Perfect Days

 

Perfect Days (2023)

The Mesmerizing Beauty of a Simple Life

★★★★☆

Watched 07 Mar 2024 — A soul-soothing slice of life that finds profound humanity in the routines we often ignore.

Directed by the legendary Wim Wenders, Perfect Days follows the unremarkable yet cherished life of Hirayama, a humble toilet cleaner in Tokyo. Wenders weaves his cinematic magic through a repetitive, focused look at Hirayama's daily routines—cleaning, watering plants, and listening to classic rock. While a cynical viewer might question the significance of such tasks, the film transforms these simple pleasures into something mesmerizing. When an unexpected visit disrupts his rhythm in the second act, we are forced to drop our judgment and witness the beautiful humanity of a man society usually neglects.

"A great film to watch when one starts to feel overwhelmed by seemingly important things, which are really just insignificant if given the proper perspective."

— Ray Manukay

🎬 Cast & Crew

• Director: Wim Wenders
• Starring: Kōji Yakusho, Tokio Emoto, Arisa Nakano
• Supporting: Aoi Yamada, Sayuri Ishikawa, Tomokazu Miura
• Studio: [NEON / Master Mind](https://neonrated.com)

The Vision

Wenders' vision is a rejection of modern chaos, choosing instead to celebrate the "uncomplicated" person. By focusing on the meticulous care Hirayama puts into his work and his analog hobbies, the film highlights a focused way of living that has become rare. The directorial style is patient and observational, allowing the audience to relate to simple joys like sitting under a tree or driving to work listening to Lou Reed. It serves as a gentle reminder that life's most meaningful moments often exist within the insignificant minutiae of our daily existence.

🎬 Cinephile Fun Facts

• Best Actor Laurels: Lead actor [Kōji Yakusho](https://www.imdb.com) won the Best Actor award at the [2023 Cannes Film Festival](https://www.festival-cannes.com) for his subtle, moving performance.
• The Tokyo Toilet Project: The stunning public bathrooms featured in the film are real, high-design structures built by the [The Tokyo Toilet project](https://tokyotoilet.jp), which originally commissioned Wenders to make a short documentary.
• Analog Soul: Hirayama’s love for cassette tapes and film photography was a deliberate choice by Wenders to showcase a character who stays [connected to the tangible world](https://www.criterion.com) in a digital age.

✅ Pros

• Mesmerizing, career-best performance by Kōji Yakusho.
• Beautifully captures the "humanity" in everyday routines.
• A perfect antidote to feeling overwhelmed by modern life.

❌ Cons

• Extremely slow pacing may bore "action-oriented" viewers.
• The episodic, repetitive structure isn't for everyone.
• Minimal plot development until the second act.

🏆 Final Verdict

A cinematic masterpiece of observation. It asks us to look closer at the world around us and find the beauty in being present. It’s a film that stays with you long after the final frame.

View on Letterboxd

Priscilla

Priscilla (2023)

A Touching, Personal Escape from the Gilded Cage

★★★★☆

Watched 10 Feb 2024 — A superior, grounded exploration of a life lived in the orbit of a legend.

Directed by Sofia Coppola, Priscilla arrives as a more intimate and effective counterpoint to the flashy biopics we've seen recently. Coppola excels at capturing the subtle seduction of a young girl into the celebrity orbit of Elvis Presley, illustrating the romantic entanglement and the inevitable isolation that follows. While the film doesn't shy away from the problematic age gap and power dynamics, it treats its subjects with a steady, empathetic hand. It is a story of a naive teenager evolving into a seasoned, courageous woman who finally finds the strength to reclaim her own life.

"Her steady hand keeps the perspective on Priscilla even though the temptation is to fall under the spell of the charismatic Elvis... Time will look more favorably on the movie Priscilla."

— Ray Manukay

🎬 Cast & Crew

• Director: Sofia Coppola
• Starring: Cailee Spaeny, Jacob Elordi
• Supporting: Ari Cohen, Dagmara Dominczyk, Tim Post
• Studio: A24

The Vision

Coppola’s directorial fingerprints are all over this work, emphasizing internal reflection over external spectacle. Her vision prioritizes Priscilla’s perspective, resisting the urge to let the charismatic Elvis hijack the narrative. By focusing on the quiet moments of loneliness within Graceland, she highlights the "no-win situation" Priscilla’s parents faced and the emotional abuse that stemmed from Elvis’s growing addictions. It is a beautifully illustrated look at the "elephant in the room," presenting the relationship’s complexities with a sincerity that makes the third-act departure feel earned and heroic.

🎬 Cinephile Fun Facts

• Venice Victory: [Cailee Spaeny](https://www.imdb.com) won the Volpi Cup for Best Actress at the Venice Film Festival for her nuanced portrayal of Priscilla's growth.
• Height Difference: To emphasize Priscilla's vulnerability, Sofia Coppola frequently utilized [Jacob Elordi’s 6'5" stature](https://www.hollywoodreporter.com) to make him tower over the 5'1" Spaeny.
• Music Licensing: Unlike the 2022 biopic, this film does not feature [Elvis Presley's music](https://www.rollingstone.com) because the estate denied licensing, forcing the production to use era-appropriate covers and anachronistic indie-pop.

✅ Pros

• Touchingly personal and grounded perspective.
• Exceptional performance by Cailee Spaeny.
• Excellent directorial focus that avoids the "Elvis trap."

❌ Cons

• Slow, deliberate pacing might frustrate fans of flashy biopics.
• Lack of original Elvis music may be jarring for some.
• Exploration of the age gap remains uncomfortable and difficult.

🏆 Final Verdict

The superior Elvis-related film of recent years. It is a seasoned, experienced look at a famous relationship that finally gives the title character the understanding and sympathy she deserves.

View on Letterboxd

High and Low

 

High and Low (1963)

Akira Kurosawa at the Top of His Game

by Ray Manukay

★★★★★

Watched 24 Feb 2026

Suffice it to say, High and Low is a masterwork. Any attempt to sing its praises in written form has no doubt been done already by critics more eloquent than me. It is a film that defies articulation; it simply must be experienced. Sequence after sequence reveals new layers and challenges that Kurosawa handles masterfully.

🎬 Production Credits

Director: Akira Kurosawa

Writers: Hideo Oguni, Ryūzō Kikushima

Cinematography: Asakazu Nakai, Takao Saitō

Editor: Akira Kurosawa

Music: Masaru Sato

Based on: King's Ransom by Ed McBain

As in life, it's not an issue of doing the right thing. But the ramifications of doing the right thing. — Ray Manukay

The Dynamic Tension

The film thrives on the moral conflict of Kingo weighing the financial ruin of a ransom demand against the life of a close family friend. Kurosawa builds incredible tension in scenes where the police listen in on kidnappers, and in the meticulous police station sequences where clues are gathered. It is a showcase for a director who can keep a procedural investigation feeling immediate and breathless.

💡 Fun Facts

• The film's Japanese title, Tengoku to Jigoku, literally translates to "Heaven and Hell."
• Kurosawa famously had a house built specifically to be burned down in his pursuit of realism, though here he uses the verticality of a hillside house to literalize class divide.
• The "pink smoke" sequence was achieved through hand-coloring the film frames, a striking departure from the black-and-white cinematography.

The Performances

• Toshiro Mifune: Confirms his place among the greatest actors in history with subtle and effective emotional turmoil.
• Tatsuya Nakadai: Brilliant as the cool, methodical Inspector Tokura.
• The Ensemble: A masterclass in blocking and group dynamics, particularly in the claustrophobic first act.

✅ Pros

• Masterful direction and tension.
• Profound exploration of conscience.
• Breathtaking performances from the leads.

❌ Cons

• None. (Except waiting too long to see it).

Read the original review on Letterboxd

🏆 Final Verdict

I feel deep shame for waiting so long to see this film. Please don't make the same mistake I did. High and Low is an essential pillar of cinema that must be seen at one's earliest convenience.

Anyone But You

 

Anyone But You (2023)

A Bizarre, AI-Adjacent Jumble of Rom-Com Cliches

★★☆☆☆

Watched 09 Feb 2024 — Beautiful locales and an affable cast can't save a film that lacks the heart and chemistry to be truly touching.

Directed by Will Gluck, Anyone But You attempts to be a throwback to the golden age of 90s and early 2000s romantic comedies. However, the result feels more like a clumsy reassembly of genre stereotypes than a cohesive story. While the production design is beautiful and the cast is undeniably "easy on the eyes," the film is missing that special, undefinable element that makes the best rom-coms effective. Despite being loosely inspired by Shakespeare's Much Ado About Nothing, the tributes are limited to obscure callbacks that fail to ground the "ludicrous and forced" physical comedy.

"The movie feels like it was written by Artificial Intelligence. A bunch of classic romantic comedy cliches and genre stereotypes from other films have been jumbled up, reworked and clumsily reassembled into this film."

— Ray Manukay

🎬 Cast & Crew

• Director: Will Gluck
• Starring: Sydney Sweeney, Glen Powell
• Supporting: Alexandra Shipp, GaTa, Hadley Robinson, Dermot Mulroney
• Studio: Sony Pictures / Columbia

The Vision

Gluck’s vision seems unabashedly focused on checking the boxes of a romantic comedy rather than simply telling a good story. By forcing silly physical jokes into a narrative that lacks genuine chemistry between its leads, the film feels synthetic. The attempt to modernize the Bard’s wit is lost in a sea of "unrecognizable easter eggs," making the proceedings feel ineffective for fans of the source material. It is a movie designed for a younger generation who might not have seen the classics, relying on "beautiful locales" to mask its lack of sincerity and believable romance.

🎬 Cinephile Fun Facts

• Shakespearean Ties: The character names Bea and Ben are direct references to Beatrice and Benedick] from *Much Ado About Nothing*.
• Viral Success: Despite mixed reviews, the film became a massive [box office sleeper hit, fueled by a viral TikTok trend involving the song "Unwritten" by Natasha Bedingfield.
• Dermot’s Return: The inclusion of Dermot Mulroney is a meta-nod to his status as a rom-com icon from 1997's *My Best Friend's Wedding*.

✅ Pros

• Affable, attractive cast that is "easy on the eyes."
• Beautiful Australian locales and high production design.
• A successful return of the genre's commercial viability.

❌ Cons

• Lack of palpable chemistry between Sydney Sweeney and Glen Powell.
• Ludicrous and forced physical comedy.
• Narrative feels like an "AI-written" jumble of cliches.

🏆 Final Verdict

A disappointing attempt to recapture the magic of the 90s rom-com. Unless you're looking for purely "harmless" fluff or are a die-hard fan of the leads, this AI-adjacent assembly of tropes may leave you cold. Up to the viewer to decide.

View on Letterboxd

The Boys in the Boat

The Boys in the Boat (2023)

A Squeaky Clean Slice of 1930s Americana

by Ray Manukay

★★★☆☆

Watched 08 Feb 2024

An earnest, crowd-pleasing men-on-a-mission sports film. The Boys in the Boat has all the classic team athletics story elements: an underdog group, inspiring speeches, swelling music, and unfair obstacles. Director George Clooney unabashedly leans hard into the 1930s slice of Americana setting to a charming effect.

🎬 Production Credits

Director: George Clooney

Writer: Mark L. Smith

Cinematography: Martin Ruhe

Editor: Tanya M. Swerling

Music: Alexandre Desplat

Based on: Daniel James Brown

Reminiscent of that feeling one gets when walking down Main Street at Disneyland enjoying the 1930's period sights and sounds. — Ray Manukay

Nostalgia vs. Realism

If you turn off the cynical side of your critical eye, it's hard not to get caught up in the old-fashioned, simpler time nostalgia. The film does go a bit overboard on the throwback sentimentality and "oh shucks" charm—especially in the third act as the team faces Nazi Germany. However, the worst one can say is that it's "too" wholesome, which is a rare critique in today's landscape.

💡 Fun Facts

• The actors underwent three months of training with a rowing coach to look like a professional crew.
• The film was primarily shot at Winnersh Film Studios in Berkshire, UK, despite its Washington state setting.
• Rowing is historically one of the oldest Olympic sports, having been part of the program since 1900.

The Team

• Callum Turner: Anchors the film as the hardworking Joe Rantz.
• Joel Edgerton: Plays the over-his-head coach delivering the essential inspiring speeches.
• The Production: Costumes and design feel like they were ripped straight from Thornton Wilder's Our Town.

✅ Pros

• Charming period production design.
• Family-friendly and earnest.
• Classic, effective sports underdog arc.

❌ Cons

• Leans heavily into "oh shucks" sentimentality.
• Lacks gritty realism or nuance.

Read the original review on Letterboxd

🏆 Final Verdict

While a critic could nitpick that the film is too squeaky clean to be realistic, it’s worth remembering it’s based on a true story. It's a wholesome, nostalgic trip that succeeds if you're looking for an old-fashioned happy ending.

American Fiction

 

American Fiction (2023)

A Razor-Sharp Satire of Art and Business

★★★★½

Watched 06 Feb 2024 — Arguably the best film of 2023; a gut-busting and thought-provoking All-American family tale.

Directed by Cord Jefferson, American Fiction is a smart, effective, and razor-sharp satire of modern American art and commerce. While the film is filled with biting commentary on the entertainment industry, it remains anchored by a deeply relatable family core. Jefferson’s debut evokes the social and entertainment satire once mastered by Woody Allen, but delivered with a refreshing, unique, and timely perspective. At its heart, Jeffrey Wright and Sterling K. Brown provide outstanding turns as emotionally tortured brothers navigating the complexities of modern America.

"Short sighted audience members might laud this as an outstanding satire of the modern African American experience. But I think that's limiting. I think the title sums up perfectly that this is an all-american family tale that everyone can associate with."

— Ray Manukay

🎬 Cast & Crew

• Director: Cord Jefferson
• Starring: Jeffrey Wright, Sterling K. Brown, Erika Alexander
• Supporting: John Ortiz, Issa Rae, Leslie Uggams, Adam Brody
• Studio: [MGM / Orion Pictures](https://www.mgm.com)

The Vision

Cord Jefferson’s vision transcends specific demographics to tell a universal story about the expectations placed upon artists. By skillfully alternating between "roll in the aisles" satiric comedy and poignant family drama, he highlights the absurdity of an industry that often demands stereotypes over authenticity. His directorial style is both refreshing and confident, ensuring that the film’s "razor-sharp" wit never overshadows the genuine emotional stakes of the characters. It is a masterful balance that challenges the audience to assess how we consume art and "American Fiction" itself.

🎬 Cinephile Fun Facts

• Literary Roots: The film is based on the [2001 novel "Erasure" by Percival Everett](https://en.wikipedia.org), which Jefferson adapted for his directorial debut.
• Award-Winning Script: Cord Jefferson won the Academy Award for [Best Adapted Screenplay](https://www.oscars.org) for this film, marking a massive victory for first-time feature directors.
• The "Woody Allen" Influence: Critics have frequently compared the film's intellectual wit and urban neurosis to early [Woody Allen](https://www.imdb.com) comedies like *Annie Hall* or *Manhattan*.

✅ Pros

• Outstanding, career-best performances by Jeffrey Wright and Sterling K. Brown.
• Razor-sharp satire that is both funny and thought-provoking.
• Universal themes that transcend the "African American experience" label.

❌ Cons

• Satiric tone may feel too "inside baseball" for some regarding the book industry.
• The ending's meta-narrative shifts can be polarizing.
• Some supporting characters feel slightly under-explored.

🏆 Final Verdict

A masterpiece of modern satire that manages to be gut-bustingly funny while delivering a punch to the gut. It is an essential, All-American family tale that demands to be seen and discussed by everyone.

View on Letterboxd

The Red Shoes

The Red Shoes (1948)

A Technicolor Dreamworld Come to Life

by Ray Manukay

★★★½☆

Watched 26 Jan 2024

Breathtaking and glorious Technicolor provides a feast for the viewer's eyes in The Red Shoes, directed by the legendary duo Pressburger and Powell. Famously renowned as one of Martin Scorsese's favorite movies, it's not hard to see why—it acts as the polar opposite to his own gritty, working-class style.

🎬 Production Credits

Directors: Michael Powell, Emeric Pressburger

Writer: Emeric Pressburger

Cinematography: Jack Cardiff

Editor: Reginald Beck

Music: Brian Easdale

Based on: Hans Christian Andersen

The film feels like a kaleidoscope and a rainbow had a baby in the land of Oz and it was transported into the tapestry of The Red Shoes. — Ray Manukay

Visual Sumptuousness vs. Melodrama

The film is a dreamworld of magical ballet sequences, enchanting music, and vivid, dreamlike lighting. However, the story dips into shameless melodrama with operatic performances in a tragic third act that might elicit some unintentional laughter or unsympathetic eye rolls. The rushed execution of the ending gives it a "cult classic" vibe rather than grounded realism.

💡 Fun Facts

• The film's 17-minute ballet centerpiece took six weeks to film and features over 50 dancers.
• Cinematographer Jack Cardiff won an Oscar for his revolutionary use of Technicolor in this production.
• Martin Scorsese helped fund the 2009 restoration of the film to preserve its vivid color palette.

The Performers

• Moira Shearer: A professional ballerina whose casting ensured the dance sequences were authentic and technically flawless.
• Anton Walbrook: Delivers a sharp, demanding performance as the obsessive impresario Boris Lermontov.
• The Ensemble: Features zany, clown-like side characters with brightly colored costumes that pop against the meticulously detailed sets.

✅ Pros

• Arguably the most beautiful film ever made.
• Breathtaking ballet sequences.
• Unrivaled use of Technicolor.

❌ Cons

• Third act dips into operatic melodrama.
• Rushed, unearned tragic ending.

Read the original review on Letterboxd

🏆 Final Verdict

It is not hyperbole to say it is legitimately one of the most visually sumptuous films in history. While the narrative nuance of the Actors Studio is absent, the delight to the audience's senses is absolute.

Aquaman and the Lost Kingdom

 

Aquaman and the Lost Kingdom (2023)

★★★ 

Official Synopsis

Black Manta returns with the Black Trident, forcing Arthur Curry to forge an uneasy alliance with his brother, Orm, to protect Atlantis and the world from destruction.

Perhaps unintentionally reminiscent of a pre-CGI children's cartoon. Complete with giant bugs and bright colored sea creatures, including an affable octopus sidekick named Topo. Aquaman and the Lost Kingdom doesn't pretend to be taken even remotely serious.

If the audience thinks of this content as a tribute to 80's Saturday morning cartoons, the movie becomes much more tolerable. - Ray Manukay

Production Info

Director: James Wan

Arthur Curry: Jason Momoa

Orm: Patrick Wilson

Studio: DC / Warner Bros.

If the viewer is looking for the dark atmosphere and adult themes of the Zack Snyder DCEU, they will find nothing except massive disappointment. I hesitate to use adjectives like good or bad to describe the film; it's not fair to the film or the viewer.

The film is handsome and fun to look at. Director James Wan knows how to tell a fun, if uncomplicated story. He deserves credit for making chicken salad out of this thin material.

THE PROS

• Zany visual design
• Momoa/Wilson Chemistry

THE CONS

• Zero narrative tension
• Jarring tonal shift

Seen Them Before?

Jason Momoa: Game of Thrones, Dune, Fast X
Patrick Wilson: Watchmen, Insidious, The Conjuring
Nicole Kidman: Moulin Rouge!, The Others

READ FULL REVIEW ON LETTERBOXD

THE VERDICT

This is escapist background entertainment. Best watched while doing chores or letting the kids play. To experience it any other way would be insulting to one's intelligence.

Poor Things

Poor Things (2023)

A Wild and Unfiltered Feminine Perspective

by Ray Manukay

★★★☆☆

Watched 18 Jan 2024

A unique tribute to the Frankenstein tale, told from a wild and unfiltered feminine perspective. Striking and colorful storybook visuals enhance the enjoyment and accentuate the first-time experiences of the lead character Bella, played with joyous abandonment by Emma Stone.

🎬 Production & Cast

Director: Yorgos Lanthimos

Writer: Tony McNamara

Bella Baxter: Emma Stone

Godwin Baxter: Willem Dafoe

Duncan Wedderburn: Mark Ruffalo

Max McCandles: Ramy Youssef

Striking and colorful storybook visuals enhance the enjoyment and accentuate the first-time experiences of the lead character. — Ray Manukay

Willem Dafoe, Mark Ruffalo, and Ramy Youssef portray different characters that influence and shape her growing views of life. There is some humor in the early "fish out of water" aspect of the story, but it eventually gives way to the annoying and predictable naivety of Bella as she encounters the cruelties and challenges of real life. This is followed by the inevitable world-weariness and, finally, seasoned intelligence of life experience.

✅ Pros

• Emma Stone's fearless, joyous lead performance.
• Breathtaking and colorful production design.
• Exceptional work from the supporting cast.

❌ Cons

• Naivety of the character can feel repetitive.
• Lengthy runtime may feel predictable by the end.

The film is a surprisingly straightforward story from Yorgos Lanthimos, who is known for telling off-beat, non-traditional tales. The unconventional elements here are largely limited to the liberal, explicit sexuality and nudity throughout the film.

Thematic Divide

The enjoyment of the film will likely depend on the audience member's political view. Some may find the feminist themes annoying or preachy, while others might find it refreshing and inspiring. What is undebatable is that all the performers and artists are operating at the top of their game, making the film worthy of awards season consideration.

READ ORIGINAL REVIEW ON LETTERBOXD

🏆 Final Verdict

Visually arresting and fearlessly performed, Poor Things is a masterclass in production design, even if its narrative trajectory feels a bit predictable by the third act.

Busting

 

Busting (1974)

A Gritty, Authentic 70s Time Capsule

★★★½☆

Watched 12 Jan 2025 — A visceral, edgy crime gem that captures the authentic energy of mid-70s Los Angeles.

Directed by Peter Hyams, Busting is a standout representative of the character-driven crime films of the 1970s. Elliott Gould and Robert Blake deliver affable, grounded performances as grunt vice cops whose routine work on mediocre crimes leads them into a much larger case. The film boasts a grit and urgency that remains relevant today, utilizing on-location sets and a "lived-in" aesthetic where the performers actually look like real people rather than polished movie stars. It is a cinematic event that avoids the pitfalls of network television tropes through creative technical execution.

"When audiences remark that they don't make movies like that anymore, they are referring to films like Busting... It has that visceral, edgy energy of hungry artists trying to make their mark."

— Ray Manukay

🎬 Cast & Crew

• Director: Peter Hyams
• Starring: Elliott Gould, Robert Blake
• Supporting: Cornelia Sharpe, Antonio Fargas
• Cinematography: Earl Rath

The Vision

This is a pre-Baretta Robert Blake and pre-Capricorn One Peter Hyams, and that "hungry artist" energy permeates every frame. Hyams utilizes interesting tracking shots and unique camera angles to elevate the slice-of-life story into something genuinely cinematic. The vision focuses on authenticity; save for Cornelia Sharpe's high-class call girl, the cast feels authentic to the streets of LA. While the stakes might not reach the operatic heights of The French Connection, Hyams succeeds in making a "smaller" film feel vital and urgent.

🎬 Cinephile Fun Facts

• Directorial Debut: *Busting* was the feature film directorial debut for Peter Hyams, who would go on to direct *2010: The Year We Make Contact* and *Timecop*.
• The "Lethal Weapon" Blueprints: Many critics cite this film as a primary influence on the ["buddy cop" genre](https://en.wikipedia.org), specifically for its mix of banter and gritty realism.
• On-Location LA: The film features extensive footage of the now-demolished [Main Street in Downtown Los Angeles](https://www.movie-locations.com), serving as a valuable historical record of the city's 1970s landscape.

✅ Pros

• Authentic, gritty production value and on-location filming.
• Excellent chemistry between Elliott Gould and Robert Blake.
• Unique cinematography and tracking shots by Peter Hyams.

❌ Cons

• The ending feels somewhat rushed and anti-climactic.
• Lower stakes compared to blockbusters like *Serpico*.
• Occasional pacing issues inherent to "slice-of-life" narratives.

🏆 Final Verdict

A forgotten gem of 70s crime cinema that deserves way more recognition. It's the kind of film that inspires a deep binge of the era's gritty police procedurals. Authenticity at its finest.

View on Letterboxd

A Disturbance in the Force: How the Star Wars Holiday Special Happened

A Disturbance in the Force (2023)

How the Star Wars Holiday Special Happened

by Ray Manukay

★★★☆☆

Watched 21 Dec 2023

An entertaining documentary exploring one of the most infamous TV specials in network television history. A Disturbance in the Force shares how the Star Wars Holiday Special became the famous disaster of epic proportions we know today.

🎬 Production Credits

Directors: Jeremy Coon, Steve Kozak

Writers: Jeremy Coon, Steve Kozak

Cinematography: Tim Irwin, Quinn Hester

Editor: Jeremy Coon

Music: Karl Preusser

Based on: The Star Wars Holiday Special

The documentary sympathetically shows how rushed timelines, inappropriate creative talent and the television landscape of the time all contributed to the doomed from the start project. — Ray Manukay

The Autopsy of a Disaster

What is interesting is how the film illustrates all the obvious faults with the concepts, ideas, and storylines of the special. It serves as a fascinating look at the insanity of 1970s variety television—a world where George Lucas was persuaded to turn his sci-fi phenomenon over to a format dominated by song and dance numbers.

💡 Fun Facts

• This documentary features the final film appearances of legendary comedian Gilbert Gottfried and author Jonathan Rinzler.
• In 1978, CBS pre-empted Wonder Woman and The Incredible Hulk to air the two-hour special to 13 million people.
• The special marks the first on-screen appearance of the bounty hunter Boba Fett in the Star Wars universe.

Key Contributors

• Seth Green & Weird Al Yankovic: Leading voices in the nerd community who help explain the special's bizarre legend.
• Donny Osmond: Offers surprising insight as someone who performed Star Wars spoofs on his own variety show.
• Bruce Vilanch: A writer for the original special who provides hilarious context on why the "aliens kept fainting".

✅ Pros

• Thoroughly researched historical context.
• Sympathetic look at the creators.
• Entertaining "VH-1 style" interviews.

❌ Cons

• Lacks new interviews from the core original cast (Ford, Hamill, Fisher).

Read the original review on Letterboxd

🏆 Final Verdict

A Disturbance in the Force is a must-watch for Star Wars completionists. It’s an affectionate, thorough, and often hilarious breakdown of why the Holiday Special happened—and why we can't stop talking about it decades later.

The Equalizer 3

The Equalizer 3 (2023)

Justice Knows No Borders

by Ray Manukay

★★★½

Redemptive adventures in Southern Italy

The Equalizer 3 continues the redemptive adventures of Robert McCall. A lethal mercenary who dedicates his life to leveling the playing field against evil and corrupt forces who prey on the helpless. There is no shortage of stories to tell, considering the origins of the character, so it's not too surprising that the audience still enjoys watching these adventures.

🎬 Production & Cast

Director: Antoine Fuqua

Robert McCall: Denzel Washington

Emma Collins: Dakota Fanning

Marco Quaranta: Andrea Dodero

Vincent Quaranta: Andrea Scarduzio

Runtime: 109 Minutes

Denzel Washington elevates the final instalment with some strong character work of his likeable, yet lethally deadly lead character. — Ray Manukay

The key to these stories are the villains. They have to be so despicable and unsavory that it's actually enjoyable to see McCall dispense justice with his slow burn torture and lethal equalizing. That is certainly the case here, with some of the most abhorrent antagonists to ever cross paths with McCall. Especially enjoyable is when Marco Quaranta (Andrea Dodero) learns a hard lesson on why it doesn't pay to be bad in McCall's presence.

Joining the series is an affable Dakota Fanning, marking a reunion with Washington since they shared the screen in Man on Fire. In terms of where this film ranks, I'd argue it's probably the best of the bunch—definitely superior to the second film.

✅ Pros

• Satisfying Man on Fire reunion with Dakota Fanning.
• Classic "slow burn" justice and lethal equalizing.
• Superior character work by Denzel Washington.

❌ Cons

• Generic plot beats found in the middle act.
• A rushed ending, that is supposed to possibly provide series closure, but feels insincere.

READ ORIGINAL REVIEW ON LETTERBOXD

🏆 Final Verdict

A satisfying conclusion to a revenge-filled trilogy. As long as Denzel is willing and able to keep playing McCall, these stories should continue to entertain.

Killers of the Flower Moon

Killers of the Flower Moon (2023)

A Beautifully Shot but Emotionally Inert Epic

by Ray Manukay

★★½☆☆

Watched 29 Oct 2023

Strong performances try to buoy a beautifully shot movie, but Killers of the Flower Moon is lacking in any suspense, thrills, or even any drama that was not already revealed in the film's trailer or synopsis. The movie for me, unfortunately, fails to deliver anything dramatically satisfying.

🎬 Production Credits

Director: Martin Scorsese

Writer: Eric Roth, Martin Scorsese

Cinematography: Rodrigo Prieto

Editor: Thelma Schoonmaker

Music: Robbie Robertson

Based on: Killers of the Flower Moon by David Grann

The film unfolds painfully slower than a strong documentary. — Ray Manukay

The Narrative Focus

The true, historical events are retold with almost documentary-like precision. According to reports, the original script focused on the FBI investigation of the murders, but Leonardo DiCaprio wanted to shift the focus to the twisted love story between his character and his Osage wife. I think I'd have preferred the FBI story, or at least a film from the heartbreaking perspective of the Osage people themselves.

💡 Fun Facts

• The original draft was over 200 pages and centered on Tom White, the lead FBI investigator.
• Martin Scorsese worked closely with Osage Nation consultants to ensure cultural and linguistic accuracy.
• The film marks the sixth collaboration between Scorsese and DiCaprio.

The Performances

• Robert De Niro & Leonardo DiCaprio: Deliver well-performed acting histrionics that provide the film's primary zest.
• Lily Gladstone: Anchors the "twisted love story" that became the film's central focus.
• The Violence: Choreographed and re-created with a precision that, by design, makes the viewer feel almost sadistic in witnessing.

✅ Pros

• Admittedly strong, high-caliber acting.
• Visually stunning cinematography.
• Historical precision in recreation.

❌ Cons

• Painfully slow pacing.
• Lack of dramatic suspense or surprises.
• Focus shift away from the investigation/Osage perspective.

Read the original review on Letterboxd

🏆 Final Verdict

One can argue that this story of murder and injustice against the Osage needs to be told, but did it need to be so long, slow, and unmoving? While technically proficient, the film remains ultimately unsatisfying.