#mustwatch

Ikiru (1952)

Born Yesterday - George Cukor

Such a simple plot and executed so well. This would be 10/10 apart from a few personal issues.

Harry, Broderick Crawford (Highway Patrol & Rawhide), is a bigshot junker who has come to Washington with his girl. He is here to pay off congressmen to get a bill passed to protect his business.

That's the situation. The problem is that his girl, Billie, Judy Holliday (The Solid Gold Cadillac & Adam's Rib), is as dumb as a post. This causes lots of problems early on as they meet with senators and their families.

There is a journalist who is onto Harry's case, and Harry hires him to teach Billie not to be so dumb. The thing is, Billie likes being dumb.

She isn't really dumb; she just knows what she likes. There is this awesome scene where Harry and she are playing Gin Rummy.

He is giving her a talking to that she had better smarten up, as she silently destroys him at the game. She realises that she had better learn something if she wants her high-flying life to continue.

The journo, Paul, William Holden (The Network & The Bridge Over the River Kwai), returns. She is interested, and they kiss. She is really excited about everything she is learning.

She starts reading Paul's articles. Her response to one of them is: "I think it's the best thing I've ever read, but I didn't understand a word of it."

As she learns things, she learns more about her rights and how bad Harry is, not just to her.

They get into a big fight, which is a beautiful scene. This is because, as they go at it, they have to pause every few lines as a maid crosses back and forth through the room while cleaning.

Harry begins to glimpse what he has created, and there is an awful scene where he beats her.

She gets her own back. She and Paul get the files that prove his wrongdoing. She has begun to understand the paperwork that she has been forced to sign.

It all comes together in a big final scene, which is just fantastic. They win, and the awful Harry is ruined.

Na Hong-jin’s masterpiece isn’t just scary. It’s a spiritual labyrinth where faith, folklore, and paranoia collide so completely that by the end, you’re not sure what you saw—or if you can trust your own eyes.

It begins with a quiet village, a mysterious stranger, and a sickness that turns neighbors into monsters. But what unfolds is something far more devastating: a film that weaponizes doubt itself. Is it possession? Is it madness? Is it divine punishment—or something older, hungrier, and utterly indifferent to human morality?

The performances are staggering. The atmosphere is suffocating. And that 30-minute shamanic exorcism sequence? One of the most intense things I’ve ever seen on screen.

This isn’t horror as spectacle. It’s horror as theological crisis.

If you’ve been waiting for a truly great horror film—one that lingers like a half-remembered nightmare—this is it.

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(I BEG YALL PLEASE GO WATCH A REALLY HAPPY POST MAN ON YT I BEGGG ITS SO STUPID I LOVE IT)