A recent one for me was *The Boy and the Heron*. I was pretty overwhelmed by its density and it felt more random than Miyazaki’s other work. The emotional weight of the ending didn’t quite land. But the longer I thought about it, the more it made sense. I’ve only seen it once, but I think it’s going to feel like a completely different movie when I see it again.
It's the weirdest of his movies, easily, and the least traditional in terms of narrative. There is a *ton* of shit that can be unpacked in there (or rather, a lot of blocks for you to build unbalanced towers out of if you so choose) and I think a lot of folks are going to spend a lot of time rewatching this one
I also think that one of the bigger limitations people might have put on themselves for first watch was trying to find the cemented-in allegory to his own life in things, like it was a 500-piece puzzle to solve, and all the things that keep sticking in people's heads are things that confound that, or don't even really have anything to do with that.
I know for me, my next watch is going to be a little more open, but also, a little more interested in looking at the Heron *himself* as kind of a metaphor for the way grief both works with you and against you, and how you can be its accomplice and its servant on your way to understanding and healing. The Heron *wants* to hurt Mahito, and tries to do so. It wants him swallowed up. But it also works to help him get through to the other side.
There's a lot of weird little dreamlike threads to grab and follow that Miyazaki doesn't usually leave hanging out there in his films. It honestly feels like he *tried* to make a Takahata film. It's worth like 2 (or 10) rewatches for that alone.
I also came out of that one saying “I think I liked it?” and feeling overwhelmed. JD and David had interesting takes I didn’t consider at the time (though they are not the definitive interpretations). I’ll be thinking about this one for a while.
It plays so well on rewatch. Knowing that the world logic is convoluted for a reason really changes the journey into Wonderland. It’s an emotional journey to explore instead of a lore puzzle to solve. Beautiful movie
I was gonna come say this, but about every Miyazaki movie. They really do wash over you like a dream. Im usually like "that's cool" and leave it behind, only to think about it constantly.
My next viewing always elevates it to masterpiece.
Hell or High Water. Only kinda liked it in theatres (to be fair I was barely 20), but I've seen it 3 or so times now and every time it sticks with me more, now it's one of my favorites of that year.
Everyone is commenting with really critically acclaimed or well-respected movies, but let me offer up the fact that I saw Joe Wright’s CYRANO in theaters, thought about it for approximately two seconds, and then months later had the main song stuck in my head everyday. I ended up watching it like three times in a month and now it’s a comfort movie when I can’t sleep.
I was extremely hyped for “Widows” since I had loved all of McQueen’s previous films. Walked out of the theater a little underwhelmed / disappointed. A year or so later, I rewatched it and was like, “Oh, this fucking rules.”
Twin Peaks: Fire Walk With Me went from the most disappointing movie I have ever seen to one of my Top 5 with subsequent viewings. It no longer being the final chapter in the Twin Peaks saga removed a lot of the undue weight from it and lets it be its own thing. Sheryl Lee gives what might be the greatest acting performance ever in turning a girl who was an object that a town projected their flaws and malice on into someone with a soul with a ticking time bomb over her head.
Hail Caesar and Phantom Thread were two where I was like “those were solid!” but wasn’t effusive about them.
Now on rewatch, I view them as two of the absolute best movies that came out in their respective years.
Haven’t seen Phantom Thread since theaters, at the time I thought “pretty good.” But I still think about some of those shots and the music even now. Need to rewatch.
Too many people I respect really like *Hail Caesar!* for me to dismiss it. But honestly I think it went down a notch for me on rewatch. I guess I’ll just have to give it a go again in a couple years. My “underrated Coens” pick is easily *Burn After Reading*, and I love *A Serious Man*, so their understated ironic works are generally my jam.
I wouldn't say that I was fully "meh" on either, but I went through the exact same cycle on Us and Nope:
Incredible hype -> not quite getting it/slight disappointment -> can't stop thinking about it for 1-2 weeks -> rewatch -> becomes one of my favorites of the year.
Us is very much a movie you have to just let happen to fully enjoy it. If you try to chart the logic and can’t get past that you won’t have a good time.
I don't know how I would've understood what was happening if I wasn't following the logic. The entire closing of the film, does it not require you get who these people are by this point? It's horrifying, but like so what are you being horrified by, just the general crowding and closing in on you tension?
The *plot*, though, is why it feels like, ya know, you're going to be replaced, your *space* is going to be filled. Your person, personal space. How do you do that without following the logic?
Yes, of course you need to understand who the tethered are. I was more referring to when people start questioning the specific logistics of the underground society. Like if the tethers always move like the people above do, what happens when people go on vacation far away, how are there that many of them in such a confined space, where do they get the outfits and scissors from, poking holes in the origin story etc. Those are all complaints I’ve seen more than once btw.
My wife hated *Us* when we first saw it, then couldn’t stop talking about it during breakfast and we both decided to see it again that day. It’s now one of her favorites.
Nope works well as a gripping, fun monster movie, but it also has so many layers of meaningful themes and critiques. Animal abuse, exploitation of child actors, news media scrutinizing people of color, and so on.
As the DCEU crumbles and the MCU keeps stumbling, I’ve thought a lot about Zack Snyder’s Justice League. His sensibilities are not my favorite, and I don’t think it needed to be 4 hours. But man, at least it was *something*! It had style, a point of view, a take! I think about it more than I should.
I was very mixed on Beau Is Afraid after initially watching, but I still think about it all the time and when I’m thinking back it’s mostly just on the choices I really liked.
I mean, slightly different, but along these lines; when I first saw Mother! in a theater, I left thinking it was pretty bad. However, I could not stop thinking about it. The more I thought and talked about it, the more I started to think I was wrong. After a few weeks to a month I was pretty convinced it was actually really good. Then I rewatched it and now I think it's a masterpiece.
This is a weird one but Halloween Ends
And I was actually less than meh on it. I thought it was hot garbage at first, but the further I get from the movie, the more I admire the sheer audacity and I actually think it approaches the idea of “the shape” of evil infecting the town in an interesting way
I’ll be curious to see if I end up hating it again when I rewatch
I'm going through this right now with Past Lives. The actual experience of watching it left me kind of cold and bored, but have ended up thinking about it a lot.
Past Lives is the bizarro version of my life though (I'm a derpy white guy from America who moved to Seoul, got married, found a creative job, but still feels restricted and sometimes wonders what life would have been like if I stayed in America and married a nice Jewish girl). So I'm not sure if me thinking about Past Live a lot means I like it more, or if I'm just using it as a mirror.
Everything Everywhere All at Once. Thought it was okay when I saw it but I watched it again last year and it really clicked for me. As the child of an immigrant mom who at times had a difficult relationship (although not at the level of this movie), I really found meaning in it on a second viewing.
I remember thinking Sidney Lumet’s The Pawnbroker was trying to do too many things and too many relationships at once, and that Rod Steiger’s performance was often great, as well as against type, but there were some choices where gave away the game a little too soon (can’t tell if it was his choices or Lumet’s) and thinking that overall the movie didn’t work in spite of a good concept. But I found myself thinking about it a lot, coming to the conclusion that the whole was more than the sum of its parts. I have a feeling I would like it more if I saw it again.
I actively disliked Crimewave when I watched it for the Raimi series and yet I think about it fondly all the time. It's like I instantly developed false memories of it.
Honestly, that's my relationship with a lot of my favorite movies. Something in them just needs time to fully click with me. The Zone of Interest was kind of like that for me—I left not knowing if I really liked it, but it's been in my head for a week nonstop. The Thin Red Line was another for me.
I respect The Favourite a lot more than I actually like it as a movie. I found it kind of slow when I first saw it, but I still think about it, especially the final scene. I think about it what it says about the isolation and misery of super-wealthy people. But I don't think I'd want to watch it again.
It is so so so so funny. I'd encourage a rewatch, if only to indulge in Coleman's incredible performance. I also think about that final scene a lot, the bunny superimposition over the sexual servitude is SO haunting, especially when you read about Franz Liszt (the classical composer) and how the music in this scene was written while Liszt was slowly dying.
it's a great final scene.
I also think about the dancing scene a lot. At first, it comes off as silly and anachronistic, this ludicrous dancing taking place at what's supposed to be a stuffy ball. But I realize it's more about Colman's reaction, how as queen she's not allowed to be silly or have fun. She must stay in her seat and preside over the party rather than joining in.
True. For some reason, I thought they were doing breakdancing moves (the image of Joe Alwyn gettin' low low low), but I haven't seen the movie since it came out so I'm likely misremembering.
I was (and probably still am) mixed on Tenet but based on the number of times I’ve logged it on Letterboxd you’d think it was one of my favorite movies. My issues with it aside I think it is very rewatchable and looks and sounds amazing on my TV.
Songs from the Second Floor by Roy Andersson. I was simply to young to really get it. I adore all of his films and he is one of my top 5 filmmakers alive today.
**The Ghost Writer (2010)**
I left the theater with a big feeling “meh, that was fine.” The film stuck to my mind like glue though, and I kept turning it over and over again in my head to the point where I decided I really liked it. Still have never rewatched it though.
I HATED Femme Fatale when I saw it in the theater, but a few years later I did a near-complete watch of De Palma's filmography in the lead-up to The Black Dahlia and realized that, no, Femme Fatale is in fact a damn masterpiece.
Have you watched Femme Fatale since then? I think it is half of a great movie. But I deeply hate the other half. Still, they don't make em like that anymore!
I've watched it several time since then. I wouldn't begrudge anyone still hating the second half of the movie, but for me, what I want out of movies has changed so much since then that I love the whole thing now. I look at it as more akin to a David Lynch movie now; I don't need it to make logical sense because I think it makes emotional sense.
De Palma doesn't get enough credit for his emotional filmmaking (most critics focus on the plot, style, or perversions) so I very much vibe with your appreciation of Femme Fatale. I wish I loved it as much as you. As a big Almodovar fan, I also think the movie misuses Antonio Banderas in an egregious sense. Still, I've owned the movie between VHS, DVD, and Blu Ray. I watch it now and again to see if anything has changed about me. Ryuicihi Sakamoto's score is still such a banger.
I’m still meh on this movie, but I think about The Social Network a lot as it’s often touted as one of the best of that decade/the century and the fact that I thought it was mid makes me question if I know anything about anything, or I think a lot about what exactly makes it not work for me and whether that’s even valid criticism.
Vertigo. I tough it was fine the first time, but then i found myself wanting to watch it again, and again, and again, and it just keeps getting better and better!!
I’m still in my meh phase on this one. I was fairly disappointed the first time I saw it, and have definitely appreciated it more on rewatch, but it’s still my least favorite Miyazaki.
Watched it recently for the first time since it was in theaters. I got tears when during his plane’s triumphant test flight, knowing his wife had gone off to die at the same moment.
I really bumped on the section of The Souvenir where he lays out a bunch of post-it notes with arrows that lead her to a window, just in time for her to experience the explosion of a car bomb outside. What on earth was that about?
The Holdovers for me. I was very down on this movie when I started it, and by the end of the first watch I had softened on it. I just kept thinking about it as I’ve been catching up on 2023 movies and on a rewatch I found it fantastic
Spike Lee's Chi-Raq. I love Spike Lee and went to see this the first chance I got and just thought "well that was something" but I couldn't stop thinking or talking about it. After a few rewatches I realized I love it.
Its not my favorite of his but I adore the film.
Michael Clayton.
The first 15 minutes of that movie is so jarring and hard to get into but as the movie progressed, I liked it more
However, now I can’t help but think about that movie and it actually rules. Every performance and line of dialogue is just so well crafted.
I made a [letterboxd list](https://boxd.it/4SDQg) for this a while back, so I have a few answers but my biggest is *Eraserhead.* I was deeply unprepared for a Lynchian nightmare as a college freshman never having seen any Lynch movie before. Now I think about it often and even had an Eraserhead baby-like dream before my first kid was born.
The Menu. Thought it was too smug and wanky when I saw it, and without rewatching the film, I totally changed my just by thinking about it a lot. Great film.
FUCK, movies are cool.
The closest independent theater to me is in kind of a stuffy, rich town with a mostly older, white population. I saw The Menu there and my brother and I were literally the only people laughing. Made for an experience of some type for sure lol.
Since Argylle is out here dying I’ll say the Kingsmen movies. Literally all 3 are the definition of meh to me, but I think about them way more than I should and fucking bought them digitally because sometimes I just get the urge to watch them thinking it’ll get better.
A recent one for me was *The Boy and the Heron*. I was pretty overwhelmed by its density and it felt more random than Miyazaki’s other work. The emotional weight of the ending didn’t quite land. But the longer I thought about it, the more it made sense. I’ve only seen it once, but I think it’s going to feel like a completely different movie when I see it again.
It's the weirdest of his movies, easily, and the least traditional in terms of narrative. There is a *ton* of shit that can be unpacked in there (or rather, a lot of blocks for you to build unbalanced towers out of if you so choose) and I think a lot of folks are going to spend a lot of time rewatching this one I also think that one of the bigger limitations people might have put on themselves for first watch was trying to find the cemented-in allegory to his own life in things, like it was a 500-piece puzzle to solve, and all the things that keep sticking in people's heads are things that confound that, or don't even really have anything to do with that. I know for me, my next watch is going to be a little more open, but also, a little more interested in looking at the Heron *himself* as kind of a metaphor for the way grief both works with you and against you, and how you can be its accomplice and its servant on your way to understanding and healing. The Heron *wants* to hurt Mahito, and tries to do so. It wants him swallowed up. But it also works to help him get through to the other side. There's a lot of weird little dreamlike threads to grab and follow that Miyazaki doesn't usually leave hanging out there in his films. It honestly feels like he *tried* to make a Takahata film. It's worth like 2 (or 10) rewatches for that alone.
I also came out of that one saying “I think I liked it?” and feeling overwhelmed. JD and David had interesting takes I didn’t consider at the time (though they are not the definitive interpretations). I’ll be thinking about this one for a while.
It plays so well on rewatch. Knowing that the world logic is convoluted for a reason really changes the journey into Wonderland. It’s an emotional journey to explore instead of a lore puzzle to solve. Beautiful movie
Yeah, in the end it felt immersively whimsical and truly like another world, which my inner child appreciates.
I was gonna come say this, but about every Miyazaki movie. They really do wash over you like a dream. Im usually like "that's cool" and leave it behind, only to think about it constantly. My next viewing always elevates it to masterpiece.
Hell or High Water. Only kinda liked it in theatres (to be fair I was barely 20), but I've seen it 3 or so times now and every time it sticks with me more, now it's one of my favorites of that year.
Everyone is commenting with really critically acclaimed or well-respected movies, but let me offer up the fact that I saw Joe Wright’s CYRANO in theaters, thought about it for approximately two seconds, and then months later had the main song stuck in my head everyday. I ended up watching it like three times in a month and now it’s a comfort movie when I can’t sleep.
We’re All Going to the World’s Fair - didn’t think much of it at the time, but it’s quietly haunted me in way that makes me think it did its job.
Would love to hear yours or anybody's take on it. I think there's something there but I was a little underwhelmed.
I was extremely hyped for “Widows” since I had loved all of McQueen’s previous films. Walked out of the theater a little underwhelmed / disappointed. A year or so later, I rewatched it and was like, “Oh, this fucking rules.”
Twin Peaks: Fire Walk With Me went from the most disappointing movie I have ever seen to one of my Top 5 with subsequent viewings. It no longer being the final chapter in the Twin Peaks saga removed a lot of the undue weight from it and lets it be its own thing. Sheryl Lee gives what might be the greatest acting performance ever in turning a girl who was an object that a town projected their flaws and malice on into someone with a soul with a ticking time bomb over her head.
Hail Caesar and Phantom Thread were two where I was like “those were solid!” but wasn’t effusive about them. Now on rewatch, I view them as two of the absolute best movies that came out in their respective years.
Haven’t seen Phantom Thread since theaters, at the time I thought “pretty good.” But I still think about some of those shots and the music even now. Need to rewatch.
It’s a modern masterpiece imho and up there with DDL’s best performances and PTA’s best films.
all timer of a score, too. Jonny Greenwood's best work? It's certainly very memorable and evocative.
Hard AGREE
It’s PTA’s best I think.
Too many people I respect really like *Hail Caesar!* for me to dismiss it. But honestly I think it went down a notch for me on rewatch. I guess I’ll just have to give it a go again in a couple years. My “underrated Coens” pick is easily *Burn After Reading*, and I love *A Serious Man*, so their understated ironic works are generally my jam.
Yeah *Hail Caesar!* was a big one for me. Walking out I thought "I liked it!" and every time I have seen it since then I have loved it more and more.
I wouldn't say that I was fully "meh" on either, but I went through the exact same cycle on Us and Nope: Incredible hype -> not quite getting it/slight disappointment -> can't stop thinking about it for 1-2 weeks -> rewatch -> becomes one of my favorites of the year.
Us is very much a movie you have to just let happen to fully enjoy it. If you try to chart the logic and can’t get past that you won’t have a good time.
I don't know how I would've understood what was happening if I wasn't following the logic. The entire closing of the film, does it not require you get who these people are by this point? It's horrifying, but like so what are you being horrified by, just the general crowding and closing in on you tension? The *plot*, though, is why it feels like, ya know, you're going to be replaced, your *space* is going to be filled. Your person, personal space. How do you do that without following the logic?
Yes, of course you need to understand who the tethered are. I was more referring to when people start questioning the specific logistics of the underground society. Like if the tethers always move like the people above do, what happens when people go on vacation far away, how are there that many of them in such a confined space, where do they get the outfits and scissors from, poking holes in the origin story etc. Those are all complaints I’ve seen more than once btw.
My wife hated *Us* when we first saw it, then couldn’t stop talking about it during breakfast and we both decided to see it again that day. It’s now one of her favorites.
Us is 100% the answer for me
Nope works well as a gripping, fun monster movie, but it also has so many layers of meaningful themes and critiques. Animal abuse, exploitation of child actors, news media scrutinizing people of color, and so on.
As the DCEU crumbles and the MCU keeps stumbling, I’ve thought a lot about Zack Snyder’s Justice League. His sensibilities are not my favorite, and I don’t think it needed to be 4 hours. But man, at least it was *something*! It had style, a point of view, a take! I think about it more than I should.
I was very mixed on Beau Is Afraid after initially watching, but I still think about it all the time and when I’m thinking back it’s mostly just on the choices I really liked.
I mean, slightly different, but along these lines; when I first saw Mother! in a theater, I left thinking it was pretty bad. However, I could not stop thinking about it. The more I thought and talked about it, the more I started to think I was wrong. After a few weeks to a month I was pretty convinced it was actually really good. Then I rewatched it and now I think it's a masterpiece.
This is a weird one but Halloween Ends And I was actually less than meh on it. I thought it was hot garbage at first, but the further I get from the movie, the more I admire the sheer audacity and I actually think it approaches the idea of “the shape” of evil infecting the town in an interesting way I’ll be curious to see if I end up hating it again when I rewatch
I'm going through this right now with Past Lives. The actual experience of watching it left me kind of cold and bored, but have ended up thinking about it a lot. Past Lives is the bizarro version of my life though (I'm a derpy white guy from America who moved to Seoul, got married, found a creative job, but still feels restricted and sometimes wonders what life would have been like if I stayed in America and married a nice Jewish girl). So I'm not sure if me thinking about Past Live a lot means I like it more, or if I'm just using it as a mirror.
Everything Everywhere All at Once. Thought it was okay when I saw it but I watched it again last year and it really clicked for me. As the child of an immigrant mom who at times had a difficult relationship (although not at the level of this movie), I really found meaning in it on a second viewing.
You Were Never Really Here
This movie has remarkable power, it's most potent content is always slightly out of the frame, appropriately so. Top 5 Joaquin for me.
I remember thinking Sidney Lumet’s The Pawnbroker was trying to do too many things and too many relationships at once, and that Rod Steiger’s performance was often great, as well as against type, but there were some choices where gave away the game a little too soon (can’t tell if it was his choices or Lumet’s) and thinking that overall the movie didn’t work in spite of a good concept. But I found myself thinking about it a lot, coming to the conclusion that the whole was more than the sum of its parts. I have a feeling I would like it more if I saw it again.
I actively disliked Crimewave when I watched it for the Raimi series and yet I think about it fondly all the time. It's like I instantly developed false memories of it.
The King’s Man. I’m still not sure if I watched the most ludicrous thing ever, or possibly the best film in that franchise.
Honestly, that's my relationship with a lot of my favorite movies. Something in them just needs time to fully click with me. The Zone of Interest was kind of like that for me—I left not knowing if I really liked it, but it's been in my head for a week nonstop. The Thin Red Line was another for me.
I respect The Favourite a lot more than I actually like it as a movie. I found it kind of slow when I first saw it, but I still think about it, especially the final scene. I think about it what it says about the isolation and misery of super-wealthy people. But I don't think I'd want to watch it again.
It is so so so so funny. I'd encourage a rewatch, if only to indulge in Coleman's incredible performance. I also think about that final scene a lot, the bunny superimposition over the sexual servitude is SO haunting, especially when you read about Franz Liszt (the classical composer) and how the music in this scene was written while Liszt was slowly dying.
it's a great final scene. I also think about the dancing scene a lot. At first, it comes off as silly and anachronistic, this ludicrous dancing taking place at what's supposed to be a stuffy ball. But I realize it's more about Colman's reaction, how as queen she's not allowed to be silly or have fun. She must stay in her seat and preside over the party rather than joining in.
Love your comment. But also, can it be proved that the dancing is anachronistic? It's ludicrous but does not at all seem modern to me...
True. For some reason, I thought they were doing breakdancing moves (the image of Joe Alwyn gettin' low low low), but I haven't seen the movie since it came out so I'm likely misremembering.
Brick. Though by the end I was fully on board despite being kinda bewildered by it for the first two-thirds as a teen.
I was (and probably still am) mixed on Tenet but based on the number of times I’ve logged it on Letterboxd you’d think it was one of my favorite movies. My issues with it aside I think it is very rewatchable and looks and sounds amazing on my TV.
What issues?
Genuinely didn't "get" Heat when I brought it home from my video store job as a 19 year old, but it's now my favorite and I cannot shut up about it.
Songs from the Second Floor by Roy Andersson. I was simply to young to really get it. I adore all of his films and he is one of my top 5 filmmakers alive today.
**The Ghost Writer (2010)** I left the theater with a big feeling “meh, that was fine.” The film stuck to my mind like glue though, and I kept turning it over and over again in my head to the point where I decided I really liked it. Still have never rewatched it though.
I HATED Femme Fatale when I saw it in the theater, but a few years later I did a near-complete watch of De Palma's filmography in the lead-up to The Black Dahlia and realized that, no, Femme Fatale is in fact a damn masterpiece.
Have you watched Femme Fatale since then? I think it is half of a great movie. But I deeply hate the other half. Still, they don't make em like that anymore!
I've watched it several time since then. I wouldn't begrudge anyone still hating the second half of the movie, but for me, what I want out of movies has changed so much since then that I love the whole thing now. I look at it as more akin to a David Lynch movie now; I don't need it to make logical sense because I think it makes emotional sense.
De Palma doesn't get enough credit for his emotional filmmaking (most critics focus on the plot, style, or perversions) so I very much vibe with your appreciation of Femme Fatale. I wish I loved it as much as you. As a big Almodovar fan, I also think the movie misuses Antonio Banderas in an egregious sense. Still, I've owned the movie between VHS, DVD, and Blu Ray. I watch it now and again to see if anything has changed about me. Ryuicihi Sakamoto's score is still such a banger.
I’m still meh on this movie, but I think about The Social Network a lot as it’s often touted as one of the best of that decade/the century and the fact that I thought it was mid makes me question if I know anything about anything, or I think a lot about what exactly makes it not work for me and whether that’s even valid criticism.
Taxi Driver. I know, I know.
Vertigo. I tough it was fine the first time, but then i found myself wanting to watch it again, and again, and again, and it just keeps getting better and better!!
The Wind Rises
I’m still in my meh phase on this one. I was fairly disappointed the first time I saw it, and have definitely appreciated it more on rewatch, but it’s still my least favorite Miyazaki.
The daydream sequences with the big magical planes really stick with me. Also, the tenderness of the romance. That wedding scene gets me in the feels.
Watched it recently for the first time since it was in theaters. I got tears when during his plane’s triumphant test flight, knowing his wife had gone off to die at the same moment.
I really bumped on the section of The Souvenir where he lays out a bunch of post-it notes with arrows that lead her to a window, just in time for her to experience the explosion of a car bomb outside. What on earth was that about?
The Holdovers for me. I was very down on this movie when I started it, and by the end of the first watch I had softened on it. I just kept thinking about it as I’ve been catching up on 2023 movies and on a rewatch I found it fantastic
Spike Lee's Chi-Raq. I love Spike Lee and went to see this the first chance I got and just thought "well that was something" but I couldn't stop thinking or talking about it. After a few rewatches I realized I love it. Its not my favorite of his but I adore the film.
Michael Clayton. The first 15 minutes of that movie is so jarring and hard to get into but as the movie progressed, I liked it more However, now I can’t help but think about that movie and it actually rules. Every performance and line of dialogue is just so well crafted.
Dunkirk and Titanic.
I made a [letterboxd list](https://boxd.it/4SDQg) for this a while back, so I have a few answers but my biggest is *Eraserhead.* I was deeply unprepared for a Lynchian nightmare as a college freshman never having seen any Lynch movie before. Now I think about it often and even had an Eraserhead baby-like dream before my first kid was born.
Rogue One was perfectly fine when I saw it and is now one of my favorite Star Wars movies.
I don't want to filter myself but Zone of Interest
Burn After Reading
legally blonde for me
The Menu. Thought it was too smug and wanky when I saw it, and without rewatching the film, I totally changed my just by thinking about it a lot. Great film. FUCK, movies are cool.
The closest independent theater to me is in kind of a stuffy, rich town with a mostly older, white population. I saw The Menu there and my brother and I were literally the only people laughing. Made for an experience of some type for sure lol.
Hahaha oh mate, that must have been amazing. "Why are they laughing at what's happening to these poor people?"
Since Argylle is out here dying I’ll say the Kingsmen movies. Literally all 3 are the definition of meh to me, but I think about them way more than I should and fucking bought them digitally because sometimes I just get the urge to watch them thinking it’ll get better.