'The Polar Express' (2004)
A wondrously imaginative, diverse, and spirited allegory of childhood and the arduousness of adulthood.

The town's landed gentleman and unrepentant vampire Angustia has just feasted on a young female victim and is now pursued by an angry mob of torch-carrying villagers. Cornered in the grounds of his villa, Angustia is staked through the heart with a sharpened cross and left to die alone in agony. With the sound of a howling wolf in the distance, he is tended to by his distraught sweetheart, who removes the cross and buries him underneath it. Being mortal, she is also carrying the vampire's children – twins, one good and one inherently evil – and after her mother is thrown down her stairs by an unseen force (linked to the cobra curled around the vampire's grave marker!), she leaves one of the babies, flees the village with the other child, and heads in a trance directly for the sanctuary of Angustia's villa.
A wondrously imaginative, diverse, and spirited allegory of childhood and the arduousness of adulthood.
At first glance, one wouldn't think John Carpenter's cult classic would be a thematic double-billing - or that Free Guy would be worthy of being mentioned in the same sentence as They Live - but the two films of vastly different genres have more similarities upon further examination.
We’ve always known that Edgar Wright is a mixologist when it comes to blending sound, light, colour, and texture. This is especially true in the first act of the film. In fact, all of my positive feedback is directed exclusively at the first act of this film.
Although bogged down by a slow pace and moralistic intent, ‘Deadly Garage Sale’ (2022) makes the most of its silly and nonsensical premise.
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Nope succeeds tremendously in dealing with higher concepts in an engaging and highly entertaining manner without sacrificing theme or personality.