LoveEmGutEm

Midsommar has been praised as a bold, unsettling entry in the folk horror genre, but beneath its striking visuals lies a film that feels more like a collage of better movies than an original masterpiece. Ari Aster's sprawling tale of grief, toxic relationships, and a sinister pagan cult borrows heavily from classics like The Wicker Man (1973), Don't Look Now, and Hereditary-the latter being Aster's own superior work. While the vibrant daylight setting and lavish production design are undeniably eye-catching, they can't mask the film's lack of narrative focus and overindulgent runtime.

The story of Dani's emotional unraveling starts with promise but devolves into a predictable series of "shocking" rituals and gory set pieces that feel more grotesque than profound. Unlike The Wicker Man, which skillfully balances tension and thematic depth, Midsommar substitutes genuine suspense for shallow shocks, leaving its exploration of grief and codependency feeling hollow. Florence Pugh gives a committed performance as Dani, but even her emotional depth can't save a script that offers little else beyond her suffering.

The result is a visually stunning but thematically empty film that mistakes long takes and grotesque imagery for substance. For fans of folk horror, there are richer, more nuanced films out there. While Midsommar succeeds as a stylistic exercise, its derivative nature and lack of emotional payoff leave it feeling overhyped and ultimately underwhelming.

Terrifier 3 doubles down on everything fans love about the franchise: jaw-dropping gore, inventive kills, and Art the Clown's sinister charm. The practical effects are outstanding, pushing the boundaries of over-the-top horror in ways that are as shocking as they are impressive. Art remains a gleefully disturbing presence, bringing dark humor and unrelenting chaos to every scene. However, the film offers little in terms of story or character development, serving more as a vehicle for grotesque spectacle than a cohesive narrative. If you're here for tense plotting or character-driven horror, look elsewhere. But if you want a no-holds-barred gorefest that revels in its carnage, Terrifier 3 delivers in spades.

When The Hangover hit theaters in 2009, it became an instant cultural phenomenon, celebrated for its raunchy humor, outrageous antics, and unexpected plot twists. The premise of three men piecing together a chaotic bachelor party gone wrong struck comedic gold at the time. Bradley Cooper, Ed Helms, and Zach Galifianakis delivered memorable performances, with Galifianakis' quirky, offbeat Alan stealing every scene. However, revisiting the film today reveals a comedy that hasn't aged gracefully.

Many of its jokes rely on stereotypes and humor that, by modern standards, feel dated and often offensive. The depiction of gender roles, casual homophobia, and the treatment of characters like Mr. Chow lean into punchlines that lack sensitivity or nuance. The absence of meaningful female characters-relegated to nagging wives or exotic dancers-feels glaringly one-dimensional.

While The Hangover remains a snapshot of 2000s comedy and its wild, boundary-pushing tone, its reliance on shock value limits its ability to resonate with audiences.

I saw this movie in theaters when it came out and thought it was hilarious. Just watched again for the first time in many years and it didn't hold up.