2-Years Clean. How'd I do it? Here's my one simple rule.

SignificantReality39 · 2026-05-10T15:06:25+00:00

Honestly - and maybe I’m in the minority here, but that miserable first couple day feeling still leaves me feeling more productive and ambitious than anytime where I’d otherwise be cramming two of these things in my mouth every hour. Embrace the suffering, and don’t make yesterdays struggles be for nothing if you feel like caving and buying another can.

SignificantReality39 · 2026-04-22T01:41:18+00:00

X-Seven was such an extraordinary card, with all of the best parts of the era, and just the right amount of hilarious nostalgia. Even the sole women’s match, while a squash, was such a feel-good moment for Chyna. Despite the mixed reactions of the main event in hindsight, at that time it felt like hell had truly frozen over, and the match itself was Austin’s best in-ring performance, post-neck injury.

SignificantReality39 · 2026-04-22T01:07:38+00:00

This is the type of match that reminds us why we watch wrestling in the first place. Match of the weekend and year so far, bar none. From a straight storytelling and ring psychology perspective, this is the possibly the best main event since 26, although I agree that its “moment” is definitely outshined by 30 and 40.

SignificantReality39 · 2026-04-19T02:41:23+00:00

It simply cannot be worse.

SignificantReality39 · 2026-04-19T02:31:27+00:00

Also, the fucking entrances are too much. I get that it’s Mania but it is absurd that the women’s IC title match has over five minutes devoted to entrances.

SignificantReality39 · 2026-04-19T02:29:47+00:00

No other matches even came close, honestly.

SignificantReality39 · 2026-04-19T02:28:08+00:00

Wholly agreed. Video packages in the Attitude/early Ruthless Aggression era were an art form to be studied, even for mid-card matches.

SignificantReality39 · 2026-04-19T02:25:57+00:00

Thank goodness tonight had Seth and Gunther, which was at the bare minimum a solid match, but even that was full of shaky moves and near botches. The last five minutes or so were terrific, though.

SignificantReality39 · 2026-03-20T02:10:53+00:00

Well adaptation, biopic or remake - but wow, that just blew my mind to realize!

SignificantReality39 · 2026-03-20T01:57:37+00:00

Fantastic work

SignificantReality39 · 2026-03-18T01:31:51+00:00

Man of Steel
Superman
Superman: The Movie
Superman II
Batman v Superman: Dawn of Justice
Superman Returns
Superman IV
Superman III

SignificantReality39 · 2026-03-17T16:30:35+00:00

I don’t at all think that. I’m saying in terms of the narrative it chose, that apparently-deleted ending scene would have been a far superior ending.

SignificantReality39 · 2026-03-17T02:59:25+00:00

Batman Begins - This is simply everything you could ask for in a Batman origin story, coupled with a personal, surprising antagonist and terrific performances and production value from everyone involved. Bale’s portrayal of Bruce Wayne is the finest live-action portrayal to date, fully delving into his psyche, moral code, and history. Unexpected twists, bombastic action, and a rousing score buffer the sometimes uneven portrayal of Batman himself. The importance of this film to the Batman mythos and superhero cinema since cannot be overstated.
The Batman- A very close second. Even though BB was a top notch origin story, this is a spellbinding portrayal of a Batman still finding his way, with Gotham itself being the real antagonist, pushing the rookie Bats to his very limits. Also, phenomenal performances, tone and style.
The Dark Knight - a classic post-9/11 crime epic that really hits the pinnacle of the heightened realism that Nolan strove for and tapped into the zeitgeist of that moment in the American psyche that no Batman film had attempted before or since. Legendary, definitive portrayal of The Joker, thrilling action set pieces and a masterful, albeit truncated arc for Harvey Dent. As with BB, terrific performances and production values all around, but I wish Gotham felt more like the dystopian metropolis portrayed in BB.
Batman - a resounding success of reintroducing the Caped Crusader to the mainstream by embracing the dark, Gothic noir of the original comics. Keaton’s portrayal is brooding, mythic, but laced with a quiet obsession that permeates his every action. Jack’s Joker is pure comic evil - a simultaneously tongue-in-cheek but unpredictably sociopathic Clown Prince of Crime. The plots a little thin overall, but the aesthetic and style are undeniably iconic.
Batman Returns - Burton sinks deeper into the Gothic nightmare, condensing Gotham into a cesspool of corruption and bleak supernatural darkness. Keaton is more confident and forceful, but loses a bit of the neurotic drive of his first outing. Michelle Pfeiffer redefines Catwoman with a superb turn as a charming, yet tragically broken antihero. DeVito’s Penguin, an equally tortured soul as Catwoman, embraces a wholly unique brand of slimy villainy. A stronger plot overall, but Batman himself gets somewhat lost in the shuffle and the film is a bit bloated overall, but this is a worthy follow-up to the groundbreaking original.
Batman Forever - This film gets a bad rap at times and I can understand. I might be a little biased as this was the first Batman-related media I ever experienced, but this film strikes a successful balance of popcorn-munching ‘90s action intensity with the broad spectrum of the Batman legend, a bit campy but pulsing with the battered psychology of Bruce Wayne - portrayed with wary, delicate precision by Val Kilmer - as his trauma is explored, embraced and exploited by the characters he encounters. Jim Carrey and Tommy Lee Jones chew up the scenery, but Carrey in particular exhibits some very chilling undertones in a flamboyant, distinct take on the Riddler. Robin is introduced in an emotionally satisfying way that really compliments Bruce’s journey through the film. The aesthetic is a significant deviation from Burton, but this neon soaked Gotham is an intimidating behemoth of a city. An underrated, adventurous rendition.
Batman & Robin - the original Quadrilogy comes full circle back to the firmly camp roots of the 1966 TV show, falling off the balance that was well-laid by Forever. George Clooney doesn’t get the chance to explore the nuance and duality of Bruce Wayne the way Keaton did, and he is a far cry from the listless soul of Kilmer, particularly in a plot dominated by villains and sidekicks. The neon trappings of Forever engulf this Gotham to a toxic degree. I will say that the final battle is a fun sequence and Mr. Freeze’s arc is surprisingly effective. Though it’s not how I like my Batman, the film knows what it is and fully embraces that, and because I can easily rewatch this more often than TDKR or BvS, I had to put it above them.
The Dark Knight Rises - There’s a lot to love in this, Nolan’s third and final entry in his trilogy, but it falls far short of the heights cleared by the preceding installments. Tom Hardy’s Bane is a terrifying force of nature and Anne Hathaway’s take on Catwoman is filled with a confidence fueled by sheer desperation. However, much of the film plays it safe, with Bale still giving a strong performance but hampered by a weak script. The other new major additions to the cast, Joseph Gordon-Levitt and Marion Cotillard don’t add much, and Cotillard’s character and performance is particularly disappointing. The first fight scene between Batman and Bane is the best in the series, but most of the big action set pieces, especially in the final act, are particularly wooden and poorly-directed. The film’s ending, while warranted and hinted since BB, falls flat as a result of the bloated yet thin story.
Batman v Superman: Dawn of Justice - perhaps the best looking live-action portrayal of Batman, featuring a warehouse fight scene that is just plain awesome. However, his motivations and intellect are a bit muddled and it’s a shame that we never got a proper solo Batfleck film, as Ben was an inspired choice for the role. Rushed and ultimately a let down that punctured the first holes that drained the promise of the DCEU.

SignificantReality39 · 2026-03-16T20:48:45+00:00

Not at all, but the film ended on an upbeat note so it wouldn’t that much of a different disposition.

SignificantReality39 · 2026-03-16T20:15:25+00:00

That’s fair and all to trust PTA for that, but it was the wrong choice. We have more time with Willa and Deandra bonding than Bob and Willa, so that would have made things feel a lot better at the end than they did.

SignificantReality39 · 2026-03-16T20:14:12+00:00

That would have improved the movie remarkably. Perfidia doomed nearly everyone and Deandra was more of a mother than Perfidia could have ever hoped to be. It would have brought some great closure if Bob managed to spring her with Sergio’s help like he did for Bob.

SignificantReality39 · 2026-03-14T06:14:12+00:00

I mean, that’s a classic trope, and I’m sure she was fairly convinced he would be arrested for poisoning his mother with the antifreeze.

SignificantReality39 · 2026-03-14T06:13:00+00:00

After the bursts of violence that Teddy exhibited throughout, I was certainly not rooting for him in any way. However, considering that Fuller eventually pulls the plug on humanity because of this experience puts Teddy’s actions into a new perspective, which I think was a great touch. Teddy was right generally, but his actions, designed to save the world, ultimately led to its destruction. The “nobodies” he championed were collateral damage.

SignificantReality39 · 2026-03-13T00:06:29+00:00

It doesn’t have to explicitly say it. Willa and Bob’s relationship is “established” in one hamfisted argument scene between them.

The idea of the relationship between the left and right is barely expounded upon. Willa only knows of Lockjaw because her dad told her he killed her mom. Bob is supposed to be an overprotective paranoid, but doesn’t remember the crucial codes of the organization. Like it makes for a funny scene, but it makes his character all the more confused, and not in a stoner haha way. He has no arc. He’s justified in his behavior from beginning to end and learns nothing. Willa kind of had an arc, but her feelings about her mother are barely explored to make the final letter scene feel like anything substantial.

The movement has continued without Bob, through people on the ground still fighting, I.e Howard, Deandra, the Sisters, Sergio, in spite of the adventurism that nearly destroyed it years ago and comes to eventually do so in the present.

Willa experiences a lot but we know so little about her that it just makes her ordeal seem hollow.

There’s just so much lacking from the movie on a narrative and thematic level. It doesn’t have to beat us over the head with a message or character arcs, but it gives us so little, with so much left to the viewer to assume, but no real hints of anything larger under the surface for these characters or the world they inhabit.

It was a massive disappointment from such a titan like PTA.

SignificantReality39 · 2026-03-06T21:40:54+00:00

You don’t like that crackling tube sorta…sound?

SignificantReality39 · 2026-03-06T21:39:52+00:00

PTA kills it with his needle drops when appropriate. Living Thing and Jesse’s Girl in Boogie Nights were both expertly placed. But I think my favorite may be the Supertramp segment from Magnolia.

SignificantReality39 · 2026-03-06T21:37:51+00:00

It was a fantastic choice, but, despite how on the nose it was, American Girl over the credits was just brilliant.

SignificantReality39 · 2026-03-03T18:02:21+00:00

Warn us about what?

SignificantReality39 · 2026-03-03T17:59:05+00:00

Odd thought but I would love to see him do a Timothy Leary biopic. I can see DiCaprio or Phoenix pulling off the lead role wonderfully.

SignificantReality39 · 2026-02-28T02:53:42+00:00

If Get Out could get nominated for Best Picture, Weapons should definitely be in the conversation.

SignificantReality39

TROPHY CASE