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About me

This isn't the first site I've used as a collection tracker and it probably won't be the last, so it's a safe bet that I have at least a mild form of OCD.

At this point I'm waiting for our civilization to collapse under its own waste and stupidity. What better way to pass the time than with movies, videogames, books, and cataloging them on the interbutt?

I'm an IT consultant, writer and also a video editor who creates AMVs (Anime Music Videos) and other various video projects.

You can check out my work at my YouTube channel: http://www.youtube.com/hereticked

About my collections

If it's not well written, intense and intellectually / emotionally engaging, then it probably isn't worth your time. That's my philosophy where it concerns film. I can't stand formulaic action movies, generic dramas, or comedies that insult my intelligence (which is most of them), so you won't find anything like that in my collection. If that sounds elitist to you, then you probably spend a lot of time watching crappy movies. =Þ


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Heretic's Blu-ray Collection (186 items)
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Nightmares I've Survived (Completed SHGs) (39 items)
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Heretic's PS4 Collection (33 items)
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Worlds I've Saved (Completed RPGs) (87 items)
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Heretic's Top 25 Role Playing Games (25 items)
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Published 9 years, 11 months ago 10 comments

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NieR: Automata NieR: Automata
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Blade Runner 2049 Blade Runner 2049
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Mother! Mother!
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Persona 5 Persona 5
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Ugetsu (Criterion Collection) [Blu-ray] Ugetsu (Criterion Collection) [Blu-ray]
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Recent reviews

All reviews - Movies (22) - Games (8)

Return of the Eastern RPG

Posted : 1 month, 1 week ago on 6 November 2017 07:26 (A review of NieR: Automata)

I've played some fine RPGs this year, but until now, none were compelling enough to warrant a full review. I binged on Persona 5 this spring, giving at least 120 hours of my life to another fantasy romp through modern Japan. It was definitely fun, but it wasn't groundbreaking like Persona 3 and 4 were on the PS2 10 years ago.

As the summer drew to a close, I dove into Final Fantasy 15, hungry for a game I'd been waiting forever to play. It was impressive on a purely technical level, but solid real time combat and driving a shiny car around a big open world couldn't mask my disappointment in almost every other facet of the game. After 10 years in development, the story was a scattershot mess with many undeveloped characters and a very rushed ending. The soundtrack, usually one of the finest aspects of the series, was underwhelming and only really stood out during the rare occasion you performed a summon. The story telling and drama, (by my measure, the two most important aspects of an RPG) had been sacrificed on the altar of westernization. At its core, Final Fantasy was no longer an eastern RPG. It had become just another open world western style game with endless busy work sidequests, the presentation of which became the focus of the game rather than developing an intriguing plot and meaningful characters.

At that point I thought maybe I was done with role playing games. Maybe the era of fascinating RPGs was over. Or maybe I was just getting old and the problem was me. Perhaps I had finally "outgrown" RPGs the way older folks who don't understand the appeal of videogames have been telling us we would grow out of them since we were teenagers. But then my gaze shifted to my stack of unplayed games and there was Nier: Automata.

Ok Japanese role playing, you get one last chance. A final fantasy, if you will. I had played the original Nier and two out of three Drakengard games, so I had some idea of what to expect from director Yoko Taro, but I was not prepared for the masterpiece that was about to unfold.

The world of Nier: Automata is Earth 9,900 years from now and it's a world drenched in melancholy. All that remains on the planet are the ruins of modern civilization and scraps of our culture that our descendant androids attempt to piece together. Conflict rages between the stoic androids and a quirky, but dangerous, robot race. The robots cartoonish looks are deceiving, for they possess a sinister collective AI that was bequeathed to them by a mysterious alien visitor. Allegedly, mankind yet survives, but whatever is left of them is safeguarded in a colony on the moon. The androids are charged with exterminating the robot menace and returning the planet to its rightful owner, their creators. "Glory to Mankind."

Our main charcters 2B (doesn't take long for this game to jump into philosophical musings) and 9S are thrust into this brutal situation, a merciless war in contrast with the serene beauty of a mostly deserted world. Few RPGs that I've ever played strike the masterful balance Nier: Automata does between what should be said and what's best left unsaid. In doing so, it respects the intelligence of its audience and crafts a haunting mystery that has you thinking and guessing from beginning to end.

The gameplay is almost exclusively fast paced action alternating between ground combat and sections of flight based combat in mechs. Both systems are fun, engaging and easy to control. There is also a hacking mini-game that resembles old school arcade shooters, but there's only a few times during 9S' story line that they are mandatory. It's a mostly optional part of the game that allows you to hack the enemy in situations where you find it useful.

The musical themes of this game will overwhelm you, likely getting stuck in your head for hours or days at a time. It does an amazing job of conveying the perplexity and desperation of the plot and of instilling in you the sense that not only has some great tragedy already occurred (even if you don't fully understand it) but that another one is yet to come.

Nier: Automata has some shrug-worthy fetch quests like most RPGs, but many of the sidequests are packed with story and meaning. One example: A male and female android are on the run from their former lives, abandoning their posts and attempting to flee and start a life together away from the war. If you choose to, you can help them several times as they try to escape and begin anew. In the last stage of the quest, they have failed, having been betrayed and attacked just when they thought they'd found an exit. At that point, the female android asks you to wipe both their minds so they can return to the resistance and forget that they ever had hope for something better. The male doesn't want to do it, but she assures him, they'll fall in love again even after the wipe. I won't reveal what happens next, but rest assured, an impact is felt.

One of the most endearing aspects of the game are the pacifist robots. A faction of the robot menace has decoupled from the alien intelligence, denounced violence and formed an enclave where they can gather and live peacefully. These beings are the most human creatures in the game, possessing a child like innocence that instantly engenders your sympathy and support. As these robots laugh, cry and express infinite curiosity, 2B, 9S and the other androids struggle with their emotions. It creates an interesting dynamic in the story, suggesting that how human you are is inversely proportional to how human you look and that mankind may have lost its humanity in full long ago.

Like the original Nier, the storyline of Nier: Automata is not told in one procedural line, but is divided into blocks. The first takes about 15-20 hours and each one thereafter takes less time. Each block adds important details to the story and the most dramatic elements are unlocked in the last few chapters. All told, you can complete its full story in 55 hours or less, and despite that relatively short length, it was vastly more fulfilling than any RPG I've played in a long time.

This game not only restored my confidence in the potential of the genre, its existence is proof that Japanese role playing survives as more than just a shell of its former self and that Square Enix has not yet lost all its good talent.

0 comments, Reply to this entry

Greatness, Within Reach, Goes Unrealized

Posted : 2 months ago on 11 October 2017 10:52 (A review of Blade Runner 2049)

Greatness was in reach with Blade Runner 2049, but Denis Villeneuve wasn't quite able to seize it. It's a technical marvel and the film has some truly jaw dropping, standout moments, but in the end it does not coalesce into a coherent, meaningful narrative.

The film dazzles when it introduces us to the technology of its dystopia, fixating the audience with innovations that capture the imagination and immediately make sense in the context of its devastated environment. Even more-so than the science, the landscape tells that tale of Earth in 2049. No dialogue is required as we move from a protein farm to the dingy, neon-lit, overcrowded city to an endless wasteland of junk metal and garbage. The sights and sounds convey all the background information that is necessary, eschewing exposition and trusting in the intelligence of the audience.

Unfortunately, by the end of its 2 1/2 hour run time, the story arc of our new main characters is sacrificed on the altar of old ones. The ending of the original Blade Runner is a piece of cinematic perfection due to its emotionally powerful climax followed by a conclusion that's equal parts tragedy, hope and intrigue. 2049 has an uninteresting climax and contains no such intrigue in its final moments; just some unresolved plot threads and a heaping dose of sentimentality.

Like the story, the soundtrack is hit and miss. It often rises to the occasion and provides a powerful and fitting audio accompaniment to the visual feast on screen, but at other times feels overbearing and lacks the subtlety and ethereal quality of Vangelis' original Blade Runner score.

I don't mean to sound overly harsh because I did enjoy this film, especially during its first two acts, but the bar for a sequel to classic cinema is high. Perhaps I'll have a different take upon subsequent viewings, but as I watched the credits roll for the first time, I couldn't escape the thought that the story needed more work to discover its own message and formulate a resolution that reverberated with its many magnificent pieces.


Amazing visuals
Creative technologies that immerse and delight
Excellent setup that prompts many thoughts / questions
Setting and backstory feel like an authentic continuation of Blade Runner
Thoughtful film making that's more show than tell (most of the time)
Harrison Ford has one really good line


Weak third act
Underdeveloped antagonist (who's not even part of the film's resolution)
Harrison Ford becomes baggage very quickly
The wrong elements become the focus (much like Ghost in the Shell earlier this year)
Soundtrack spiked to gratingly high levels at times
Plot becomes more muddled near the end rather than more clear
Science fiction should never rely on a "miracle" as a plot device


Despite its final act shortcomings, Villeneuve did what few directors could have: make a Blade Runner sequel that did not disgrace the original.

2 comments, Reply to this entry

A Misanthropic Masterpiece

Posted : 2 months, 2 weeks ago on 26 September 2017 09:03 (A review of Mother!)

Darren Aronofsky drops an atomic bomb on the cinematic landscape, bringing passion and artistic vision to the box office where those qualities are in short supply. Mother! might be the most well crafted, intense and creative dissection of religious mythology ever made. It starts out as a slow burn mystery, feeling almost like a dream, but soon plunges forth into nightmare territory. It takes all the assumptions and contradictions of Christian dogma, contrasts them with the reality of our relationship to the Earth, and splatters them across the canvas in all their hideous cruelty.

This is not a film for people who like to have their hands held by simplistic plots, lots of exposition and a paint-by-numbers procession of events. That doesn't mean you need to be a genius to understand its ideas, but it does mean you're going to have to think and some knowledge of the Bible is handy in deciphering its threads. Most of the negative reviews I've read for Mother! were from people who made no attempt to understand it, claimed it's "pretentious" with no supporting argument, or they understood the film on some level but simply didn't like its message. By even engendering this strong of an emotional reaction, Darren Aronofsky has emerged victorious and demonstrated that his work is culturally relevant.

On top of its achievements in the realm of story and ideas, Mother! is also a visual and audio marvel, creating an atmosphere of utter claustrophobia that's as crushing to the audience as it is to the female lead. The tight camera angles and spiking soundtrack ramp up the tension as the movie proceeds from general unease to outright panic. This was a film that was designed to make its audience feel uncomfortable on multiple levels and it does so splendidly.

If you enjoyed Aronofsky's other head scratchers and psychological thrillers (Pi, Requiem For A Dream, The Fountain and Black Swan) you're going to love Mother! If you didn't like those films, chances are you won't like this one either. In the opinion of this reviewer, Darren Aronofsky has taken another step forward in an already impressive career, solidifying his place as one of the best directors of our time.

0 comments, Reply to this entry

The Search For Meaning

Posted : 7 months, 1 week ago on 10 May 2017 08:39 (A review of The Seventh Seal)

I like The Seventh Seal more every time I see it. This is a movie that had the balls to flip religion the bird in 1957. It's a perfect tale of revelation and redemption, thrusting a mirror in front of the human condition.

A knight has returned from the Crusades, but his faith is shaken and the Bubonic plague spreads across the land. If that weren't crisis enough, death itself stalks him on the shores of his homeland and he finds himself playing chess with the reaper to buy himself a little time. But time for what? Time to do something, ANYTHING, to atone for the chaos and misery he wrought in the middle east; a campaign he now knows to have been arrogant, foolish and utterly without merit.

As the knight, his squire and the rest of our characters tour medieval Sweden, we see them confront every horror that the Dark Ages brought to bear. We see opportunistic theft, attempted rape, mockery and scapegoating out of total ignorance, and a mentally ill woman burned as a witch. Everyone is terrified of the black plague, and their inability to cope with it brings out the worst in humanity. As a troupe of bards attempt to alleviate a small town with songs and dance, a Christian passion play comes crashing through the streets, whipping themselves bloody, wailing and begging the sky for relief and forgiveness that will not come. No doubt they will spread the plague further before they drop their heavy wooden crosses and die in agony. Our main characters look on, wondering where the human race went wrong.

The knight endures all this while delaying his inevitable loss on the chess board and seeking answers to the questions that tear at his faith. In the end, none are satisfactory, and yet he remains stalwart in his quest for redemption. When death comes for him and his companions, the knight's good deeds have been accomplished and the cynical squire stares his mortality down, demonstrating that humanity can still perform at its best in the absolute worst circumstances.

There is virtually no fat in this film. It is clean in its beautiful black and white frames, crisp editing and purposeful dialogue. Although mostly bleak in their humor, there are a few laughs to be had among the 96 minutes of existential dread. We're even given a clarifying moment of hope and joy before the credits appear. This timeless piece is Ingmar Bergman's master work and it's as good as films get.

0 comments, Reply to this entry

In Space, No One Can Hear You Vomit

Posted : 7 months, 1 week ago on 5 May 2017 09:02 (A review of Passengers)

Passengers. It's a movie. About dating. In space.

It reminded me of Red Planet, which isn't surprising, since it's the saddest excuse for science fiction that I've sat through since Red Planet.

This movie wanted so badly to be "Moon", but ended up being a poorly scripted soap opera between two conventionally popular actors with no chemistry. It took itself seriously when it really shouldn't have. I like Red Planet slightly better for being self-aware enough to let Val Kilmer say "Fuck this planet!" and end with a Carrie Moss soliloquy about how she's going to spend some time with the space janitor. Either make a real piece of science fiction or be honest about the fact that you're making schlock.


Ship design was cool
Bartender was most likely a homage to a much better film (The Shining)
I have a new director to hate (Morten Tyldum)


Chris Pratt
Jennifer Lawrence
The plot
Endless melodrama
Shameful use of Laurence Fishburne in a sad, 10 minute supporting role
Hideous credits music
Unlike Red Planet, it made money

If Chris Pratt, Jennifer Lawrence and Morten Tyldum each get hit by a flaming bus tomorrow, and die, I still will not believe in god.

0 comments, Reply to this entry

All Shell, No Ghost

Posted : 8 months, 1 week ago on 6 April 2017 10:10 (A review of Ghost in the Shell)

On the one hand, Ghost in the Shell isn't a disaster. Given the history of videogame and anime movie adaptations, that's a considerable accomplishment. At the very least, it drew a faithful real-life portrait of the cyberpunk world of Ghost in the Shell and hit most of the iconic action beats of the original animated film. On the other hand, it tossed most of the important themes and potent atmosphere (the things that make GitS great) out the window in pursuit of a simplified, easily digestible plot. The dialogue lacked any nuance and the best modern CG and special effects don't look as good or feel as compelling as the hand drawn animation of 22 years ago.

The movie is at its best in the action scenes where thermoptic camouflage comes to life and when the creepy geisha bots and other maliciously hacked technology instill the cold blooded potential of transhumanism in our psyche. Also good are the quieter moments when Batou feeds the neighborhood dogs (including a basset hound, of course) and the Major quietly explores the world, searching for her place in it. The movie loses its way when the driving force of the plot becomes the scandal behind how the Major was created (instead of the much more important philosophical question about what her existence means) and the villain emerges as the most typical of bad guy cliches.

There's also some glaring hypocrisy in the ending (spoiler) since our heroic characters have been going on about justice and not killing people, and in the climax, they summarily execute the villain instead of bringing him to justice. The Major, in fact, explicitly calls for this, even though she was the most vocal opponent of unjust killing and human rights abuse throughout the film. Character motivation? Consistency? Feh. You can certainly argue that the villain deserved to die, but ordering an execution of someone who's surrendered makes every word the Major spoke earlier feel completely hollow.

Despite its flaws, I felt engaged. It was well paced, the casting was solid and the acting was serviceable. It was competently filmed, if not dazzling in its angles. I never once looked at my watch (always a good sign) and there were moments, such as Batou losing his human eyes to cybernetic eyes, that offered something different from the animated films and were genuinely cool to see in live action.

It's definitely worth a watch, but I wouldn't rush to the theater to see it. This movie feels like it was tailor made for streaming services to cure your boredom on a rainy afternoon or quiet evening. If you're a GitS fan, you'll almost definitely enjoy it more if you approach this adaptation with low expectations. As a film, it's only slightly better than mediocre, and yet, I was prepared for so much worse. So, while it's a back-handed compliment, I feel like this is the best GitS adaptation that could have been made by the creatively bankrupt Hollywood of 2017. The brilliance of Mamoru Oshii was never within their reach.

0 comments, Reply to this entry

Square Enix becomes a true Film Maker

Posted : 1 year, 1 month ago on 18 October 2016 06:45 (A review of Kingsglaive: Final Fantasy XV)

I wasn't expecting much from this film based on Squeenix's track record in film making. Final Fantasy - The Spirits Within was a fine experiment and a revolutionary piece of animation for its time, but it was far from a great film and highlighted how difficult it is to tell a complex and fulfilling story in a 2 hour time frame rather than the dozens of hours a role playing game is allotted. Final Fantasy 7 - Advent Children was another uptick in the advancement of CG and a great action piece, but it was ultimately nostalgia porn for those of us who loved the original game. Kingsglaive - Final Fantasy 15 is a leap in terms of the animation quality, all but eliminating the ability to discern between animation and reality, but it's also a product of experience. Finally, the writers, animators, producers and directors at Square Enix have acquired the experience to harness the advantages of the medium and have delivered a film that I wish I could have seen on the big screen.

Not only does this movie setup Final Fantasy 15 brilliantly, it's a damn good film in its own right. It has just the right mix of suspense, action and drama and was surprisingly well written and voice acted (including an all-star English voice cast.) It's a shame that it didn't get a wide theater release in North America, because I didn't see a preview for a single summer movie in 2016 that could compete with this film.

0 comments, Reply to this entry

The Only Marvel Film That Didn't Bore Me

Posted : 1 year, 9 months ago on 23 February 2016 10:36 (A review of Deadpool)

It seems there truly is a first time for everything. It's borderline painful for me to admit this, but I enjoyed a Marvel movie. I wouldn't have gone to see Deadpool on my own, but I was hanging with a friend for the weekend and he insisted on buying me a ticket. What happened next was extraordinary: I went an hour and a half without looking at my watch or wondering what was piling up in my inbox.

Perhaps that was part of the movie's success: that it didn't push the 2 hour mark and that it wasn't straining, like some perpetually frustrated fanboy, to announce the credibility of comic book story lines to the world. "COMIC BOOKS ARE COOL NOW TOO! SEE?!? THEY'RE MAKING MOVIES WITH BUDGETS OF HUNDREDS OF MILLIONS OF DOLLARS WHICH MAKES THEM OFFICIALLY ACCEPTED IN THE CULTURAL ZEITGEIST!" No, rather Deadpool was made for less than 60 million, the script was clever and tight, and it focused on one of the strengths of the comic book format: their absurdity and over-the-top nature.

Ultimately, it's another revenge story, but you can get away with following one of the tried and true plot templates as long as you put an original spin on it. Deadpool does this in spades with its buckets of irreverence, a few moments of sincerity to provide contrast, comedy that actually hits and some well filmed action. Also, by shedding the PG-13 shackles, Deadpool remained true to its roots and is another recent example of how film making for adults can still be commercially successful in the 21st century.

My biggest gripe with the movie is its "look", especially the background shots whenever you're outside. Like most modern Hollywood blockbusters the environments have this weird, washed-out gray coloring to them that's about as far from authentic as one can possibly get. That's no doubt a cost cutting measure, relying on CG to fill in for well designed sets and difficult outdoor shots, but the ugliness and laziness of these cheap backgrounds is pervasive in the frame, spoiling what could otherwise be a spectacular looking picture.

It's not an amazing film, but I liked Deadpool. It was well paced, skillfully written, it made me laugh and by being the antithesis of the last 15 years of lackluster super hero movies, it became the first good comic based film since Sin City.

0 comments, Reply to this entry

The Worse Demons Of Our Nature

Posted : 1 year, 10 months ago on 17 February 2016 09:55 (A review of Sicario)

Sicario is more than just an action-thriller about the brutal, pointless drug war in North America. Its graphic depictions and nihilistic tone flip a sizzling pan of heroin into your face over and over again, forcing you to confront the grim realities of wealth, power and addiction.

The cinematography is a treat and the bleak landscapes of the American desert and the gang riddled ghettos of Mexico are themselves a metaphor for the emptiness of the struggle our characters endure. Benicio Del Toro, Josh Brolin and Emily Blunt all put in excellent performances and the script is clean and efficient, eschewing needless exposition in favor of short, smart dialogue that focuses on pushing the plot forward and not wasting time or insulting the intelligence of its audience. The ominous soundtrack and excellent pacing keep you on the edge of your seat as you move from one barbaric encounter to the next.

The ending is truly climactic and impactful, but it offers the audience a chance to meditate on the events and meaning of the piece before the credits role. It is a complete, coherent, well planned body of work that trusts the intelligence of its viewers, which makes it the rarest kind of film these days.

0 comments, Reply to this entry

Self-Indulgent But Fun

Posted : 1 year, 10 months ago on 1 February 2016 08:28 (A review of The Hateful Eight)

Hateful Eight is an enjoyable film on several levels, but like Death Proof and Inglorious Basterds it's also very self-indulgent on Tarentino's part. It's not QUITE as self-indulgent as those movies, but it definitely tried my patience a couple times. When Tarentino made Django Unchained either he (or the people around him) were able to reign in his more ridiculous impulses which enabled him to craft a movie that told a story brilliantly and was still a lot of fun. That was a return to form and I was hoping Hateful Eight would be more like Django Unchained and less like Inglorious Basterds. In the end, it split the difference.

Kurt Russel and Samuel L Jackson deliver amazing performances and are equal parts menacing and hilarious. Much like his first film, Resevoir Dogs, the story of Hateful Eight is a crime caper with one primary set; only this one takes place in the late 1800s. It's ironic that Tarentino tries to fill his movies with interesting / quirky characters and often focuses on them and their dialogue to a fault, when the best characters in this movie were the set (the "Habberdashery") and the blizzard raging outside. His non-human characters help set the mood perfectly and lend the film a feeling of authenticity while the human characters, however funny and impressive in their own right, often make the film feel ridiculous.

The movie simmers for an hour and change before any real action takes place. I consider myself a pretty patient guy but the older I get and the more great works of film I'm exposed to, the more tired I grow of films that are needlessly wordy. The Hateful Eight contains too much exposition and you could easily cut a half hour from its running time and lose none of its impact. This is the "self indulgence" of Tarentino I mentioned earlier and it was so prominent in Inglorious Basterds that it literally put me to sleep the first time I saw it.

The film is scored by the legendary Ennio Morricone and Tarentino tries to emulate the audio cues of old spaghetti westerns with various degrees of success. He also inserts a narrator a few times which was a bad decision that feels jarring and completely unnecessary.

Despite its flaws, the film is a visual feast and I'm glad I saw it on the big screen. It's a movie with a straight forward plot and obvious themes that doesn't necessitate repeated viewings, so I doubt I'll watch it again unless I want to get another look at those beautiful landscapes and the amazing set. Good, but far from his best.

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Posted: 1 month ago at Nov 11 10:45
Thanks for your votes :)
Posted: 1 month, 1 week ago at Nov 1 2:56
Posted: 1 month, 1 week ago at Oct 31 20:25
Wishing all my friends a very 'spook-tacular'--

Posted: 1 month, 3 weeks ago at Oct 23 5:24
Many Thanks for the votes & comments!
Posted: 1 month, 3 weeks ago at Oct 22 13:45
Posted: 1 month, 4 weeks ago at Oct 17 12:08
Thanks for the latest votes, Hereticked! Hope you're keeping well. Have a great week. :)
Posted: 6 months, 2 weeks ago at May 31 17:39
Thanks again, Hereticked! Hope you're having a fantastic week. :)
Posted: 6 months, 2 weeks ago at May 28 20:29
Thanks for the latest votes, Hereticked! Hope you're having a wonderful weekend. :)
Posted: 6 months, 3 weeks ago at May 21 3:26
Thanks for all the votes & comments :)
Posted: 6 months, 3 weeks ago at May 20 20:24
Thanks for the Monica Bellucci vote!
Posted: 6 months, 4 weeks ago at May 19 9:18
Thanks again, Hereticked! Have a fabulous Friday. :)
Posted: 7 months, 1 week ago at May 9 8:16
Thanks for the list votes and comments! Have a great week. :)
Posted: 11 months, 1 week ago at Jan 6 17:06
Hey, my friends!

Sorry I'm late getting to all my holidays best wishes, but I've been sick the past couple weeks and in a lot of pain. Hope this makes up for it ;D...

Posted: 1 year, 1 month ago at Oct 31 23:42
Posted: 1 year, 5 months ago at Jul 12 6:31

This is not a formal list. I'm just going through by last names alphabetically.
Posted: 1 year, 7 months ago at Apr 29 15:30
At last! I'm finally done with this list...
Thanks again for your help.

If you are interested, you can check the end-result :
Listal's 100 Films To See Before You Die (2016)
Posted: 1 year, 9 months ago at Feb 26 7:01
Thanks for the vote! :)
Posted: 1 year, 10 months ago at Feb 5 16:51
Thanks for voting for my reviews. :)
Posted: 1 year, 10 months ago at Feb 5 11:07
Thanks for your help! The list has been updated :
Posted: 1 year, 10 months ago at Jan 20 19:16
hello and happy new year
please check my list
and tell me your top10

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