Movies You’ve Only Just Watched

I’ve been on a survival film kick the past couple of weeks, I’ll give brief rundowns.

Everest (2015): A somewhat loose depiction of the 1996 Everest disaster (Into Thin Air), where 13 people died on descent from summit. They filmed in a couple of different mountain regions for authenticity, so the presentation is pretty solid despite some noticeable cgi in a couple spots. It was a good, straightforward breakdown of what happened with minimal fluff thrown in.

In the Heart of the Sea (2015): Ron Howard film based on the Essex whaling ship disaster, where a whaling ship was stoved by a whale and the crew were forced to cannibalize each other at sea in order to survive. It’s a brutal, rough story that they unfortunately weigh down by putting too much emphasis on the whale that downed them, along with a really loud and sort of obnoxious Hollywood score. I would have preferred a more grounded take on the story, which is arguably one of the most harrowing survival stories of all time. Still not bad and worth watching since it’s the only full-fledged film based on this story, it does follow the general timeline of events well enough even if it throws in way too many dramatic flourishes for my taste.

Thirteen Lives (2022): Another Ron Howard movie, this one based on the Thai cave rescue from 2018. This was very good, no bullshit really it’s just a grounded depiction of an unprecedented rescue that everyone involved thought was near-impossible. What they collective rescue effort accomplished, specifically the divers and the doctors, is just one of the most incredible human achievements in recent history and this film is absolutely worth seeing just to witness it portrayed so realistically.

The Wave (2015): Film about a hypothetical landslide-induced-tsunami occurring in Norway, an area that apparently does have some concerning seismic activity that very well could lead to an event like this. It’s centered on a meteorologist trying to predict, and ultimately survive, an impending tsunami. Great movie, it’s grounded, scientific and emotional with really convincing effects.

The Quake (2018): Sequel to The Wave following the same protagonist, similar in concept except this is about a larger-magnitude earthquake hitting a major city directly instead of a landslide. Not quite as strong as The Wave, but it hits a lot of the same notes and takes some respectable chances beyond that. This film sort of solidified this duology as a new genre I want to call “meteorology superheroism”, it can be a little goofy at points but the way it all plays out is quite gripping.

Alive (1993): Centers on the 1972 Andes plane crash, and what the survivors had to endure for 72 days in order to make it out alive. Not much fabrication if any which is nice, it’s blunt and sort of shocking in certain areas, but it does leave out a lot of the more lurid details from the real story which does leave it feeling somewhat sanitized. There’s a new movie coming out on Netflix literally tomorrow called Society of the Snow which will be another straight depiction of this story, it’s getting great reception so I think that it’ll be worth checking out.

All is Lost (2013): Fictional story about an older man (Robert Redford) who gets his hull breached while sailing in the middle of the sea. While not based on anything specifically, it shares strong elements with many real stories of people in situations exactly like this. There’s almost no dialogue, you spend the film watching this man just try to work his situation out the best that he can.

bonus: Frozen (2010): This is not a good movie. It’s about a group of teens who get stuck on a ski-lift after closing hours. It’s a story that could have been captivating, getting stuck in a situation like that would be mind-bendingly terrifying and the chances of making it out alive really aren’t high. But the dialogue is really bad, the characters are annoying in a way that seems unintentional, and the movie treats wolves like they’re rabid murder machines rather than cautious creatures that attack humans very, very rarely. Watch this if you want something funny-bad, it is genuinely a good time in that sense.

Deliverance (1972): I’ve always known that this film was notorious for a certain shocking scene that occurs about halfway through, but that was my only exposure. Up until recently, I only knew this as “the movie where that happens” because everyone who spoke to me about the movie made such a big deal about this one sequences. And yes, it is brutal and ugly, but the film itself is excellent. It’s about four guys who go up-river on a boating trip in the southern states, and after a violent encounter with a pair of locals out in the middle of nowhere they find themselves forced to make tough decisions and fight for their survival. It’s sort of fascinating to watch, because of the extremely clear influence that it’s had on so many survival-horror movies that I’ve seen over the years. There’s a movie that came out in 2018 that I really love called Calibre that basically takes a version of this concept, twists it and stretches out the final ten minutes into something gripping and feature-length. I highly recommend both movies.

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I like the Studio Ghibli films, and I sought out to watch/ rewatch several of them on Netflix throughout the later half of last year. The tremendous detail in each scene, the characters with relatable problems, even the melancholy-but-hopeful tone the films strive for, they all make for wonderful watches.

This was no exception.

The story centres around Mahito Maki, who, after losing his mother, starts to act dismissive and resentful of his Dad, Shoichi, especially as they move on with their lives and find another woman, a woman expecting to give birth soon too. Mahito learns of a tower on the grounds of his new home that he mustn’t go near. A Grey Heron actively taunts him about wanting to find his mother again, and the Heron claims that she’s still alive inside the tower. And that is all I’m saying; saying anymore and it’d be spoiling it.

I watched the English dub of this, primarily because I’m at the cinema – I want to keep reading to a minimum when not in the comfort of my own home. There’s still translation captions, of course, but nothing more than that. The dub is very well done though, like the rest of Ghibli’s films, and feature a bunch of familiar names too (Christian Bale, Dave Bautista, Willem Dafoe, Robert Pattinson, Gemma Chan, Mark Hamill to name the most famous names). Everyone’s performances are top-notch. Bale and Pattinson are basically unrecognisable as Shoichi and the Grey Heron respectively.

I also got to watch this on what I believe was the date of the UK’s cinema release. Safe to say, I was fairly alone and got to watch with nine other people.

It’ll probably end up on Netflix at some point, as Ghibli have exclusive rights to distribute their films there, but if this sounds like something you’ll be interested in, then you’re in for a treat. If you like any of the Ghibli films, then this is a must-watch.


the boy and the heron, saw it in japanese with english subs. wow, what an excellent fucking movie, and that’s all i’ll say on it. loved it. probably my 3rd favorite ghibli film but we’ll see how it holds up after recency bias fades


Ferrari. It’s fantastic. Driver is so so good, but I think Penelope Cruz was even better as his wife.

Good show! A true Michael Mann film; it is more about the relationships between the characters than anything else. Go see it!


Watched To Live and Die in L.A. , the late William Friedkin’s 1985 thriller about an adrenaline-junkie Secret Service agent’s (William Petersen) obsessive pursuit of the counterfeiter (Willem Dafoe) who killed his partner, endangering just about everyone he encounters along the way.

The parallels to The French Connection --complete with spectacular, brutal car chase–are apparent, even to those of us who haven’t seen it in 20 years, but L.A. is tense and fantastically acted, with massive gritty 80s vibes.

Probably not quite the classic that The French Connection is, but good enough that I’m surprised I hadn’t heard much about it before Friedkin’s death.

Plus, Wang Chung composed the sweet 80s soundtrack. :grin:


Blues Brothers.

Despite being shot in Chicago, I hated it. I just can’t figure out how funny it was supposed to be. Sure it has a few laughs but it’s mostly just silly. Dan Akroyds Chicago accent is spot on which adds a few chuckles.


Godfather marathon!!! 1 done; I’m on part 2 now. 3 is in the queue. I’m one of those weirdos who likes 3 better than 2.


Just went to see The Boy and the Heron, Miyazaki’s latest last film and the beginning of a strange new future without him at Studio Ghibli.

I also went and saw the English Dub (since they’re usually really well-done)
It was… quite the ride! It felt very metaphorical, magical and strange. Might leave you with a lot more questions than answers when you leave the theater, at least it did for me, but I enjoyed it as a fantastical tale.

The movie starts out very slow and overall soothing with its Japanese countryside vibes, and the protagonist Mahito adapting to a new life with his new mother and caretakers.
And then when the magic gets going, it felt very Alice In Wonderland-ish.

One large part of the film features these massive anthropomorphic Parakeets who have a whole working society and search for human meat to eat. The bi-pedal bird animation for them was very well-done! They were adorable, silly, chonky, but dangerous birds as they all loved to brandish various cooking utensils. They lent some great comedy to the film.
(Plus BIRBS OOOH YEAH :smiling_face_with_three_hearts::smile:)

There’s definitely some parallels to be made with overcoming grief, Miyazaki reflecting on WW2 in his older years, the struggle of letting go of Creation… definitely more to be read from interviews with Miyazaki about this film, and also how it relates to the “How do you Live?” Book that inspired him to create this.

Plus, you’ll probably find many references or similar themes and concepts to previous Ghibli films, at least I definitely did. Feels like a great coming-together of their whole legacy.

Anyway, I’d suggest you still watch it. It was fun (and I especially enjoyed the English cast – wow, Robert Patrinson playing a crotchety, silly old Heron was very impressive vocal work)
Come for the fantasy-adventure where a young boy must go on a quest to save his family and himself, stay for the thought-provoking questions on letting go…


This is one of the most annoying and nonsensical films I’ve come across in some time.


Yes I watched it. Ninety-seven minutes later…I really wish I hadn’t.

Michael Morbius suffers from a rare disease that essentially means he has to have his blood…cleaned…every few hours. Since childhood, he has dedicated his life in finding a cure, in part motivated by his friend Milo (whose real name is Lucius, but everyone calls him Milo even as adults, which is just odd). The film tries far too hard in making Morbius come off as impossibly gifted, with praise being showered upon him (and he gracefully turns down a Nobel prize for creating artificial blood…for reasons not adequately explained).

He dissects a bat for its DNA so it can be used to replace the missing parts of his DNA his condition causes. One trip into International Waters later, and the serum he creates is injected into him, and it all goes wrong. Morbius, now a vampiric human-bat person, then proceeds to kill eight mercenaries travelling along with them and then flee the crime scene.

I’d explain more, but it just gets worse, so i’ll summarise heavily; Milo Lucius really wants this cure, Morbius tells him it’s not worth the costs, Milo Lucius takes it anyway from his lab which is oddly unguarded…despite being under police investigation. Milo Lucius wants to be evil and kill people if it means he can walk… (quick one-eighty there…). Milo Lucius kills a bunch of innocent people, the two of them fight and it all eventually culminates in a sewer battle where Morbius uses his power to control bats (No, really) to pin Milo Lucius to a wall to inject a poison into him.

And then it just kind of…ends. A new anti-hero arrives…hope you’ll like Morbius II: Morbin’ Good time!

Part of the issue with this film is that scenes just…happen, oftentimes with no build-up. The cinematography is also quite basic, and a good two thirds of the film takes place at night, making it come off as very bland colors-wise. There’s been some ADR put into post production to fill in the cracks to make the editing less erratic. Speaking of which, the CGI, while honestly not the worst I’ve seen, is sometimes misused to make slow-motion action shots that have no rhyme or reason to be there (In the subway fight, one slo-mo shot is inserted for…no reason. There’s not even any music, and it lasts less than two seconds).


Matt Smith, bless him, is the best part of this movie, giving a solid performance, all things considered. This film wasted him, and i’ll be fair to Jared here, even his acting isn’t too bad. The script just doesn’t do either of them any favours.

And, finally, we get to the Stinger, those end-credits that Marvel love doing. This pissed me off for a whole other host of reasons. For those who don’t know, this film tries to tie itself to the MCU as some miltiversal-cross-promotion, something Venom: Let There Be Carnage did with Spiderman: No Way Home, and did that a lot better, might I add.

The issue here is that the act of transporting and displacing Adrian Toomes (The Vulture from Homecoming) from the MCU to Morbius and Venoms’ universe contradicts what No Way Home establishes. The film frames the displacement of Toomes as a result of the spell Doctor Strange puts out to make everyone forget about who Spiderman is, and Strange sends people to other universes. Except…that’s not how the spell works! Anyone displaced to the MCU gets transported back to their home universe, not the reverse, so Toomes shouldn’t have been affected.

Making things worse, is that the second stinger shows the Vulture in full costume getup, as if he was ripped straight from Homecoming, which doesn’t make a lick of sense as the suit he built was made from technology salvaged from the Chitauri invasion in The Avengers (and it wasn’t just made by him either!). Vulture calls Morbius out to a field to try and team up with him to take down Spiderman (who doesn’t exist in their universe) and blames them for the sudden transportation (despite having no reason to think this!). The takes are so disjointed between Morbo and Vulto, and the ADR on Vulture so fake, that it’s distracting.

Do not watch this film. Not out of curiosity, not as a meme. Just let it die. There is a way to do cheesy films well, but Morbius just takes way too many illogical leaps of thought and never tries to give consistent characterisation to anyone but Morbius.

I’ll post a review of something else on Netflix that I watched recently that I really enjoyed (Hint: It’s currently in Netflix’s Top 10 films right now), but that comes later.


…yeah, admit it, you didn’t see this coming, now did you?

I know Kevin Hart gets a lot of flak for being in some…shall we say…not great performing movies…but recently, they’ve been on an actor-reinvention spree, and this is one of the results of that. And I’m gonna be honest, this film did not need to be as good as it is, despite the premise being more than a little bit derivative.

The plot is pretty simple; Cyrus (Kevin Hart) runs a rag-tag crew of professional thieves and con artists that steal art or otherwise run rings around the police; INTERPOL in this case. When the latter catches them pulling a dual-running heist, lifting a Van-Gogh while also doing a high-profile theft of an NFT and kidnapping its creator. INTERPOL catches them for the former crime, and Abby, an 5-day old flame and INTERPOL officer, gives them a choice; either go to jail, or help them stop a global catastrophe in the making.

The lift Abby proposes to Cyrus and his crew is to stop a cargo plane filled with gold from heading to Lars Jorgensen; stock market manipulator who wants to wreak havok on the world by causing flooding all over the world, killing millions, and profiting off of of the loss of life and damage. The gold is a transaction with a hacker group – Leviathan – who giving him the means to pull this off.

All of the cast play their roles very well, and I couldn’t help but fall in love with this film and it’s charm. Lars is coded to be as evil as possible, Cyrus is played to be charismatic, Abby having a crush on him that she clearly can’t get over, and even the rest of the crew like Denton (Vincent D’onofrio) and Magnus (Billy Magnussen) are funny and enjoyable to watch.

As with any heist movie, there is a twist at the end, one I admittedly didn’t see coming (or at least, not in the way I entirely expected), and makes several of the crews’ actions on a rewatch make a bit more sense. The twist is fairly well hidden, so I applaud the writers for actually making me second-guess myself and making me think “Oh, THAT’S why X was acting like that!”.

The CGI in the film is…okay. Nothing too ground breaking, but there actually appears to be a fair amount of practical effects in this film, plane crashes notwithstanding, and even the CGI that is used looks fairly convincing for the most part.

This film apparently just didn’t do very well with critics (currently ~30% on Rotten Tomato’s on both critics and audience scores, and IMDB has it at 5.5/10). This is a little interesting, as not only has it been in Netflix’s top 10 in the UK since release last month (January 12th), but it’s still there as of writing this (currently at #7, after slipping from the top 4 a few days back).

The soundtrack, composed by Dominic Lewis and Guilliaume Roussel is very well made, and integrates well with the action on-screen. I’ve had “Trouble in Bathroom” stuck in my head for days now!

If you like Leverage or Hustle, then there’s a good chance you’ll get a kick out of watching this.


Finally got around to watching Eli Roths’s Thanksgiving. It’s a fun slasher movie that doesn’t take itself seriously. Of course it’s a Holiday Slasher based around the Holiday of the same name, but it satires both the historical, traditional, and materialistic aspects of the Holiday.

The acting from the “Teen” cast of characters is where the movies falls short, but that’s a minor complaint given it’s a horror movie. Plenty of memorable set pieces and for someone who appreciates practical effects Thanksgiving really met my expectations in that department.

Probably one of my biggest takeaways from this movie is the fact it isn’t mean spirited. While the motivation behind the killings is nothing to rave home about I appreciate that the movie doesn’t linger on the deaths, it leaves little to the imagination, but it’s not Terrifier 2 levels of messed up where it’s uncomfortable and cringeworthy to watch.

Another complaint is just the fact we have the relic that is the original Grindhouse Spoof Trailer for Thanksgiving. This Movie is more akin to Modern Slasher with callbacks to the classic. There are some Easter eggs from the Spoof Trailer, but other than that expect a Modern Slasher with modern conveniences and moments of stupidity. There’s a death in this movie that just kinda took me out of the moment simply because my real world experiences said that’s not how this thing works, but okay.

7.5/10. A sequel is happening.


Thanksgiving was the only major holiday left, I think, or day of cultural significance, that had not had a slasher film made out of it, to the point that I believe a fake trailer about just such a thing was made for the Rodriguez/Tarantino collaboration Grindhouse. Correct me if I’m wrong, but like Machete, is this film actually that trailer made into an actual film?

Perhaps it’s time to make slasher films based on more obscure, lesser-known holidays, although I doubt anyone would know what a film titled Saint Swithins’ Day would be about. Maybe a gritty reboot of Groundhog Day where the person stuck in the time loop tries to kill every person who was alive on earth that day, one at a time, each day, until they get them all, then break the loop.

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On the flight into Halifax, I got some in-flight entertainment options (and they had some pretty recent major movies like Barbie/Oppenheimer!)

I watched the Five Nights at Freddy’s movie – though we landed when I had 20 mins left in the film – and luckily we’re taking the same airliner back so hopefully I can finish it then, I’ll give an update later.

Anyway, in terms of the movie itself that I saw, it was enjoyable but with very mediocre writing. Also not all that scary especially in relation to the main character.
Decent 6/10 movie, that’s enhanced if you’re at all a fan of the lore from the games, they’ve actually packed in quite a bit of references.

In brief, the movie centers around Mike Schmidt (Josh Hutcherson), a down-on-his-luck caretaker for his young 6? 7? year old sister, trying to find a job and prove he’s able to keep custody of her.
He has lots of trouble, until a strange career manager (Matthew Lillard) gives him a last-resort job that almost no one takes – night-watch at an old kids’ pizzeria.
He then, through weird dreams, strange disappearances and a too-well-informed cop, discovers the spooky secrets behind the haunted pizzeria.

My main issue is that the writing loves to tease and avoid revealing much about the “mystery” of the pizzeria to such an extent that it feels like they’re dragging on the movie as long as possible, even though the many fans who inevitably are going/have seen this movie know exacrly what’s being talked about – and Mike himself very rarely presses the Cop about why she knows so much, or what specifically is CLEARLY being hidden from him, time and time again.

Vanessa knows SUSPICIOUSLY too much about the place, and keeps showing up there every night, and yet Mike doesn’t find that suspicious at all, or even when he asks, she brushes it off or changes the subject and he doesn’t ask again until like 20 mins later. It’s so frustrating.

The “monsters” of this film, the animatronics, are also not all that scary towards the main character? They tease you on his first and second night with him being stalked by the creatures, but they don’t actively try to kill him like they would the Player in the video game.
It even seems to contradict the lore of the games where the robots shut down/reset at 6am, and you’re safe from their murderous habits until the next night – as it’s shown that they go on a whole murder spree against some robbers who wreck the place mid-day during the film.

For a PG-13 film though, even though there isn’t all that much violence overall (Mike gets slashed and the robbers get killed off-camera) there is one murder where someone gets dragged into an animatronic’s mouth and they get CHOMPED in half, torso to legs – as seen via silhouette. That was a surprising but cool horror addition.

Also, for more good, the animatronics look wonderful. :ok_hand:
The Jim Henson company made them I think, both as full animatronic robots and as suits people can wear, and its just so cool. They’re cute when they want to be and ominous too. It’s hard to tell when they’re people in suits, robots, physical or digital, but it’s really well-made and they deserve lots of praise for some big quality props.

Plus, kudos to Blumhouse for doing their game research well and including lots of easter eggs for fans. I’m not all that well-informed of the series past #4 (I used to watch Game Theory videos out of curiosity back in high school) but I can clearly see that the opening credits using the old-game pixel art used for the lore was a neat touch and the appearance of Mat Pat was a surprising cameo.
Hopefully if Markiplier’s Iron Lung movie does well he can get some major cred to appear in the sequel, I know he’s also a major fan and big reason it took off.

Anyway, I’ll hopefully finish the film on the flight back soon and I’ll update you all on how it goes – in this final 20 minutes, I think Mike finally got the truth/twist revealed to him and now he’s fully against the animatronics, and they’ve gone full murder-mode.


I know it’s unlikely but I hope they use some of the more random animatronics like this wet floor sign somewhere in the sequel


Just got around to seeing The Fate of The Furious at last, and a funny thing happened. It happened at the beginning, which was a throwback to the first three movies, in that it was filled with fancy cars, meaningless races, bonkers car culture, shady criminal activity, and slow motion close-ups of the scantily clad boobs and butts of gorgeous women. And while every film in this series contains those things, the first three contained almost exclusively those things. Now, I’m only a fan of two out of those five; shady criminal dealings are the hallmark of a film that interests me, and I like staring at hot ladies’ boobs and butts and indulging in some harmless fantasizing as much as the next guy. But the funny thing was, not only did I feel excited to watch this movie as soon as it started up, which hasn’t happened with any of the others so far, but when it got to those five things, it actually made me remember the first three movies more fondly than I know I felt about them when I watched them. Weird.

Anyway, my suspicion for the twist in this movie - what Cipher had on Dom to make him work for her - was completely wrong, but the actual reveal made even more sense than any of my suspicions. Knowing my action movies as I do, and even without knowing the role Jason Statham plays in future entries, I knew right away Deckard not only wasn’t dead, but that his survival was being kept secret for a future play. I do like how four of the series’ previous villains are revealed to be connected to the main villain here, a la Daniel Craig’s James Bond series, and that two of those former villains got a chance for redemption and helped the heroes.

I know Hobbs’ first name is Luke, but they’re making him be more like Luke Cage than anything, after the stuff they’ve had him do these last two movies.

Overall, this one felt more than ever like the kind of plot you get in a Hitman game. Seriously, if 47 took on all the main characters of just this movie as targets, nevermind all the main and side characters for the overall series, he’d be able to retire on that alone. These are just the kinds of characters you end up going for in the games, especially the bad guys. I’ll be watching Hobbs and Shaw next, and then may be going on to the most recent two, if time allows.

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Ok, just watched Hobbs and Shaw. The Fast and Furious movies have three elements: the ridiculous, the glorious, and the lame. They took two of those elements and made a movie without the third; everything glorious and ridiculous about the FF series is found in this movie with none of the lame… with one exception near the end involving a chain of vehicles and more nitroboost nonsense, but aside from that one scene, this movie was the franchise at its peak from what I’ve seen so far.

Aside from the aforementioned scene, I only have two other criticisms: Hobbs and Shaw’s whole bickering and insulting thing got old quick. Not because it wasn’t inherently good, but because I stopped believing it about 30 minutes into the movie. I knew they were starting to grow on each other and not despise each other as much as they were claiming, so it just seemed meaningless and an excuse to once again make serious men who take care of business look like podcast “alphas” measuring dicks. A tired cliche that only happens in real life on social media.

The other issue was that I didn’t believe in Idriss Elba’s villainous commitment. Oh, he was menacing enough in action, and he said a lot of things that made him intimidating as a bad guy, and he had the right body language as well, but his facial expressions didn’t match any of that. And I’ve seen Elba have facial expressions that made me believe he wanted to squash the protagonist like a bug (Pacific Rim being a prime example), but I just couldn’t buy it here. He always had a look on his face, even when trying to seem like he enjoyed what he did, that made it seem like he was being forced to do it all. Maybe he didn’t like agreeing to do this movie or something, but I never bought that he actually believed in his cause in the movie because of that look on his face that never sold it. Hard to be afraid of a guy who looks only half-committed.

Beyond those things, the movie was fantastic fun.


Alright, finished. Just watched FF 9 and 10 today, now I’ve seen everything that’s come so far. F9 I’d say was a step back. I definitely didn’t see the thing with Han coming, and the usual FF hijinks made it entertaining, but… space? Goddamned space? I’m sorry, but after everything unbelievable I’ve seen so far in the series, I simply must call bullshit there. The series isn’t jumping the shark, it’s jumping a car into fucking space!

F 10, on the other hand, is a whole different story. It takes everything that’s happened so far in the series and amps it up to eleven. The races, the heists, the barely clothed women, the ridiculous stunts, this movie has got it. It totally makes it clear that it’s borrowing some beats from the most recent Bond movies, as the main villain of the overarching story so far is usurped by another, more disturbing villain with a past personal issue with the heroes. Unlike the subdued Safin, however, Jason Momoa is clearly having an absolute blast performing his audition for the role of The Joker in James Gunn’s new DC cinematic universe. Can’t wait to see how this story concludes when the next one comes.

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Madame Web

Entire movie: passes by with nothing at all foreshadowing vision loss or blindness
Madame Web in the last few minutes: guess I’m blind now lol

Movie was very funny, though at one point I did wake up from a brief nap to find that our main character was very suddenly on the other side of the globe. So I’m not sure how that happened, maybe this requires a second viewing.


The fact that you even consider this with no negative connotation is frightening. Tell me where it hurt you…


I keep having visions of clairvoyants hitting me with cars, I don’t know how to process this.