense and beautifully constructed but for fuck's sake let it go. I hate films like this. It's dumb action pretending to be highbrow. Let's just not. As a tense shooty circle-jerk it's great, but it has delusions of grandeur. Like when I get drunk and try to write poetry.

If there was an Oscar for arms, though, Josh Brolin surely would've taken it for this. Damn his arms look good in this film. Wish I could be bothered to cultivate forearms like this.

When I'm in the mood to watch a James Bond film, this is actually what I want to watch. But my god it is stupid in places.

Probably the worst film I will ever watch multiple times.

I just don't get films like this. I know why I watched it, but why would you watch this? It's a five minute story dragged out to 1.5 hours, with fancy costumes and fake Olde Englifh accents. I just don't think, as a story, it offers anything worth considering. Maybe I need to read the book. In which case, it's a very long trailer for a book.

Like if Wes Anderson made Fear and Loathing, in India. Such a lovely, meandering mess. Felt a lot longer than one hour thirty, which would usually be an insult, but here it's more of a comment on just how much you can achieve in such a short period of time if you don't preoccupy yourself with things like structure and story. Made me feel like maybe I do get jazz.

It's John Wick with Bob Odenkirk. That's it. That's the pitch. Better than John Wick 3 though.

I honestly think this is just stupid and not good, but it's obscure enough that people are going to be like "ohhh yes it's brilliant such an incredible commentary don't you just love all the metaphors let's talk about them you go first". It's that kind of movie. Either I'm smart and it's stupid, or it's smart and I'm stupid. Either way I didn't enjoy it. Especially the last 25 minutes.

I read a review that said "a small sphere of intellectuals will feel that Kubrick has said something, simply because one expected him to say something". That's a far more concise way of putting it.

Shame as I really thought I'd love it.

Did not see myself liking this but it's a super meta, and self-referential action movie and not in a cheesy, annoying way. I mean it is cheesy but it's not annoying about it.

And weirdly surprisingly strong commentary on adult male friendships, being vulnerable with, and opening up to other men. Didn't expect that. Doesn't even play out in a stupid, homophobic way like literally every other movie that ever approaches the subject. For that, alone, I'd recommend it.

Very stylish, very stupid. My favourite thing about films like this is imagining the actors prancing around in front of a green screen saying stupid-but-very-serious lines and wondering how the hell their career ended up here.

I wasn't into Wes Anderson films until recently, and I'm not sure why.

On watching them recently, many for the first time, I realise that he's one of very few directors who uses every available feature of cinema to tell his story. They're so excessively detailed and beautifully-photographed (almost to the point that they remove you from immersion to marvel ar what you're seeing), but in terms of story they're fairly simple. I think it's a wonderful skill, to tell a simple story in a complex and baroque way without seeming contrived and unnecessary.

Ridiculously beautiful. Unbelievable attention to detail the the characters and set designs. Want to watch it again right now.

Visually it's aged surprisingly well. The rest of it is just kinda...fine? I guess.

Absolutely terrible.

I didn't like this at all.

I feel like I've been kicked in the chest.

Stupid. Funny as shit. Aubrey Plaza.

This is why you shouldn't watch trailers. Was super excited after the trailer but this was a mess. It's a combination of so many different films, nothing interesting happens but it seems like there's really interesting stuff going on all around the story. I don't know who I'd recommend this to.

Perfect.

I watched this film because it's one of those films people watch, but I have absolutely no idea why. I got to the last 20 minutes when things actually start happening and I think the film is trying to be a commentary on the cycle of abuse and manipulation that women suffer in Hollywood (but that's really more than meeting it half way). But it's done in such an opaque and obstructive way, and with characters that are so shallow and unlikeable that I just didn't give a single shit about what ever was going on or being said.

It feels like David Lynch would like to be an enigmatic and subtextual storyteller but I see no evidence of any relevant ability here. Telling an esoteric story in an unclear and obtuse way does not make you Christopher Nolan.

Billy Ray does get punched out, though. That bit was cool. I love Billy Ray but he does have a punchable face.