Sing Street

Who didn’t dream about becoming a rockstar, meeting that dream girl, and perhaps venture out to the horizon? Well, here is a story of someone who not only dreamed about, but also acted on all the things he dreamed of. There is so much energy and fire in this movie. It’s like…I want to get out and do something. Something that’s entirely me and mine, not somebody else’s. Even just for once.

Rock n Roll is a risk. You risk being ridiculed.

Sing Street


First of all, what a masterpiece!

There are multiple worlds in the movie clashing almost simultaneously.

1. Riggan’s (Michael Keaton‘s) fantasy world
2. Riggan’s real world (character’s reality)
3. Riggan’s stage actor’s world within the play.
4. The movie viewer’s world as Michael Keaton did play the action hero character in Tim’s Burton’s Batman
5. And the strange world of Riggan’s real world connecting with the viewer’s world as hinted by Riggan ranting about the Ironman played by Robert Downy Jr.

When you shake and mix these worlds together, you get an amazing reality distortion field that plays with the suspension of disbelief. I’ve always admired Alejandro González Iñárritu ever since Amores Perros, but his work just gets better and better. I love the transitions, love the language, love the casting, love the direction, etc. Iñárritu just became my cinema god.

Birdman is spontaneous, daring, and charming in an artistic way.



There are different levels of horror in horror movies. There are physical violence, visual disturbance, shocking moments, etc. However, we also feel horror when our value system is challeged and destroyed. In that sense, the Exorcist is, hands down, the best horror movie ever. It challeges what is deeply sacred to us, i.e., God, family, and children. In Orphan, it focuses on family and children as religion doesn’t play a big part in the contemporary U.S. culture as it was in the 70’s. It is horrifying to see a child act like a vulgar adult and more so become a cold blooded killer. You can’t help feeling sorry for the parents who are helpless and don’t know how to cope with such an evil child.

The great thing about this kind of horror movies is that it makes us realize what we value by destroying what is sacred to us.



David Ayer‘s rendition of a WWII movie is a bit different than the previous ones, notably Saving Private Ryan. Previous movies portrayed brutal, chaotic, and tragic nature of a war. Ayer focuses on how close life is from death. You can’t tell if the characters will die or when the characters will die. If they do, it’s instant and without any foreshadowing. The dramatization is minimal but not realistic as in a documentary. There is no dramatic plot twists and narrative complexities, but the characterization and the emotional landscape are dynamic and rich.

I couldn’t help but feel how fragile and fleeting life was in the midst of a war. Ayer does offer a new and original rendition of how people deal with the war and what goes through their minds and emotions.

I won’t fail to mention how sexy Brad Pitt looks in the movie. He is born to play soldier characters.


The Wolf of Wall Street

Raging Bull, Good Fellas, Casino, and the Wolf of Wall Street–it’s clear these movies fall into a category within Martin Scorsese‘s filmography. A category of a despicable man redeeming himself at the end. There is something magically awesome about such a character and the story. It is certainly difficult to make a despicable character likable, but if you can pull it off, it works every time. On top of that, if you bring in Scorsese, it’s like watching for the first time Raging Bull, Good Fellas, and Casino. Long live Scorsese!