7.5/10 I just wish i connected more with the characters and the film emotional weight, despite its absolutely stunning visuals, great performances, and solid storytelling, Robert's simple yet fascinating life, along with the environment around him and the time period the story takes place in is genuinely interesting to watch and experience, Felicity Jones delivers a heartfelt and lovely performance, while William H. Macy brings a quirky presence as the philosophical old logger, and Kerry Condon with her brief but thoughtful performance, all of them contribute nicely to the film's world. Still, for some reason, i never quite felt the emotional connection i was hoping for, i'm not sure if it comes down to the execution or if the film simply doesn't push that aspect far enough, it's still a well made film that plays decently overall, but i wasn't completely in love with Train Dreams as a whole, that said, the stunning visuals, strong performances, and good storytelling still elevate the experience, even if the emotional engagement with the characters was the one thing missing for me personally.
What started as a mission to find a missing person slowly turns into a fight for survival, and that shift in the middle of the film is what made Sirāt even stronger for me, the first half is already solid, especially in how it builds the unlikely relationship between the father-son and this strange, desert-dwelling group of people who may or may not be trustworthy, watching the bond between them grow throughout the journey is genuinely fascinating, and the entire cast plays their roles really well. But it's really the last two acts that elevate Sirāt, the film suddenly changes its atmosphere and direction, and the intensity ramps up in a way that feels both unexpected and emotionally heavy, moments hit harder than you anticipate, yet the shift never feels forced, instead, it works surprisingly well. At times, the film feels like it's deliberately playing with your emotions and your perspective as a viewer, it's a bit hard to fully describe, but the experience is incredibly engaging, overall, Sirāt is a great film to watch, strong performances, good filmmaking, stunning visuals, sounds, and a story that ends up feeling like a real roller coaster ride.
It's one of the most heartbreaking films you’ll ever see, absolutely devastating, and frustrating knowing how complicated everything has to work together just to basically do one simple thing, the use of real audio and footage is incredibly eerie and disturbing, i can easily imagine some people walking out or giving up on the experience because it might simply be too much to handle. I really admire the performances from the entire cast, from a filmmaking standpoint, it's a fairly simple setup, there are a few creative techniques, but for the most part it relies on basic and straightforward storytelling, what truly makes Hind Rajab engaging is the situation itself, overall, it's simply heartbreaking.
It's basically Mary Shelley's version of Bonnie and Clyde, a chaotic and bloody relationship at the center of the story, the Bride, directed by Maggie Gyllenhaal, feels like a messy film to me, some of the chaos parts are well-structured, while others lean into chaos in a way that never really lands with much impact. The film starts by focusing on the creation of the Bride and the Monster, played by Jessie Buckley and Christian Bale, Buckley had the potential to deliver another outstanding performance after her acclaimed work in Hamnet, and in many ways she does give a strong performance here, but it also feels somewhat held back by the film itself, with stronger writing and clearer direction, her performance could have been truly incredible. Bale's portrayal of the Monster didn't fully convince me at first, early on it feels a bit restrained, but once the story descends into chaos, his performance starts to make much more sense, that's where Bale really finds the character, and you begin to see the wild commitment he brings to the role, of course, he's a great actor, but the film takes its time before letting him fully unleash that energy. The two leads are solid overall, and most of the supporting cast does a decent job, however, Penélope Cruz unfortunately gives what i thought was the weakest performance in the film, i wouldn"t even say it's a good performance, which is disappointing considering how much a single weak performance can weigh down parts of a movie. In the end, The Bride is a strange experience, i really appreciate some of the storytelling and stylistic choices that Gyllenhaal brings to the film, when the chaos works, it's genuinely exciting to watch, but there are also moments where the chaos feels flat and doesn't achieve the impact it seems to aim for, which is frustrating because it could have been really great. Was i disappointed? A little bit, do i regret watching it? Not at all, despite its flaws, it's still a worthwhile and unusual experience, the film feels like a project full of great ideas and potential that never fully comes together, it's a mix of things that work and things that don't, resulting in a chaotic and messy film that remains, in its own way, quite interesting.
Lisa Frankenstein feels like the kind of movie that could have come out in the 80s, something Tim Burton might have directed with Johnny Depp playing the Creature, the difference is, i honestly believe that version would have been a much better film to make, tell, and watch, Zelda Williams is clearly trying her best to capture that quirky gothic vibe, but almost none of it really works from a story or character perspective. The performances themselves aren't terrible, they're fine, and some of the style i actually quite enjoy, but i never really connected with the story or the characters, Lisa shift from a grieving girl into someone who is suddenly comfortable with murder is handled very poorly, it happens so quickly that it doesn't feel believable at all. And once those really important aspect fails to land, it creates boredom, and the rest of my experience with Lisa Frankenstein is simply boring and just unnatractive, there's a hint of potential in the concept and style, but unfortunately the film stumbles and never fully brings those ideas to life.
What fascinated me the most is how little screen time Hamnet actually has in the film, yet his presence feels incredibly powerful, Jacobi Jupe delivers a really good child performance, even with limited time on screen, the tragic period in Agnes and William's life surrounding him becomes the most powerful part of the film for me, and it's really what makes Hamnet such a compelling piece of tragic drama. The film does a solid job setting up the relationship between Agnes and William at the beginning, from a filmmaking standpoint it's beautifully handled, though emotionally i didn't connect with their relationship as much at first, mostly because they meet and fall in love so quickly that everything feels immediate, and basically there's no high-stakes conflict yet to happen. Once their three children enter the picture, the film becomes far more powerful and emotionally heavy, that's when Hamnet really finds its weight, Jessie Buckley slowly unfolds one of the year's best performances as Agnes, capturing grief and vulnerability in a deeply affecting way, Paul Mescal also elevates his performance as William, especially as the story pushes him through increasing emotional turmoil. By the end, the film stands as a well-earned tragic drama, told through thoughtful filmmaking, strong performances, and strikingly beautiful visuals.
It's awful, it's boring, it honestly feels like a full-on parody of the original iconic film, but not in a clever or self-aware way, just silly, and not even the fun kind of silly, i kept sitting there wondering how they managed to mishandle almost every single part of the story, nearly everything that could go wrong does go wrong, and it's exhausting to watch. The acting is terrible, one character even tries to recreate an iconic line from the first film, but again, it felt like he's parodying it, there isn't a single memorable moment here, aside from wasting my time, throughout the whole thing, i kept thinking, how on earth they completely tumble this one so hard, i know it's the 30s and it's probably one of the earliest attempt of a sequels, maybe they hadn't quite figured out how to continue a story properly, but even with that context, the result is still a mess. The storytelling is frustrating, the acting is miserable, the pacing is boring, the blind hermit sequence is the only one that i enjoy, outside of that? This is easily one of the worst sequels i've ever watched.
The attempt to keep this franchise going without the newer returning characters is painfully obvious throughout the film, they were the ones who gave the series new life, especially in the last two entries, for me, Scream VI still stands out surprisingly as the best in the franchise, it struck a strong balance between legacy characters and the newer generation, and that combination worked quite well in my opinion based on the last two previous movie. Now with Scream 7, the absence of Melissa Barrera and Jenna Ortega is impossible to ignore, without them, the film feels less like a natural continuation and more like a forced cash grab, worse than that, it feels insulting to the franchise, both the plot and concept is stupid and barely makes sense, the execution is horrible, the pacing is boring, the tension is nowhere to be found, this is supposed to be a Scream movie, and yet there's no real suspense. Neve Campbell is the only one who seems like she's actually trying, everyone else feels like they showed up, said their lines, and went home with a paycheck, and Stu? A fan-favorite psychopath, completely mishandled, instead of doing something bold or interesting, they did him dirty, there's no way most Stu and Scream fans are okay with this treatment, it's careless and honestly disrespectful. The killer reveal is horrible, the motive is even worse, the explanation makes it all collapse, by the end, i didn't even care anymore, the only reason i rank this slightly above Scream 4 is because it looks and directed way better than whatever Wes Craven did with the 4th one back in 2011, again, insulting. I'm not even a die-hard fan of this franchise, but this is one of the most obviously forced sequels i've seen in years, unless Melissa Barrera and Jenna Ortega come back, i'm not showing up for Scream 8.
And Treadwell is gone. I think the most fascinating thing from Grizzly Man is the "film" or "vlog" (in nowadays term) that Treadwell film himself doing what he loved the most, that alone for me is the more impactful part rather than the documentary part itself, i do think the way the documentary was structured could have been handled better, that's probably my only real issue with it, aside from that, Werner Herzog's narration fits perfectly, his voice and perspective elevate the material in a way that's hard to imagine being done better. What really stood out to me, though, was Treadwell himself, from the footage he recorded, you can see that his feelings toward the bears, and animals in general, went beyond simple admiration, it felt deeper than love, at times, it crossed into something closer to obsession, when someone says, "I will die for these animals" that feels like more than just passion, it suggests a dangerous level of devotion. Still, i respect him, without the personal footage from his expeditions, i think many people, including me, might have dismissed him as just a purely obsessive person doing something foolish and got paid for what he's doing, but seeing him through his own lens changes that, the raw footage gives him humanity, it makes you understand him, even if you don't agree with his choices. In the end, this is one of the most fascinating documentary subjects I’ve ever watched, even if the film itself feels slightly flawed in structure, it's carried by the power of Treadwell's own recordings, it's a strange experience, but a compelling one, a tragically fascinating story that stays with you. 7.5/10
Elvis in his own words, framed through Baz Luhrmann's signature luxurious style, feels almost like perfection, there's something genuinely thrilling about watching the King himself rehearse and perform on the big screen, i've always preferred documentaries where the story is narrated by the central figure itself. The film is filled with beautifully restored, high-resolution footage that looks incredible, even in documentary form, Baz Luhrmann's touch is unmistakable, stylish, energetic, and consistently entertaining, much like what he brought to Elvis, it feels like a one of a kind cinematic experience, almost mesmerizing at times. In my opinion, EPiC is the perfect introduction for anyone new to Elvis Presley, instead of focusing on the darker, more depressing chapters of his life, the film highlights what truly made him unforgettable, his charm, his charisma, his creative spark, and that larger than life aura, it presents the King at his best, with respect and admiration. At 97 minutes, it leaves you wanting more, which honestly says a lot, and watching it in IMAX makes it even more powerful, EPiC really is epic.
It's unnecessarily long, complicated, and simply bored the hell out of me, i haven't been in that level of bored on a movie in quite some time, both of the performance and characters are basically lifeless, what's frustrating is that the story could've been told in a much simpler, more focused way, instead, it piles on event after event, subplot after subplot, until it feels bloated. Halle Berry's character, for example, seems important mainly because of her connection to Chris Hemsworth's target, yet much of her screen time feels unimportant, Mark Ruffalo doesn't bring much charm to the role either, Hemsworth, as the lead, comes across surprisingly flat, lacking the presence you'd expect, Keoghan is just wandering around being a boring maniac, and Nick Nolte is just weird. Most of the main performances are decent at best, but since the characters are so lifeless, it's hard to care about any of them, the only aspects that truly stand out are the visual style, which at least maintains a distinct look, and Monica Barbaro, who delivers the strongest work in the film. In the end, i'm left wondering why the story chose to complicate itself so much, there was a solid idea here, and it could have worked, instead, it becomes exhausting and, ultimately, boring, i hate it.
SCHWAB, indeed, Marty Supreme is electric, i'm telling you, if Timothée Chalamet doesn't win an Oscar for this, it's only a matter of time, he's on an unbelievable run right now, easily one of the strongest breakout actors of the 2010s, and he just keeps getting better. Interestingly, both Josh and his brother Benny Safdie have delivered two of the year best films, with Benny behind The Smashing Machine, both films feel connected in a way, they're centered around sports and share the same tense, fast-moving style, The Smashing Machine is really good, but this time the older Safdie brother takes the crown. Marty Supreme is a wild ride, the film throws you into the chaotic world of Marty Mauser, a man who claws his way toward success, crashes hard, and gets back up again, it s frustrating, sometimes intense, but always fascinating, there's so much happening, yet it never feels messy, the writing is sharp, the structure is tight, and the direction keeps everything moving with purpose. I also have to talk about Kevin O'Leary, as a longtime fan of Shark Tank and Dragon's Den, seeing Mr. Wonderful make his feature film debut was surreal in the best way, and he doesn't just pop in for a cameo, he actually plays a major role, basically portraying a 10-times meaner version of himself, and he absolutely nails it, confident, ruthless, and weirdly entertaining, i was genuinely impressed. The rest of the cast is just as strong, every performance feels locked in, that's what makes the film work so well, the acting, the writing, and Safdie's direction that works perfectly. Marty Supreme is chaotic, gripping, and really entertaining film, the movie pulls you into one man messy journey and makes you feel every win and every loss, it's just that good.
A Big Bold Beautiful Journey really earns its title, from the moment Margot Robbie and Colin Farrell share their first interaction, everything just clicks, their chemistry is immediate and effortless, so strong that even a simple look between them sells the relationship for me, when a film makes you genuinely feel something for its characters, especially a couple, that's usually a sign it's doing something right, and i felt it deeply here. Then the movie takes us along this magical fantasy journey where you can revisit and interact with moments from your past without changing anything, which is such a beautiful and compelling concept on its own, Kogonada's stunning visuals and elegant filmmaking elevate it even further, combined with the incredible performances and undeniable chemistry from the two leads, the result is a heartwarming and genuinely beautiful film. What i love most is how it doesn't take itself too seriously, yet still tackles meaningful, serious themes in a stylish and thoughtfully executed way, the soundtrack is also fantastic, memorable, and perfectly matched to the tone of the film. I simply adore this movie, everything about it feels carefully crafted, taking a unique fantasy premise and turning it into something fun, emotional, and deeply resonant, overall, it's a beautiful experience, and i loved it.
The Housemaid isn't my go-to type of movie, so there's always that bias, the whole married man cheating with another woman concept is simply lame and uninteresting to me, that said, i have to admit the film biggest strength lies in its performances, Amanda Seyfried in particular is incredible, Sydney Sweeney and Brandon Sklenar complement her really well, and all three elevate the story. The twists and turns are also what make The Housemaid feel at least somewhat unique and genuinely interesting from a story perspective, i was entertained pretty much the entire time, even if it never feels like a major achievement in either writing or filmmaking, it's a creative spin on a very familiar love-triangle setup, carried by strong performances across the board. Slightly too long, but it's still fun overall, by the end, i was just enjoying it rather than judging it, it is a fun film to watch with friends, still not really my kind of movie, but i respect it for being entertaining and trying something creative, even if it's not groundbreaking.
I knew a lot of people would trash on this, and i get it, as a Sandler fan and someone who genuinely enjoys his silly, dumb comedies that most of humanity seems to dislike, i have to say that That's My Boy is one of his weakest one for my taste, that said, i didn't hate it, i was decently entertained for about 90 minutes by its silliness, dumb plot, and over-the-top performances, the problem is that it eventually feel dragged, this movie really didn't have the need to be anywhere near 2 hours. Sandler's dumb sparks are still there, and there are a few chuckle-worthy moments that genuinely made me laugh, but it's not one of those Sandler movies where the dumbness is backed by fun pacing and a tightly written story, those aspects feel weaker compared to most of his other films, i wouldn't call it dumb bad, though, it's still serviceable, the issue lies in the overall execution, which is pretty flawed, again, the runtime is especially frustrating. Overall, even though That's My Boy on a Sandler standard didn't really click for me the way a typical Sandler movie usually does, there's still some entertainment value here, i didn't completely dislike it, it has its moments, just not as many as i hoped for.
Send Help feels like Cast Away with basically twisted story and twisted characters, more cartoonish in a way that these characters are becoming so out there when you finally get to know them at the end, most of the time that works in the movie's favor, though sometimes it also becomes a bit of a weakness. It's also more gory, and bloody, more heavier use of special effects too (some works, some not so much), i think Rachel McAdams and Dylan O'Brien definitely got the dynamic duo, the story is told in a fun enough way that i was able to enjoy this whole insane stranded journey just by following these two interesting characters. While it's not the greatest script ever written, nor one of Sam Raimi's most groundbreaking works, it does exactly what it sets out to do, an entertaining ride with some fine twists, carried by a solid lead duo, not groundbreaking, but i still had a good time with Send Help.
Brendan Fraser heartwarming drama set in Japan feels like the cinematic definition of comfort, Japan, in so many films, whether animated or live-action, is always a beautiful and soothing place to watch, and that alone creates a comforting experience, this film builds on that atmosphere with a genuinely touching story centered around a job that only exists in Japan, a fascinating and very real profession that's represented with care and meaning, the job itself is meaningful, but not without its flaws, especially when someone becomes too good at doing it. If you're looking to give the audience an immediate emotional connection, casting Brendan Fraser couldn't have been more perfect, just from his honest facial expressions and the way he speaks, i couldn't help but feel comforted, there's a real sincerity to his performance that gives the film its sense of truth. Hikari proves herself to be a fantastic filmmaker here, not only in how she directs the actors, but also through her stunning visual artistry, the score works beautifully, and the film had me intrigued from the very beginning, it's a genuinely warm and moving experience, i also loved the twists sprinkled throughout the story, those moments truly surprised me because i didn't see them coming, and the execution of those scenes was spot-on. I honestly loved almost everything about this movie, the performances, the cast, the story, and the filmmaking all come together wonderfully, Rental Family is easily one of the best films of the year, and without a doubt, one of my personal favorites of the year too.
I think the film does a great job of deepening our understanding of who Ray Charles really was, i personally didn't realize just how much of a womanizer he was, my man truly hit the road, he's undeniably problematic, and that's exactly what makes his story so fascinating, the addiction, the affairs, the constant self-destruction alongside undeniable genius. Jamie Foxx completely disappears into the role and fully embodies Ray Charles in all his greatness, his mannerisms, the way he talks, his body movements, every small detail feels studied and convincing, from what i know, his portrayal is largely accurate, not necessarily in every specific story detail, but in capturing the essence of Ray Charles life and personality as a musical genius. I also like some of Taylor Hackford style choices, which help the film stand out from other typical biopics, for a self-financed movie, Ray is beyond what a self-financed film look like especially for a biopic, overall, i feally like the film, it tells a fascinating story about a deeply flawed person, and it stays engaging from start to finish. If i had to criticize one aspect, it would be the child acting, which has always been one of the hardest things to get right in film, and this movie isn't an exception, thankfully, those scenes aren't too frequent, but they do stand out when they appear. Still, Ray is a great piece of work, a biopic made with real care and excellence, especially in its central performance by Jamie Foxx, i'm quite a fan of biopic films, even those that aren't mostly accurate, Ray is definitely one of the best i've seen.
I had a weird experience with Primate, the first half actually felt promising, and i kept hoping the film would carry that energy through to the end, and i thought the first half was fine, but at the same time, it's not the part where they should be good at, it supposed to be the part where Ben starts losing control because of the rabies, but instead, by that point, Primate turns into another generic B-movie slasher that feels like Jason Blum produced, where the characters are unlikeable and i simply don't care, a string of stupid, unrealistic moments, the worst part is, it's not even a Blumhouse film, which somehow makes it feel like an even bigger waste. I'll give credit where it's due, some of the gore works, and the way they use the chimpanzee, Ben, is genuinely impressive, both as a character and on a technical level, i don't know how they pulled it off, but it's convincing and easily the most interesting thing in the movie, there was also real potential in Troy Kotsur character, but they completely fumbled it by the end. Then there's a buildup issue, the movie relies on the same tired, mainstream approach to tension, dragging scenes out in ways that just don't work anymore, one especially frustrating moment where all that long tension build up is wasted on an off-screen kill, a bunch of bland, uninteresting characters are introduced purely to be killed off, and it feels lazy and uninspired. The last half, which should've been the most exciting and terrifying part of the film, ends up feeling no different from countless generic slasher B-movies, it just rarely works for me, i don't really get the hype, aside from the rabid chimpanzee concept, which is genuinely effective, and one interesting character choice, the film never builds on its strongest ideas and settles for something far more generic than it needed to be, Primate is dumb.
I really enjoy the concept, it actually reminds me of the awful but iconic Ice Cube's War of the Worlds, the big difference is that Mercy has a much stronger cast and executes the concept far better, i genuinely liked both Chris Pratt and Rebecca Ferguson performances, it's the same basic setup, where most of the story unfolds online and revolves around a single character, but here it feels more focused and controlled. The central conflict works for me, and i liked the twists and turns along the way, Mercy is a harmless but seriously fun film about a man trying to prove his innocence over the course of about 90 minutes, it's basically War of the Worlds style of storytelling, but one that actually works, while it's not a masterclass in filmmaking or exceptionally written, it's good enough for me to appreciate the effort, both in the performances and in the plot itself. It's simple, but it works for me, i get why some people didn't connect with the concept, but I did, i was pulled into the story, the situation, and the characters, especially Rebecca Ferguson, she's great and very convincing in embodying an AI, overall, i had a good time with Mercy, i know a lot of people didn't, and that's fine, everyone can have their own opinion, i stand by mine, i can't betray my own experience, and for me, it was a positive one.
What a wasted potential, and what a weird movie, not in a good way, from the very beginning, the whole concept and mission pulled me out way too early, and i was really hoping the two actors that i genuinely like, who i've already seen deliver great performances, finally met and do their things together would help carry the film, instead, i was genuinely shocked by how they have basically zero chemistry, it's still hard to believe that Miles Teller and Anya Taylor-Joy have absolutely no spark together, it's just not there. At that point, i already knew the rest of the experience was going to be exhausting, and it was, made even worse by how painfully long and slow everything feels, the film is incredibly boring, the Sci-fi elements that happen down there actually had some potential, but because the main mission is so strange and uninteresting, combined with the complete lack of chemistry between the leads, nothing ever clicks, everything that should work ends up falling flat. The score is also distractingly weird, on top of that, the special and visual effects aren't particularly good either, it's frustrating how everything is the exact opposite of what should work, the way this story is told, and the way it's written, is honestly awful, they somehow manage to take two great actors delivers possibly their worst performances, all because of a stupid plot and bad characters development, The Gorge is truly a dread.
I think what makes me like Heart Eyes more than most slasher horror films i usually don't enjoy and have no interest of watching it is that i already expect a lot of stupid moments, the problem is, those moments are often made worse by characters who are mostly unlikable, which makes me not care at all, that's why i'm super picky with this type of film, i just don't trust them and don't want to waste my time. In this case, though, what surprised me is how much i enjoyed the two main leads, Olivia Holt and Mason Gooding are genuinely charming and fun characters to follow, and that alone already puts Heart Eyes above most slasher horrors out there, their love-hate dynamic works really well, and their chemistry is great, at least in my opinion. While Heart Eyes is still filled with the usual cheesiness and dumb slasher tropes (which, let's be honest, are kind of unavoidable), it's not something you'd highlight as a positive, still, the overall experience is fun, and at just 97 minutes, the movie flies by. Heart Eyes is, at its core, just another slasher horror, what makes it stand out is simple, it knows how to have fun, both through its characters and the experience it offers.
I really love how this movie is more than just another "did it really happen?" story, instead of automatically pushing us to root for the victims and view the suspect as purely bad, the film complicates things by focusing on the victim herself, Maggie, what i found most interesting is that we're not fully told how to feel about her either after the accusations are made, the movie doesn't treat her as completely innocent, and that ambiguity is exactly why i ended up liking it more than i expected. That said, the first 15 minutes or so almost lost me, the buildup felt a bit too long and could've been tightened to pull me in sooner, once it gets past that, though, i was genuinely intrigued for most of the film, i also loved how the story eventually connects with Alma's past, which felt really creative. I do miss some of Guadagnino's signature style of filmmaking, you can still see his style here, and it works, but it's not as dramatically stylized as his previous films, i think leaning into that a bit more could've elevated the experience even further. The movie itself is very stressful in a good way, Julia Roberts and Ayo Edebiri are both excellent, but Andrew Garfield performance is on another level, he embodies his character so completely that the discomfort and unsettling energy are felt throughout the film, it's easily one of his best performances. Overall, After the Hunt is an intriguingly disturbing and fascinating story, handled with intelligence and creativity, for a nearly two-and-a-half-hour movie, once it gets past the opening, it really flies by thanks to the strong performances and compelling story, it's Guadagnino's best film since Challengers.
Playing with Fire is an amazingly awful movie, and weirdly enough, i wasn't even that frustrated while watching it, i think i caught it in the right mood, when i just wanted something easy and not serious at all, the bad acting definitely doesn't help, but there are a few moments that genuinely made me chuckle and smile. Still, the film is terribly written and poorly acted, with some really weak filmmaking overall, the adult actors aren't all that terrible, they still bad at times, though, i have to give credit to John Cena for doing his best, i'm a big wrestling fan and a fan of his in general, so i naturally find some charm in his presence, Keegan-Michael Key is easily the funniest person in the film and pretty much the only reason a few jokes land at all. The kids, though, are rough, like, genuinely painful to watch at times, some of the worst child acting i've ever seen, the youngest one especially delivers a performance so over-the-top and unnatural that it pulls you right out of the movie, it has its boring moments too, and it really feels like one of those films that's almost impossible to defend as good or even decently entertaining, it's that bad. Is this one of those "so bad it's good" movies? Maybe, but barely, the charm is extremely limited, and mostly depends on how much patience you have, or how much you like John Cena like i did, if Cena were replaced by someone else, i'd probably just be annoyed the whole time, in the end, Playing with Fire is just simply awful, it has a few accidental charms, but they're nowhere near enough to save it.
Whatever Jafar Panahi is criticizing here feels like a perfect blend of political intent and cinematic craft, the story flows effortlessly, carried by strong performances by all the cast, great pacing, and precise filmmaking, the political message is sharp and intriguing, delivered through quite a satire way that's surprisingly fun to watch, even though the film remains tense throughout, it just works so well. At 104 minutes, the runtime flies by, one of the things i like the most about this film is how well it handles its buildup, it only takes about the first 15 minutes to set everything up, and then it goes straight into the main conflict, some films need a longer buildup, but only if it's done well, doesn't drag, and simply felt enough, in this case, the short buildup works perfectly. I do really like the straightforwardness of both its story and its characters, we basically learn the context, the situation, and the characters during their introduction, along with how they connect to the central conflict and throughout the journey, it was very fascinating, overall, It Was Just an Accident is an engaging and enjoyable experience, a politically driven dark comedy with strong performances that keeps you interested from start to finish.
Osgood Perkins has released three films in just two years since Longlegs (with a fourth apparently coming in 2026), i thought Longlegs was a genuinely great and distinctive horror experience, and The Monkey, released the same year, was solid and a lot of fun, because of that, i expected nothing less from Keeper, unfortunately, compared to those last two films, Keeper ends up being not only the weakest, but also not a very good one. The supernatural elements here are simply not as interesting or intriguing as i'd hoped, despite strong performances from the cast and some genuinely creepy creature designs that i really liked, the story and pacing never fully pulled me in, i could follow what was happening just fine, but i was rarely locked in or truly enjoying the experience, overall, the film felt more boring than engaging. In the end, Keeper isn't outright bad, but its story and pacing are deeply flawed, it's disappointing to say that this isn't third time's the charm for Perkins.
8.5/10 From the director of "The Worst Person in The World", also starring Renate Reinsve, which i'm not a huge fan of that film story-wise, i've always loved Joachim Trier's filmmaking and cinematography, thankfully, this time, though, Trier gets almost everything right for me. Sentimental Value tells a fascinating story about the depth of a family conflict, one that also revolves around the process of making a film, Stellan Skarsgård plays a movie director and deeply flawed father figure, and he's an incredibly compelling character, especially in how his professional life mirrors his personal failures, his relationship with his two daughters, portrayed beautifully by Renate Reinsve and Inga Ibsdotter Lilleaas, forms the emotional core of the film. The addition of Elle Fanning is another strong choice, her presence somehow strengthens the entire family conflict, even though she's not heavily or directly involved, either physically or through extended dialogue, it's subtle, but it works remarkably well. Overall, the film is an intriguing and deeply engaging experience, driven by great performance and thoughtful storytelling, if there's one thing holding me back from giving it a full 100%, it's that i wish the emotional impact hit a bit harder, and the runtime felt just slightly too long, still, Sentimental Value stands as one of the year's most delightful narrative film experiences for me.
It's the most artistically stunning bad movie i've ever watched, i'm a fan of The Weeknd's music, but honestly, he needs to stop trying to star in films, Hurry Up Tomorrow is a massive waste of an otherwise striking cinematic experience, i genuinely admire Trey Edward Shults filmmaking style, and to be clear, there's nothing wrong with the direction itself, the film looks incredible. What's wrong, however, is the plot, the plot simply confuse, not because it's hard to follow, it's actually quite simple, but because it feels completely pointless, the story doesn't seem to know why it's being told, you keep watching, waiting for some meaning or payoff, and it never really arrives, what's the point of all this? Then there's the performances, Abel "The Weeknd" Tesfaye delivers one of the most unintentionally funny bad performances i've seen, he simply cannot act, what makes it worst is he was the leading star of this film, at least try to look good for once, even that's missing, Jenna Ortega and Barry Keoghan can't save the film either, their performances aren't great, though to be fair, they're at least serviceable and decent, even if they had been excellent, it wouldn't have been enough to fix what's fundamentally broken here. The film feels almost completely soulless, it's also almost becoming one of those so bad it's good movie, almost, unfortunately there is just still more purely and boringly bad stuff, in the end, it's frustrating knowing that they basically waste an actually great director, to input all of his amazing filmmaking style into this horrendous content, Hurry Up Tomorrow is easily one of the worst films of the year.
I had one of the most fun experiences watching the first Freaky Friday, it's a simple, silly premise, but the way Jamie Lee Curtis and Lindsay Lohan played it was genuinely great and some of the best i've seen, their performances made the body-swap feel believable and hilarious, and their chemistry carried the entire movie. Somehow, they decided to make a sequel with Freakier Friday, expanding the concept to include more characters, unfortunately, even with Curtis and Lohan returning and once again involved in the switch, it just isn't the same, they don't feel as sharp or convincing as they were in the original, and the chemistry that made the first film work is mostly gone, watching them inhabit different bodies and personalities this time around simply doesn't land. The rest of the movie follows that same pattern, it feels oddly soulless, where the first Freaky Friday had me laughing and smiling from start to finish, Freakier Friday gave me the complete opposite experience, no real laughs, no sense of fun, and no genuine smile, the magic is gone. The performances are weak, the chemistry is lacking, and the plot is uninteresting, it's not aggressively bad or embarrassingly stupid, there was still some few rare charms in it, but the movie as a whole just feels completely unnecessary, in the end, it's forgettable and bland, now that it exists, i honestly wish it didn't, Freakier Friday simply fails.
8.5/10
When i thought there were only a few good things left at the end of the year, Anaconda was definitely not one of the movies i expected to be among them, so it was a surprise. Anaconda ends up being one of the most entertaining films of the year, it doesn't just work, it actually surpasses most so-called "reboot" films, the way this movie reimagines the original is hilariously clever, using the same title but flipping expectations in a genuinely fresh way. I already knew Jack Black and Paul Rudd would be the highlight, and they absolutely are, but thankfully the supporting cast adds to the fun rather than dragging it down, the result is about 100 minutes of pure entertainment, driven by strong performances and a hilarious yet surprisingly smart original story. It's funny, it's fun, and while the CGI snake still looks like a CGI snake, and Daniela Melchior's character could've been better developed, those flaws never really get in the way, i had a great time with Tom Gormican's Anaconda, compared to the 1997 film they remaking, this one honestly feels like a masterpiece.
It's very hard not to like this amazing visual-feast of a film, the fact is, indeed, James Cameron's Avatar is some of the most impressive, incredibly well made, and fascinating visual ever put on screen, even when i tried not to care too much about the story anymore, the film still managed to pull me in, at 3 hours and 17 minutes, i stayed locked in for the entire runtime, which in itself is pretty remarkable. I watched it in IMAX 3D, and while IMAX is easily the best format for almost any movie, i'm usually not a fan of 3D, it often feels distracting or gives me a headache, but here it actually works just fine, Cameron doesn't overdo it, and the result is a genuinely immersive experience that never feels gimmicky. That said, compared to the previous two Avatar films, Fire and Ash currently sits at the bottom for me, the flaws are more noticeable this time around, mostly in the execution of certain scenes that could have been handled much better, these stumbles happen often enough to make the imperfections stand out more than before. Still, taken as a whole, i'd say Fire and Ash is still another solid and worthy addition to the Avatar cinematic universe, by the end, it still feels like a major achievement, the cast continues to give it their all, keeping the story matter and emotionally grounded through strong performances, between the striking visuals and great pacing, the film succeeds far more often than it doesn't, even with its missteps, the stronger elements easily make up about 80% of this ambitious threequel, i just hope the next installment doesn't, stumble further, Fire and Ash is still a great time.
The real terror i felt wasn't from the snake, but from sitting through 90 minutes of painfully dumb, cartoonish behavior from these characters, it felt like the movie was forcing me to be scared **** anaconda that neither looks nor feels real, Jon Voight as the villain, with his exaggerated expressions and over-the-top performance, tries so hard to intimidate the audience that it circles back to pure cringe, just like the rest of the cast, the whole performance is pure cringe, easily one of the most soulless creature-feature horror films i've watched. Besides some of the CGI snake constriction attack scenes that look cool, and i was still mildly engaged until the end, at least it never reaches the point of being outright boring, where i struggle just to keep my eyes open, still, Anaconda is a really bad movie, it might be fun if you watch it drunk with friends, but on its own, it's not really enjoyable.
It's a fun concept already, and i was convinced by Jamie Lee Curtis and Lindsay Lohan's mother–daughter dynamic even before the switch happens, so i knew i was in for a good time, what surprised me, though, is how much funnier it turned out to be, both Curtis and Lohan absolutely nailed the personality swap, their performances are genuinely believable, and you can tell how tricky it must be to switch characters like that. Sometimes i love to picture who was supposed to be who, and i can see it clearly that they will act like that because both played each others so well. The story, supporting cast, overall vibe, and pacing are all just fun, entertaining, and consistently funny, Freaky Friday would already be a good time on concept alone, but Curtis and Lohan take it even further, their performances bumped my score up, and i loved it.
It's vicious, engaging, and completely captivating, Streep and Hathaway are on top of their game, and the entire story feels like a treat from start to finish, i was entertained the whole way through. But what really surprised me was how emotionally moved i felt by the end, i got so absorbed into this world and Andy's journey that it genuinely felt like i was working at Runway myself, answering to Amanda and understanding exactly how these characters operate, Amanda's presence looms over everything, and characters like Emily Blunt and Stanley Tucci bring so much charm and personality that the workplace feels alive, even Andy's relationships outside Runway add to that sense of payoff, by the end, the experience feels incredibly rewarding. It's a sharply written film with great performances, memorable characters, and a story that fully earns its impact, i truly love The Devil Wears Prada.
Jay Kelly feels less like a fictional film and more like a lived-in biography of someone who never actually existed, the story follows key moments in Jay's career in a way that feels natural and honest, and because he's an actor, it's easy to connect his experiences to our own ideas of success, pressure, and identity, Clooney completely embody Jay's perfectly, but Baumbach's storytelling and his creative structure allows the film to unfold in unexpected ways, and somehow it ends up feeling more truthful than many traditional biopics, it's fascinating. Adam Sandler delivers yet another standout dramatic performance, there's none of his usual comedic comfort here, but that absence works in the films favor, and i couldn't get more amazed by his performance, so do Clooney, both Sandler and Clooney make Jay Kelly's world feel real, as if we're watching the private moments of a career we've followed for years. By the time the film reaches its conclusion, it feels earned, several scenes carry a real emotional weight, the kind that sits with you and almost pushes you to tears without forcing it, everything builds naturally to that point, and it lands, overall, i don't think i could have been more impressed with Jay Kelly, i absolutely loved it.
7.5/10
Blanc's cases feel like they're becoming more dangerous and more complicated, and oddly enough, that makes this one less engaging and less brilliantly clever than the previous two, still, the sense of fun remains intact, i was genuinely entertained throughout, and when i say it's less engaging, i don't mean i wasn't invested in the case at all, it just didn't pull me in the way the earlier films did, especially the first Knives Out, which still stands as the strongest entry and feels like a truly great film. The stacked cast is both the film greatest strength and, at times, its biggest weakness, these are all very talented actors, and for the most part, they deliver solid performances here, with Josh O'Connor standing out in particular, that said, surprisingly, these strong ensemble delivery could still stumbled at times, and character wise, besides its too many characters, in my opinion, i'd still say the characters are generally well written. As for the runtime, while it could feel a bit dragged for some, i didn't personally have an issue with it, i enjoyed the film from start to finish and stayed engaged with the story, so overall, Wake Up Dead Man is the weakest Knives Out mystery so far, but it's still a well-made and enjoyable film, even if the case itself isn't an improvement, it remains an entertaining whodunit, elevated by strong performances and Rian Johnson filmmaking.
7.5/10 Possibly one of the most disturbing postpartum films you'll ever watch, Jennifer Lawrence,my god, this is easily one of the best performances of her career, she really sinks into the character, and it makes the whole thing even more unnerving. Story-wise, there are some parts that i wish were explained more clearly, and the runtime could've been a bit shorter, i'm not sure how accurately the film portrays severe postpartum depression, so i can only judge it based on the performances and the story as presented, on that front, both Lawrence and Pattinson are excellent, and the narrative kept me fully engaged. As a whole, Die My Love feels like a powerful take on what this kind of situation might look like if everything were shown with brutal honesty, it's a pretty good film and absolutely worth experiencing, but definitely not recommended for anyone who isn't prepared for the subject matter, if you're watching it just for the filmmaking, though, it's worth checking out.
Guadagnino definitely knows how to make a good looking film, and his style is something i usually enjoy, especially the set in **** is one of his best set, the soundtrack i was surprisingly really like, some unexpected choice but it works for me, and i also didn't have any issue with the performance at all, all the cast did a good job. What didn't do a good job in **** for me is the story and the characters, i just simply didn't engage with any of it, i wasn't invested and i didn't really care, it's also one of those film that was split into chapters, chapters 1 and 2 were fine, i still didn't feel engaged with the narrative or the people in it, but i could at least follow what was happening and appreciate the craft. Chapter 3 is where it really fell apart for me, it suddenly drifts into this random forest plot where things get weird in a way that didn't pull me in, instead of feeling intrigued, i just got bored, it didn't click at all, then comes the epilogue, and the movie wraps up, by the end, it felt long, and i still wasn't invested. So even though Guadagnino filmmaking is strong, and all the positives i mentioned earlier are definitely there, **** as a whole just didn't work for me.
It's honestly heartbreaking, i get that Blue Moon isn't for everyone, it's basically a film built on one long conversation, but for me, as long as a story keeps me invested, even something this dialogue-heavy can really land, and it does, the performances are terrific across the board, especially Ethan Hawke, it just another reminder how good of an actor he really is. For about 100 minutes, you're pulled into this raw, winding conversation from someone who's clearly struggling, and it hits straight in the chest, the film almost got me at the end, the way it quietly accepts that love doesn't always work out the way you wish it would, and neither do life, work, or relationships in general, sometimes things just drift off-plan. All of that, delivered through a single night conversation, makes Blue Moon a surprisingly powerful experience, it's heartbreaking, but also mesmerizing, i really, truly, amazed by Blue Moon.
The Roses is a fairly mainstream film, but mainstream can absolutely be enjoyable when it works, and in this case, it's genuinely entertaining, what truly makes it work are the incredible performances and chemistry between Benedict Cumberbatch and Olivia Colman, they bring this messy, conflicted couple to life with such precision that every moment of tension feels earned and compelling. The comedy is also genuinely funny, adding to the overall experience, honestly, there isn't much to dissect when the characters, story, and performances all function as well as they do, it may not be the most original story, nor is it filled with breathtaking filmmaking, but it works more than well enough on its own, in the end, i simply had a really good time with The Roses.
The film ultimately gives more appreciation and admiration to Anne Sullivan's work rather than to Helen Keller herself, because by the end, she truly emerges as the hero of the story, Anne Bancroft is terrific, and Patty Duke's performance is electrifying, as the film tagline calls it "an emotional earthquake", it's a perfect description, this isn't a traditionally heartwarming film, but one that's powerfully frustrating in the best possible way, capturing just how incredibly difficult it must have been for Anne Sullivan to handle young Helen Keller. The movie captures that struggle remarkably well, delivering a gripping and unforgettable experience, The Miracle Worker isn't like any other biographical film i've seen, it's an intense, surprising, and well-crafted piece of work overall.
It reminds me of Materialists, also from A24, Eternity leans more into silliness and fantasy, with less character development, but it still works because it embraces being a purely silly comedy, decent, and enjoyable enough film, i wasn't really a fan of some David Freyne editing style, but the production design stood out, the intentionally practical sets looked great, and i genuinely liked them. The cast also had strong comedic chemistry, the film is silly, but often funny, and everyone delivers solid performances, storywise, i have to admit i didn't fully invested until the final act, for most of the runtime, Eternity felt like a fine, light, fantasy-romcom, fun enough, silly enough, and easy to enjoy, but the last act is the real highlight, the emotional core, the big decision the whole film builds toward, whether the film makes the right or wrong choice definitely affects how the story lands, and like Materialists, Eternity thankfully makes the right decision in my opinion, and i found myself fully locked in and rooting for it, the payoff was satisfying, and the execution was strong. Miles Teller is consistently entertaining with a funny, energetic performance, Elizabeth Olsen and Callum Turner are more laid back, but still maintain their personalities and emotional throughlines, Da'Vine Joy Randolph and John Early are also entertaining throughout, if there's one more element that felt lacking, it was the score that i barely noticed, in the end, Eternity is a fine, silly, sweet little fantasy-romcom, funny enough to enjoy and heartfelt enough to care about.
6.5/10 It's creative and smart, especially with the way it jumps around the timeline through different perspectives, i found that approach both engaging and creative, i was worried they might rely on that technique too much, but the way it's handled actually works, the film becomes even more powerful thanks to the terrific performances from the entire cast, and Kathryn Bigelow really proves once again that she's an expert at directing this kind of intense, layered story. What disappointed me, though, is the ending, after going through so many tense and gripping moments, the film closes on something that, at least for now, feels underwhelming, maybe with time i'll appreciate the ending more, but at the moment it left me unsatisfied. Another issue is the complexity of the narrative that's quite hard for me to lock in 100%, maybe i was just as confused as the president, but i still wanted to understand everything, even if it required more time, instead, the film cuts to the end without giving me enough clarity about what actually happened. Overall, A House of Dynamite is a clever and compelling concept with great performances, but the flawed ending and the lingering unanswered questions keep it from being truly great as a whole.
Mr. Lanthimos just never misses, does he? What a three strikes in three years in a row, i just loved every shot in Bugonia, as weird and silly as the story gets, from the very beginning, the film locks you in, it immediately pulls you into this unsettling vibe, and a huge part of that comes from Jesse Plemons, whose characters belief feels so real and deeply rooted that you can't help but get drawn into his perspective, no matter how uncomfortable it becomes, i wasn't even surprised by the ending, i could already sense it coming, and i didn't mind at all. The overall structure works so well, and the performances are incredible across the board, especially from Jesse Plemons and Emma Stone, Aidan Delbis is also fascinatingly noticeable, adding an extra layer of discomfort and unease to the whole film. I get why some people might not find it as engaging, but i genuinely love this kind of weirdness Yorgos always brings, maybe his previous two films (Poor Things and Kinds of Kindness) felt more engaging in terms of story and style, but Bugonia hits me as this purely unsettling yet fascinating experience, out of his recent three, this might be the most disturbing one for me, and it was an incredible ride. With Plemons completely embodying his character and Stone being amazing as always, along with the rest of the cast, Bugonia easily stands as one of the best films of the year.
It's not truly bad, almost there, but this sequel honestly feels like the leftover pieces of the first film, served as if to say, "well, here's what's left, enjoy if you can", what makes it even more disappointing is that we waited an entire year for a continuation that simply isn't as fun, thoughtfully crafted, or emotionally powerful as Part One. The charm and the delightful moments were still presents, although not as much, the new songs are definitely not as memorable as the first film, "Popular", "The Wizard and I", "Defying Gravity", at least i can still named those songs from the first film and still remembering the tune, but not in Wicked: For Good, the songs aren't bad, they just not as iconic, i'm also not a fan of the direction the ending takes, several moments feel rushed, and some scenes suffer from weak, sometimes outright poor execution, the performances aren't particularly strong either, though Jeff Goldblum is easily the highlight of the entire movie. The world of Oz remains visually beautiful and the special effects are solid, but the film as a whole ends up being forgettable rather than outright terrible, and i also gotta be honest that at the end i really did want the film to be ended sooner, again, there are some genuinely decent moments scattered throughout, but as a whole, it simply wasn't worth a year long wait, overall, Wicked: For Good may be one of the most disappointing films of the year.
Here comes the Gamble of the Century, what an experience, Edward Berger, fresh off the success of Conclave, returns with another fascinating story about a desperate gambler, portrayed brilliantly by Colin Farrell, the character development is rich, the filmmaking is solid, and the writing exceptionally strong. The film is incredibly engaging, immersive, powerful, and emotionally resonant, all told in a short but effective runtime, the supporting cast is excellent, Berger's signature breathtaking shots are on full display, and Volker Bertelmann score is fantastic. Lord Doyle seven days (or more) are some of the most tragic, intense, and compelling events you'll see brought to life, delivered with a stylish and deeply immersive touch, i was genuinely amazed by the entire film, Ballad of a Small Player is easily one of the best films of the year.
There's definitely a lot in Steve that feels like it could've been explored much further than what we get in this well-made 92 minute film, Cillian Murphy delivers a genuinely compelling performance, and the kids along with the supporting cast all bring a strong presence to the screen, storywise, the film leaves room for a deeper dive, i would've loved to learn more about the school, its environment, and what Steve actually does during his time there as headteacher. Even so, for the brief runtime it has, the film manages to offer enough for me to stay engaged with the story, connect with the characters, and appreciate the powerful performances and message running throughout, it's a small film, but a surprisingly impactful one, quiet, focused, and resonant.
"Extraordinary, unique, i would even say beautiful", those were the words of Phineas Taylor Barnum when he first encountered one of his extraordinary talents, and they're exactly the words i'd use to describe The Greatest Showman, it's not just one of the greatest shows i've ever seen, it's absolutely glorious, Hugh Jackman, in his second attempt at a large scale live-action musical after the miserable experience i'd have with Les Misérables, finally finds the perfect story and, more importantly, the perfect direction under Michael Gracey, making an impressive mark with his directorial debut. The magic of The Greatest Showman lies in its simplicity, a heartfelt, easy to follow story filled with warmth and emotion, and because it's a musical, the songs matter, and every single one delivers, there's a reason the film produced four worldwide hits, the soundtrack isn't just memorable for the movie, it's genuinely powerful on its own, the songs are uplifting, enchanting, and, honestly, it's pure magic. Michelle Williams, Zac Efron, Zendaya, and the rest of the ensemble shine in their roles, bringing the film spirit to life with charisma and heart, experiencing The Greatest Showman feels like living one of those "million dreams" the film celebrates, i absolutely loved The Greatest Showman.
7.5/10 Nine years is a long wait for this reunion, but i think it pays off quite nicely, i'm glad they kept the light-hearted tone in this third installment, just like they did in the second film, i was never a big fan of the first movie because of its overly serious tone, so seeing them go back to having fun like in the second one was refreshing, this is also the funniest entry out of the three, which makes the experience even more enjoyable. The tricks are entertaining once again, the entire cast returns, and i really mean the entire cast, which basically serves my desire to see the cast that i enjoyed to see return, the new additions were thankfully solid enough to fill the now veterans Horsemen. Overall, Now You See Me: Now You Don’t is pure fun entertainment, it still has the cheesy moments and a few scenes that don't quite land, but i had a good time, it's a solid popcorn flick that delivers an enjoyable experience.
I'm not in love with the story, it's silly, but it's fine for what it is, the songs were catchy, though not particularly memorable for me, and the animation was great, it's a nicely made animated film with a slightly cheesy yet enjoyable take on K-pop culture. I found myself entertained throughout, it's not a masterpiece, but it's different, beautifully animated, and overall an enjoyable watch, even if i don't have much more to say about it.
