one time wanderer

This was such a delightful film to watch. I went in with an open mind, but not really expecting much, and I am so happy that it turned out the way that it did. Everyone is really good, but special mention to Neena Gupta and Gajraj Rao, who made the movie lovelier with their beautiful chemistry. Oh, and Surekha Sikri rocked it, but that must always be expected. I love how I started off being thankful that there's no chance my mother can get pregnant again, but ended up longing for a baby to love and care for. And I am usually not very receptive towards the idea of babies, so that's a huge thing, I must clarify. The songs were a bit meh, honestly, but overall, this can easily be categorised as one of the best Hindi films to have come out in the last 5 years. Hopefully the "spiritual sequel" starring Rajkummar Rao and Bhumi Pednekar lives up to the standards set by this one.  PS- I still can't stop laughing thinking about how hilarious (but not over-the-top) everyone

Sridevi was cute, but at what cost? My last remaining braincell? The entire feel of this movie was literally like those insane conspiracy theories that certain political parties, etc. make about anti-nationalism in India, and I won't be surprised if you told me that this movie is where they get all their inspiration from. It was so bad, but just shy of being bad enough that it was good. Poor Jaya Prada had literally nothing to do, which is very ironic considering where she is at right now, politics-wise. The only cool thing I noticed was how Rajinikanth's too-long name also contained his real name, Shivaji Rao Gaekwad. Dharmendra and Vinod Khanna were super disgusting and made me want to vomit, especially because of the revolting dialogues they were saying.  I'm just thankful that I zoned out for a major portion of this. That's all. 

Only my second Sibi Malayil film, and I am already in awe of how he manages to fully me draw me into the universe that he creates. It's difficult to not be impressed by his attention to detail, and how every character feels fleshed out enough for you to feel that they do belong in this landscape. This is why I enjoyed His Highness Abdullah  as much as I did- I feel like the big plot twist was a bit too convenient, but everything else that had been happening till that point just made it fit so well in the greater scheme of things. But mostly, it was the songs. I loved how they had their own designated place in the narrative, and how so much of the main story was about the love and devotion for music. It's always a win for me to discover a great album through a movie that I liked, and even if you don't end up watching this movie, I'd recommend just zoning out to the album one afternoon. Just thinking about that scenario is getting me excited, to be honest. I didn't li

There is that point in almost every sports drama where I zone out because of all the sports-related details that take centre-stage, and I almost always never want to zone back in. While the first part of the statement was true for Jersey , it's the way all the performances kept me engaged and invested, and most of all, the way the relationships in this movie felt real and heart-warming, that made me want to concentrate on what was happening even as I was zoned out. The father-son trajectory was beautiful of course, but even Arjun's (Nani, in one of the best performances ever) relationship with his coach Murthy (Sathyaraj) touched me a lot. I don't think I even have the words to express how brilliant I found the depiction of the marriage between Arjun and Sarah (Shraddha Srinath), the nuances of their relationship, and the love they shared and nurtured. That's the thing about Jersey - it works so well as a parent-child drama, a romantic drama, a teacher-student drama, an

I tried really hard, but I ended up skip-watching this just to see Shobana's portions, and I do not have a single regret. What I did see in the first thirty minutes and then through the massive forwarding bored and exhausted me. The movie is badly shot, extremely misogynistic and thoroughly entertaining. Not a single redeeming factor (yes, my love Shobana couldn't save it either).  However, I will say that Vignesh defined the phrase "glow-up" by directing Naanum Rowdy Dhaan (2015) after this. I love and respect that movie even more now, after (partially) witnessing this debacle. And Thaana Serndha Koottam (2018), of course. 

I don't think I will ever get over the sheer absurdity of the film's producers claiming that Parasite (2019) was influenced by this movie. They really thought that theory would fly, huh. Parasite but make it 90s Kollywood. Tchah. Stop being such an embarrazzment saar! Apart from that though, I actually enjoyed this movie, especially the second half. Yes, we know that my taste is trash and biased in favour of the glorious 90s (the messier, the better), and honestly, I love that for myself. The racism, sexism, and fat-shaming make me cringe, but the over-the-top romance sequences and excellent songs make up for them, kinda sorta. Also, go listen to Un Per Solla immediately!!! It is such a beautiful song, and not even gonna lie, I loved how the entire narrative was lowkey wrapped around it. It's things like these that get to me.  Vijay romancing his lead actresses in scenic locations, though- an entire movie genre in itself. No one does it like my emotional support dilf, and t

This was such a treat for Thalapathy stans, even to baby ones like me. He is in full form, and there's hardly a dull moment when he's on screen, and since he is after all, the one and only Thalapathy doing a TRIPLE ROLE, he is almost always on screen. The run time feels a little too long in places, but his fantastic screen presence, dancing, acting, everything more than makes up for it. Plus the story is as engaging and convoluted as you want a mass movie to be, so you're invested till the very end- and WHAT AN END IT IS. I watched his climax monologue at least 6 times, and god knows how many more times I'll revisit it. He's the OG woke bae, as we are all too aware.  Kajal and Samantha didn't really have much to do, but Nithya Menen really holds her own here. As good as she was though, I couldn't help but remember that Jyothika was supposed to do her role and it made me long for a VJ-Jyo reunion yet again. Someone get those two back together asap!! Also, my

How do I even begin describing what an intellectually stimulating experience this was? Should I use my generation's preferred mode of communication, memes? Because I don't see how else I can fully convey how wild a movie this was. I mean it had to be, coming from 4 of TFI's most celebrated new-wave directors. Anyway, let us begin. 1. Ramula , directed by Tharun Bhascker (Trigger warning for s*icide) Credits where they're due- the music SLAPS. Vivek Sagar did an excellent job, and my friend I were thoroughly engaged in what was happening all thanks to him. Also, this short was very promising... till it wasn't. I am not kidding, we were both anticipating it to turn out into something completely different, especially going by its first half which was funny, real, and thought-provoking, but suddenly it was just one huge WTF. I don't want to comment on how exactly the movie could have ended better, but I do have this to say- you are not sending the message you think

For Chadwick- rest in power, king. <3 Despite its relatively short run-time (as you can see, I have been seeing mostly Indian movies for a year, so I consider anything less than 2 hours "short" now), it felt long- and for the first time that I can think of, it's not a bad thing since the reason it felt long is because things just don't seem to have changed since the time period this movie is set in. I am no expert in race relations in USA, but after years of consuming (on and off) American pop culture, I know a thing or two about the entertainment industry's relation with its African-American artists. And that's why this movie hit so hard- it could easily have been adapted into a contemporary setting and the grim reality of it all would still be the same.  The brilliant performances by all the actors, but especially Viola Davis and Chadwick Boseman, reinforce the film's message- it's hard to be a coloured person in America, and the negotiations you

My very first Hindi movie from the 40s, and I'm glad that it was this! It's so beautiful to look at, some of the dialogues are really lovely, the acting is good, and of course, Nargis ji looks like an actual angel. While the story itself didn't really work for me (no deep reasons, just a personal preference), these other factors made the movie a memorable experience, and also made me awe at the power of cinema as an art form yet again. I feel like I'll have to rewatch it some other day to properly soak it in. But till then, all I can say is that watch this movie for Nargis ji, an actual star. What a fine and captivating performer <3

The movie excels at setting up an eerie ambience- right from the first scene, you get the constant feeling that something messed up is going to happen. However, where the movie falters is its pace. I found it more slow moving than was really necessary. I get that they had to try and make the narrative unfold slowly so that the feeling of dread was intensified; with that being said, I still feel that it was a little too slow nonetheless. There were moments when I wished things would just move along, the final reveal be made, and we can all move on with our lives.  The last 30 minutes of this movie are terrifying enough to maybe make up for the other faults. I say maybe because I'm still mad at the flaws, but I do appreciate how scary they were and how I'm thinking of their deeper implications only now. Also, Nicole Kidman has amazing screen presence (we been knew) and everytime she was not there, I could only think about how I wanted her back. Christopher Eccleston was sadly not

Spoilers ahead. This movie, and especially the ending, made me feel so much heartache that I don't see myself ever recovering. There's a lot that can be said about this movie, but in the interests of coherence, I will focus on two things that hit me most: why I think this film is genius, and my admiration for the casting choices (stan Trisha and VJS if you ever want to stan anyone).  So why do I think this movie is a genius? Because despite everything that you consciously know will happen, i.e. Jaanu eventually getting on that flight to get to her husband and daughter, the film still subconsciously sets you up to expect a "happy ending". And how does it do this? By utilising every trope loved by romantic drama lovers in the subtlest way possible. Two people grow up together, fall in love during adolescence, a crisis out of their control wrenches them apart, they never stop thinking of the other, the guy actually keeps a track of what the girl is upto, there is a compl

First of all, this was not the Bollywood x Nollywood collab that we deserved in this tough time. The production values were OFF, and even if you can forgive that like I tried to (my friends were way less forgiving, as they should), the story itself was such a jumbled mess that I wanted to sleep halfway into the movie, not caring what was going to happen next. Maybe watching terrible movies is the right way to get rid of my closure issues, but I digress. Anyway, this honestly felt like six student films crammed into one, which resulted in such a half-baked half-assed weakling of a movie that by the time it ended, all you felt was rage which was intensified because right when it ends, the movie also casually jokes about dowry. Yes, as if everything else wasn't bad enough, we're now normalising dowry too. Beautiful Indian values, indeed. Don't even get me started on the Indiansplaining done by the director herself of Nigerian women- that discourse was so messed up. I was right

This movie was so bad that I put it on mute and worked instead on a fancam that I was making. The main "plot twist" or whatever it was (yes, I don't even know the correct way to label this travesty) made zero sense and lowkey made me wish I could go back in time and never watch this movie at all. The only redeeming factors were Madhuri Dixit dancing, Madhuri Dixit serving one look after another, the brother-sister relationship between Farooq Sheikh and Madhuri Dixit, Farooq Sheikh being an excellent elder brother and the song "Baby Don't Break My Heart". And that's... pretty much it. I was expecting some good ol' homoeroticism between Akshaye Khanna and Sanjay Kapoor, but even on that front this movie was underwhelming and disappointing. Sad!  On a positive note, I did finish my fancam earlier than I was anticipating and it has brought me a lot of joy so technically I won. Especially because the movie I watched right after this, on the very same day,

Trigger warning for inc*st, attempt to s*icide, and s*lf-h*rm. It's probably a "me" thing but I just found the entire experience of watching this movie "meh". I feel like it tried too much within a limited amount of time, which almost paradoxically made it feel longer than it really was, and left me with a heavy head and a weird feeling throughout the day. I don't want to sound apologetic about a "famous" movie that I didn't like, but even though I understand that there's a lot to appreciate about this movie (the most obvious being the movie's feminist core, and its complete disavowal of the typical savarna feminist who doesn't believe in intersectionality), the movie as a whole just doesn't work for me. What I mean to say is that I don't think that it's a bad film at all, it just isn't for me.  My biggest problem with the movie has to be the character of Zeenat. I completely fail to understand her motivations, and I

Trigger warning for r*pe. I tried so hard to like this movie, because of Madhubala giving one of her finest performances here, but man, the story is so creepy and pathetic that I just couldn't find it in myself to appreciate anything else other than her. And her chemistry with Dilip Kumar, of course- legends are made of this stuff.  Nimmi's performance was equally powerful as Madhubala's, a fact that I was pleasantly surprised by, since I have not seen any of her other movies. Women really have been carrying the film industry on their shoulders since the beginning itself. However, Nimmi's character was written so lazily and disgustingly, that by the end I had quite forgotten how much I enjoyed her performance. It also doesn't help that the movie is casteist as hell. The milkman's daughter worshipping the up-and-coming rich lawyer even after he r**es her? No prizes for guessing the caste dynamics here. And don't tell me that it's a product of its time bec

Like I've been saying for some time, movies made in 1996 are just superior and this one is not an exception to the rule.  Dharma Chakram is easily one of the best Venky performances ever- I could not take my eyes off of him during his monologues which were delivered exceptionally well, or during the songs, where he was somehow both a cutu clown and the swoon-worthy romantic lead, or during his comedy scenes which he is always A1 at. Yes, I should have just said that I couldn't take my eyes off of him at all, but that's not enough gushing for me. Even though I watched it without subs, I didn't really feel like I was missing out on a lot, all thanks to Venkatesh being the amazing actor that he is. He has such an effortless screen presence, and I am glad that my first non-subs movie was one of his, because I feel encouraged to widen my horizons even more now. Also, shout-out to Srividya, Ramya, Prema and Girish Karnad for being fabulous too, and making this movie such a ti

This felt more like a slow-burn than anything else. I have to admit, I was a little annoyed by how long it took them to get to the "one day missing" part, considering that it was one of the first things that I knew about the movie. However, that might be a "me" problem- after all, I am watching it 16 years after it was first released. Even though I was fairly impatient by the time the "one day missing" part was announced, the rest of the movie from that point onwards more than made up for it. I loved the pace, I loved the twists and turns, and I loved all the characters and their trajectories and the actors and their performances. It was a chef's kiss of an hour, and that's the best and only way to describe it. The message was very much needed and is still relevant today, if not more. The songs are also amazing, and "Evaraina Chusuntara" is already a fav. Speaking of which, how good was Charmy?? I've had a soft spot for her ever since

Trigger warning for homophobia and biphobia. Watched a white people movie after a long time, and I remembered why I had stopped. Kids, nostalgia is a lie. This movie was nothing but wasted potential. I was briefly moved at the end of the movie due to the found family, but by then I had been triggered enough by this movie for even my favourite trope to salvage it.  The worst part is that I actually LOVE Jennifer Aniston. I think she's a terrific actress, and I genuinely enjoy her screen presence. Here too, she did the best with what she was given, but I  honestly detested her character so much that I felt a physical revulsion. This movie was both homophobic and biphobic simultaneously, and there was just no consequences for such characters which was of course the most homophobic and biphobic thing of all.  Hate, hate this movie. I even contemplated giving it a higher rating (of one star) on Letterboxd, but then I remembered how I had recoiled during the scenes where Jen was acting l

Nothing in this world will ever be as powerfully cute as early 2000s Jyo. She is so delightful, owning that era with her bubbly charm and beautiful eyes. Kushi is probably the most perfect example of this slice of the Jyothika Cinematic Universe- everything Jyo does here is memorable, fun, adorable, sassy, and also everything that I ever want to be. Overall, this film works best as the ultimate comfort- it's just one good scene after another with the best vibes ever to support you on a bad day. The kiss in the end is AJFJKFNLCF WOW TOTALLY WORTH THE THREE HOURS THAT CAME BEFORE IT I LOVEEEEEEE. Very professional "review" I know, but foetus Vijay and Jyo and their chemistry together have robbed me of my ability to think clearly. I loved this movie so much, that halfway into watching it, I wanted to delete my Telugu Kushi review and reduce its rating on my Letterboxd (I did the latter only, don't worry) because this movie completely changed my perception. It's basic

This was the first Amol Palekar movie that I've seen where he wasn't my favourite thing about it. He was just there- I didn't really have any strong feelings about him or his character, just an overall "meh". Tina Munim though- girl really can't act, but she is so beautiful that I'll let it slide, even if it is PAINFUL to watch her sometimes. However, I did find her character Nancy very relatable. She was as stubborn, petty and weird as me, and a part of me does wish that they had cast a better actress for that role. But again, I am nowhere as beautiful as Tina ji, so I guess it all works out. Coming back to my favourite parts of this movie- the unbelievably amazing Leela Mishra, and the songs which are a bop even today. I want to take this opportunity to officially declare myself as a Leela Mishra fangirl, because damnit, she is just too funny. Also the song "Kahan Tak Yeh Man Ko" is an absolute gem, go listen to it if you haven't yet. Easil

I went into this film expecting it to be soft (something about the premise and the poster) but the joke was on me since it was the complete opposite. Not that I'm complaining- Telugu mass movies are my jam, especially ones with good comedy and music. The music!!! Bonus points for making Satyam the middle child (we really are the writers, the dreamers, and the ones most likely to get kicked out of the house and still loving our family to bits).  Sumanth was surprisingly HAWT- surprisingly because I've only ever seen him in Godavari before this. Speaking of which, his roles in both these movies are so different, and yet, he shines in both???? The wrong grandsons of ANR get all the hype, smh. Genelia was good, as always, although her role here was eerily reminiscent of Happy (2006). I wonder what to make of that. Coming back to Sumanth though- his chemistry with Kota Srinivasa Rao was excellent, and made me that much more invested in the movie. But the person that made me love the

This was honestly (lol) such a delightful movie to watch. I was laughing almost constantly, thanks to queen Ra Mi-ran with whom I am in love after a single movie. It do be like that sometimes.  Honest Candidate  is a movie that I'd recommend to everyone, especially when they're looking for a fun, light-hearted comedy with super relatable characters. There isn't anything else I can say, except that I just want more of Ra Mi-ran being hilarious. So glad she won an award for this role.  In conclusion, go watch it already!!!!!

Spoilers ahead: Right as I was about to write this review, I did the math and realised that Sujoy Ghosh is none other than the director of Kahaani (2012). This made me feel incredibly relieved- had I known earlier, I would have definitely realised what was going to happen in the end and that would have left me even more underwhelmed. To be fair, the story had me completely gripped till the very end (the precise moment being when the real Badal Gupta knocked on Naina's door) and even though I had a nagging suspicion since the beginning that AB wasn't who he claimed to be, I was still completely freaked out when the real Badal Gupta appeared. In hindsight though, I feel like it was more of a jumpscare than anything else, because the ending left me so thoroughly unsatisfied. The movie went completely all over the place in the last 20 minutes- I still don't see how "Badal" made Naina confess to Arjun's murder, and frankly, I couldn't care less. Feels like a wa

Trigger warning for r*pe. The worst part about this movie is Suhasini's acting, because it was so good that it lulled me into a false sense of hope. But no. Spoiler alert: she does marry her rapist and it is actually implied that she is happy with her decision.  Now, you may wonder why I chose to watch this movie, despite knowing the basic premise? The answer is that I'd heard a lot of good things about its director, Bharathan, who is regarded as one of the greatest filmmakers from Kerala. This was my first movie of his, and well, my fault for ever trusting a man. I'll be taking all his other "praise" with a pinch of salt from this point onwards.  In conclusion, there was no need for this movie to ever be made. 

Rarely do I come across a movie that I feel is fully deserving of the hype and emotions around it. I try to keep my expectations low, but it is so nice to watch something that dares you to expect more, because there's a chance after all that all your hopes will be fulfilled. Bommarillu is thankfully one of those movies, and the fact that it stars some of my favourite people (Siddharth, Prakash Raj, and Sunil), just fills my heart with even more joy.  Even though both Sid and Genelia are adorable, it's the way the film portrays their relationships with their families that makes it so special for me, and for my friends. I found myself relating so hard to Siddhu, with Prakash reflecting both my parents somehow. I could totally understand his nervousness, his passive aggressive behaviour, his constant whining to his friends, his sense of indecisiveness, and most importantly, his breakdown in the end. All of it hit so close to home, that I was sobbing for quite some time after the f

The undoing of Katha is the way it lags in the middle, and makes you more impatient for the final resolution to already happen and for the movie to end. And it's this stretching that makes you hyper-aware of the movie's flaws, adding to the "meh" feeling that's been getting gradually intensified. However, there is a lot to appreciate in this movie- the way it sets itself up as a modern (80s's modern, which is already an ancient for me) retelling of the hare-tortoise fable through a story that Dadi amma (Leela Mishra being super adorable as always) tells her precocious grandson; the restaurant sequence (G for Genius); Deepti Naval yearning; the representation of a typical chawl ad its inhabitants; and of course, impeccable performances by the three main leads. My favourite character though has to be Jojo, played by Winnie Paranjpye Joglekar, who I found very relatable in her chaotic-ness.  As for the story itself, I found the ending very unsatisfyingly rushed-

Hasn't exactly aged well, especially Vijay's discourse on love, but well, it's Jyothika and Vijay, aka one of the best onscreen pairings. Also, the simp in me was SWOONING when Vijay was being the romantic hero. Not even gonna lie, I felt like my soul had been cleansed with those good old "I'll never let you cry" lines, especially when delivered by an actor as fantastic as Vijay. Can you tell I'm a simp? Also, I just realised that the "I'll never let you cry" lines are one of my favourite film genres, and I really don't want to think about what led me in life to be so in love with them. Vijay as an action hero is pretty badass too. That final scene where he falls from the roof- chef's kiss. Jyo was being the girl-next-door as per usual, but that is HER genre, and I love her for it. The story was entertaining, the mass movie I deserved after unsuccessfully trying to watch a "masterpiece". Whatever. In conclusion, very tempted

For the first time in a long time, I left a movie midway because I just couldn't take it anymore. I tried really hard to hang on, for Jeon Jong-seo, but there's only so much creepy masturbation that a Delhi girl can be expected to witness and stay sane after. Maybe I'm simply not cut out for "art" or "critically acclaimed" films, or maybe this was just boring and pretentious and for the life of me, I can't figure out the point of it all. Even after reading the Wikipedia entry. I mean, they could have made it really creepy and a good horror movie, why would they go down this snoozefest of a path? Disgraceful. Going to watch a Thalapathy movie now to feel okay again. 

I liked this movie well enough in certain places, but still not well enough to not feel progressively more exasperated with how much it resembled a soap opera. And worse, a soap opera that just fell FLAT. It's a shame really, because the other Khalid Mohammed movie I watched, Silsiilay (2005) was A1, and also because the Urmila-Shabana reunion deserved a more nuanced tale of mother-daughter dynamics. In the end, I was just annoyed by the supreme waste of potential, and wished that I had just watched Rangeela (1995) instead like I was planning to. PS- go listen to the song "Na Shiqwa Hota" from this album. An underrated Rahman song if there ever was one. 

The first half of this movie was excellent- literally didn't let my attention wander for a second, and kept me super invested and also terrified of what was going to happen next. The second half though, was a huge let-down. It felt a little stretched, and I couldn't help but check again and again how much time was left. It would have been forgivable if the ending was good, but it was such a let-down that you couldn't help but get angrier at the other flaws.  Overall, it was an underwhelming experience, considering how much the film had raised my expectations with the premise and the first half. However, I will admit that I started lowkey simping for Jeon Jong-seo, who plays Young-sook, because she was so delightfully crazy and amazing and I am already planning on watching her one other film because yes, she just affected me that much. Silver linings, I suppose.

This was one of the first movies I watched as a kid that made me wake up to the iconic comedy of Johnny Walker. As much as I love Waheeda Rehman and Sunil Dutt in this movie, it's Johnny Walker's scenes that I remember at odd times of the day, especially that hilarious accent.  As for the lead pairing, they're both adorable and have good chemistry, even though it's never made clear exactly why they fell for each other. But who cares, as long as there's good music and some top-notch comic sequences involving Dutt saheb putting on literally 4 different personas to impress the char kante? It also helps that the movie has aged incredibly well, and there was hardly anything to make one cringe. The part where Sunil sulks because he runs into Waheeda with a different man each time was a bit dated, but that's about it. Otherwise, it's a good old rom-com, Bollywood ishtyle.  In conclusion, the classical dance performance by Waheeda ji in this movie is everything. Go

I have so many mixed feelings about this movie that I honestly don't know where to start. Considering how polarising it was (and continues to be), I guess that was bound to happen.  Let's start with the good. First of all, I can't get over how good Ranbir Kapoor was. You can see that he really put in his 100% into becoming Sanjay Dutt, and it was quite an experience to just witness that. While we are on this topic, it would be criminal to not mention just how good the make-up, prosthetics and costume departments were. I give them full credit for this movie being the visual spectacle that it was. I also really appreciated Vicky Kaushal's acting here. I'd last seen him in Bhoot (2020) and man, that was a headache. Good to know that he's not as overhyped as I've been suspecting him to be for some time now (especially after watching Uri ). Him and Ranbir kind of saved this movie, to be very honest. The non-technical good bits that I want to talk about are how th

It's MS Narayana in the first half, and Brahmanandam in the second, who prevent this movie from becoming tedious. While the former leaves you wheezing with his RGV spoof, the latter gives what is arguably one of his best performances of all time. Once you hear Brahmi garu say "I am the FIRRE", there is just no going back. In addition, Nassar, Brahmanandam and Tarak have amazing comic chemistry, which more than makes up for the fact that this movie was full of plot holes and inconsistencies- in fact, I don't even mind them because I just don't care. I came here for epic comedy, and I was blessed with something even more memorable than I had dared hope for. Kajal, who I initially found quite annoying, grew on me soon enough, but do not ask me why or how. It is what it is.  My favourite sequence has to be when the ladies drunk dance with Tarak to semi-raunchy songs. Simply superb, undoubtedly iconic, masterfully a masterpiece- all these phrases don't even come cl

You might form certain assumptions about what this movie might be like after reading the basic premise, but whatever it is that you've imagined, the movie is darker and grislier than that. It left me so terrified that I had to text my girlfriend afterwards (she gets more scared than me, so I just told her that I'm terrified LOL). More than under your skin, this film gets under the parts of your brain that never see the light of the day, so be prepared for that. I really can't say anything else about this movie without giving something away, so I must end this "review" here. PS- never have I ever been this scared of closets. And I was in the closet once. (Sorry, but I had to).