*in my opinion
(warning: my opinions get quite heated)

• “The Fifth Element ” (1997)– sexist/misogynistic af and also a blatant fantasy about how hot it would be if a woman didn’t know anything about the world and basically had the mind of a baby (and the body of a total babe, am I right, fellas?), so she’s completely depended on you and thinks you’re a god despite you being completely mediocre.
• “The Worst Person in the World”(2021) – I don’t have anything smart to say about this. I just hated it. But to sum it up here’s a quote from Letterboxd user “NoCopZone” I strongly agree with: “This is an edgelord anti-feminist manic pixie dream girl wank fest and it’s fucking dull as hell.”
• “Closer” (2004) – sooo male gaze-y and just plain stupid. Yes, I love Natalie Portman and she looks very hot as a stripper with a pink wig. We’ve all seen the tumblr posts about that. But her character (and all the other ones too btw) sucks so much and is so toxic and unlikeable. Terrible movie.
• “Call me by your Name” (2017) – How bout we don’t romanticise fucking children? Wouldn’t that be a great idea? The fact that this movie gets put on a pedestal so much as THE queer “romance” 🥴 of the last decade is so fucked up to me. Also I just don’t think it’s that good of a movie, even if you ignore all the unchecked creepiness and grooming.
• “Licorice Pizza” (2021) – Another movie about a “love story” between a child and an adult. Biggest letdown from PTA.
  Just check out the review I wrote. It says it all: https://letterboxd.com/treelanguage/film/licorice-pizza/
• “Anora” (2024) – I have also already wrote a lengthy review on my feelings on this movie. But I’d also like to add that there are allegations from a woman (who actually is a sex worker) that Sean Baker stole the story and concept of Anora from her.
  https://letterboxd.com/treelanguage/film/anora/1/
• “Lost Highway” (1997) – I have a long standing love-hate relationship with David Lynch’s filmography and movies like this are the reason. This feels like a 2 hour+ long perfume commercial. Nothing makes sense, it’s longwinded and boring af and I don’t remember any film I’ve seen feeling as never-ending as this one. That’s my main criticism so this is probably the one movie on this list where I’m more open to it being good actually and me just being too ADHD to appreciate it.
• “The Whale” (2022) – This is the worst, fatphobic piece of trash I have ever seen. Nothing more to say about that.
  I’m starting to think Aronofsky is only good when he can steal all his best “ideas” from Satoshi Kon (just like many other western directors *cough* Inception *cough*)
  Love Brendan Fraser and Hong Chau but not even they could save this. It’s irredeemable.
• “Dancer in the Dark” (2000) – I also have a love-hate relationship with Lars von Trier. I love many of his movies, but I think he’s a disgusting vile human being (look up allegations if you don’t know) and I find his obsession with women being abused and tortured really off-putting. It would be one thing if that’s just a theme he wants to explore, but considering how he treated his actresses (especially Björk during the making of this movie) it seems more like his lifestyle. This movie feels like watching torture porn. There is no enjoyment possible (besides Björk’s musical numbers but that’s all her). It’s uncomfortable to the point where it feels unbearable and (unlike other Lars von Trier movies) it doesn’t have anything profound to say in my opinion. To me it feels like he just made this to jerk off to it.
• “Porco Rosso” (1992) – I have seen (and love) most Miyazaki movies but I just find this one obnoxious. I get that flying/pilots/flying machines are basically his special interest, but I don’t share his enthusiasm unfortunately. And the middle-aged sexist womanising protagonist doesn’t help. I haven’t seen this in a while, so maybe I’d like it more these days, but I honestly doubt it.
• “The Perks of being a Wallflower” (2012) – I don’t really know how and why I hate this movie, because I love the book and it meant so much to me (I’ve read it multiple times) and the writer of the book adapted it for the movie. But it just doesn’t translate to me. Maybe this story just isn’t meant for film. It doesn’t feel any close to as profound as it did in the book. The movie just feels hollow and pretentious to me.
• “Her” (2013) – I tried rewatching this recently when I felt heartbroken and just wanted to feel sorry for myself but even with that attitude I couldn’t go through it again. To me the personal history that’s behind this movie is very important. That being that the guy who made this, Spike Jonze was married to one of my favorite filmmakers of all time Sofia Coppola and that she (10 years before this came out) made an amazing movie “Lost in Translation” that worked through her feelings after the break-up. It has an obvious self insert character and a husband character that’s very obviously (iyk) based on Spike Jonze, who’s a bit of an asshole. So 10 years after LIT, Spike Jonze decides to do basically the same: a movie about a sad man who just went through a divorce and needs to find himself. Only that in his version of the story he is the ultimate victim, all women (including his ex-wife) are mean and have ridiculous standards for men (they want someone to care about them as whole people and don’t just fuck them and leave them shortly after) and the only woman who really gets him is his AI girlfriend, created just for him, who for some reason thinks he’s the funniest, cutest, smartest, most irresistible man on the planet who needs protection from the cruel cruel world and all those other shitty women who don’t understand how sweet and fragile this poor baby boy is. Oh, and she’s very sexy and sensual, but in a very coy way (not vulgar and needy like those trashy gals). It’s peak soft boi cinema, even worse than Buffalo ’66, because Vincent Gallo at least has the self-awareness to know that his protagonist is fucked-up and an asshole.
• “Inception” (2010) – This fucking hack Christopher Nolan just stole “Paprika”, a cinematic masterpiece by one of my favorite directors, Satoshi Kon and remade a worse version of it and then continued to deny that he stole it. Fuck this guy!
  He wishes he were half as talented as Satoshi Kon.
  I agree that it is an interesting movie, but that’s because it took most of its interesting ideas from Paprika. He could’ve just asked to remake it and payed for the rights like a decent person. It probably wouldn’t be on this list then.