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Sam Raimi turns a very predictable story into an entertaining two-hour flick. He injects many of his signature quirks such as the dark comedy, visceral horror, gruesome gore, and a kinetic filmmaking style which elevate the film.Rachel McAdams delivers a terrific, layered performance as the lead. She begins as someone awkward and cringy but gradually evolving into someone genuinely menacing and unhinged. The highlight of the film is the tension between her character and Dylan O’Brien’s.Despite all this, the film feels somewhat tame and isn’t among Raimi’s most memorable works. Still, it’s enjoyable enough that you’ll leave feeling you had a good time.

Liam Neeson plays an authentic 70-year-old man with a bad back. It's admirable to see him give a more believable performance for someone of his **** rest of the film is okay with some light chuckles and gory moments. It never takes itself too seriously, leading to a mildly enjoyable popcorn flick.

Michael Jackson was, without a doubt, one of the biggest pop stars in history. It’s no surprise that he was going to get a biopic; if anything, I’m surprised at how long it took. He is one of my favourite artists ever, so of course I was going to watch this film. However, does it live up to his legacy?I remember having a lot of concerns about Jaafar Jackson’s casting. Firstly, it felt like nepotism, with them going for Michael’s own nephew, and secondly, I wasn’t sure whether he could handle the weight of portraying Michael in his acting debut. Those concerns ended up being unfounded, as Jaafar Jackson shines as the King of Pop, Michael Jackson. There are many moments where it genuinely feels like Michael himself is on-screen. He nails the look, the moves, and the mannerisms of his uncle. Colman Domingo is equally effective, portraying Michael’s father, Joseph Jackson, as both detestable and menacing.Special praise must also go to the costume and set designers for faithfully recreating Michael’s iconic outfits, his music videos, and the stages he performed on. The musical performances are excellent, and their recreations are just as strong. The chosen songs are, to no one’s surprise, phenomenal and work well within the film’s structure. The cinematography is genuinely quite good, and the editing is, thankfully, not as awful as it could have been, if Bohemian Rhapsody taught us anything.Unfortunately, what brings this film down is its story. It simply moves through the career highlights of Michael’s life from 1966 to 1988 without exploring him in any real depth as a person. In reality, he was one of the most interesting, complicated, layered, and controversial artists in history. Here, however, he comes across as incredibly one-dimensional, which is a real shame. Michael is portrayed with no flaws or real struggles outside of his conflict with his father. The film does lean into his childlike tendencies, but to a point that dampens other aspects of his personality, such as his ambition, creativity, and competitiveness.Other issues with the story include characters constantly telling him how gifted he is, and how he has a certain destiny and path. This is fine the first time, but it is repeated to the point of becoming excessive. The film focuses on his relationship with his parents but does not fully explore his relationships with his siblings. It also omits siblings such as Janet, Rebbie, and Randy, which feels a bit odd. The way his mother, Katherine Jackson, is written is also questionable. She is shown constantly spending time with Michael and prioritising his needs, while seemingly ignoring her other children. She also overlooks the abuse of her children, yet is still portrayed as entirely angelic and good. The film also skips over potentially interesting conflicts, such as the move from Motown Records to Epic Records and Michael’s depression after receiving minimal award recognition for his album Off the Wall.Sadly, Michael feels like an overly sanitised and formulaic musical biopic with no unique spin on the genre. The film ends in 1988, before the more controversial events of his life, which suggests they are planning a sequel. Hopefully, that inevitable sequel is bolder and truly delves into who Michael was.

I was interested to see how they would adapt an indie game with no real plot into a **** the first act, it felt like they accurately captured the eerie, claustrophobic psychological terror of the endlessly looping subway. The film draws the audience in by having them scan for anomalies, just like the main character. There’s also strong tension in watching him struggle with his asthma while trying to escape.However, this is largely lost from the second act onwards, as the film shifts toward being more character-driven and leans into a metaphor for fatherhood. The tension and sense of terror fade, and even the asthma subplot is completely forgotten. While the execution isn’t great, the film is still well-made, with excellent camerawork. It’s not overly long and is generally an enjoyable 90 minutes.

This is an incredibly weird, wacky, and wild film!It’s a roughly two-hour, entertaining joyride about an unlikely group taking on a powerful A.I. overlord. The film offers a very “on-the-nose” exploration of modern technology addiction and societal apathy, but it works well within the tone it’s going for. Sam Rockwell delivers a hilariously unhinged performance and absolutely steals every scene he’s in.Whether this film works for you depends on how much you can embrace the random shenanigans that unfold. If you can, then this is a whole lot of fun!

Emma Stone delivers a great performance here as a cool, calculating CEO who has been kidnapped by Jesse Plemons’ character. The standout, however, is definitely Jesse, who gives a phenomenally sharp, unpredictable, and layered performance. He brings a level of instability and anger to his character, but also moments of kindness and vulnerability that really work. What carries this film is the tension and conflict between the two, making it a genuinely compelling watch.Additionally, the cinematography and visuals are wonderful, with colours that truly pop, complemented by a music score that heightens the tension. However, what ultimately brings the film down is that it doesn’t quite stick the landing. The ending is predictable and feels a bit too on the nose in delivering its message. Still, this is an enjoyable film that illustrates the dangers of unhealthy delusions and class conflict.

Primate is a gory and tense horror film with the fun concept of a Pet Chimpanzee going crazy because it has rabies. The use of an actor with a practical costume for the Chimpanzee does massive wonders for the film. The costume is incredible and the kills are very brutal!What really brings this film down is the stupidity of the characters. They will not have one person keep their eye on the Chimpanzee or sometimes just stand around instead of HELPING or RUNNING AWAY! It can be ridiculously frustrating to watch and to a point where you just sort of root for them to die. Nonetheless, a decent 90-minute film that doesn't overstay its welcome!

Even when rewatching this film, I had an absolute blast!The Martian is one of the most phenomenal films to come from Ridley Scott. The writing is exception, the acting is great, the visuals are stunning, the music score is great, the science is easily digestible and the characters are all very distinct despite being over a dozen **** root for Matt Damon's character, Mark Watney, to survive. You root for the science team to create the plan to get him home. I enjoyed the science and I enjoyed how it was a collaborative effort from all the characters. Easily one of the best sci-fi films in modern cinema!

I was worried when they announced a Zootopia sequel. Judy and Nick already felt like they had a complete character arc in the first film.Those concerns turned out to be unfounded, as the sequel really delivers on their relationship. Even though they had become a solid team and close friends by the end of the previous film, relationships always have bumps and cracks. Judy and Nick care about different things, which leads to meaningful conflict and growth between them.Additionally, the film continues its social commentary on race, introducing reptiles into the mix in a way that works very well within the Zootopia **** excellent sequel that feels like a natural evolution of the franchise!

The simple premise of saving the planet is elevated by excellent writing and wonderful direction. The science is made easy for the audience to understand, the comedy lands well, and the heartfelt, poignant moments hit hard. The characters are all incredibly likeable, too. The cinematography and visuals are stunning, with terrific practical sets and impressive CGI. Ryan Gosling is incredibly charismatic and charming as the lead, Ryland Grace, and the supporting cast are equally strong, with a special mention to Sandra **** biggest highlight of the film, though, is the beautiful friendship between Grace and “Rocky,” which is easily one of the best bromances in recent memory.Project Hail Mary is what Americans would call a long shot and wow does it land. An absolute must-watch!

Scarlet is the next animated film from the acclaimed director Mamoru Hosoda, who is notable for films such as Summer Wars, Wolf Children, and Belle. This new film is an alternate retelling of the classic Hamlet.Unfortunately, Scarlet has got to be Mamoru Hosoda's worst film so far. The story never does anything interesting or new with the material it is inspired by. The writing is bland, the characters are underdeveloped, and the pacing is very uneven. The male lead, Hijiri, is rather irritating and takes screen time away from the titular character. There are also random music and dance set pieces that do not really add anything, aside from being incredibly odd. Additionally, the message of war and forgiveness is constantly and relentlessly shoved in the audience’s face. The 3D CG is also quite wonky and can look visually odd at times.Despite that, I do appreciate the ambition. There are some great visuals, the musical score is wonderful, and there are a few genuinely great moments. Even the dance sequences, while random, are well choreographed. In the end, Scarlet turns out to be a very uneven and messy film, which is a shame, especially considering how cool the titular character looked.

War Machine doesn't do anything special or **** plot is extremely predictable, the characters are bland, the dialogue and writing is incredibly cheesy, and the blatant America military propaganda is shoved in your face.However, if you take the film for what it is trying to be, an entertaining popcorn flick, it does do its job fine. A Metal Gear vs Alan Ritchson It has some enjoyable action set-pieces and Alan Ritchson is a good main lead. It's a serviceable streaming movie that will keep you entertained for its runtime.

I thoroughly enjoyed Chainsaw Man Season 1. As an avid reader of the Chainsaw Man manga, I found the adaptation to be terrific. However, I do understand why some people had problems with it. The more Hollywood-style cinematography, muted colours, and slower moments weren’t exactly the tone many people expected from the **** of that is remedied in this sequel film! The chaotic, fast-paced energy, phenomenal visuals, vibrant colours, stunning musical score, and some of the best action set pieces in an animated film make it an absolute thrill to **** only that, but the story also features great character moments, wonderful emotional beats, and engaging drama. This film is a phenomenal sequel, and I hope the next season retains the style shown here!

Jason Statham plays a guy that is living a mundane and quiet life BUT he is actually an elite operative forced back into action!Sound familiar? Well that is because it is literally the exact premise of his previous two films: Beekeeper and The Working ManShelter doesn't do much different except being very British this time. Will Jason Statham start doing something new? Not this time...

Hamnet is a poignant exploration of grief.Jessie Buckley is phenomenal in the lead role as Agnes Shakespeare, delivering an emotionally raw and powerful performance. Paul Mescal offers a wonderfully subdued yet layered portrayal of the iconic William Shakespeare. Both actors excel at illustrating how differently people can experience and process grief. The entire supporting cast is excellent, with even the child actors delivering astonishingly strong performances. Hamnet also boasts beautiful cinematography and an incredible musical **** film is deliberately slow-paced, which may not appeal to everyone. However, if you allow yourself to settle into its rhythm, the story it tells will truly soar.

Certainly not what I was expecting. This film is more about a terrible person conning his way through life, similar to the director’s previous work, Uncut Gems. Ping-pong is very secondary and barely featured in the film. It's hard to root for Marty, as he isn’t a great person, but Timothée Chalamet brings enough charm to make the character at least ****’s a two-hour, anxiety-inducing ride as we watch every bad decision unfold. However, in the last 20 minutes, it suddenly decides it wants to be a sports film, delivering a "Rocky" style final act. The tonal shift feels a bit strange, but it makes for an exciting **** you’re looking for an entertaining sports film, this isn’t it. If you want a stressful, high-kinetic rollercoaster ride, though, it’s definitely worth a watch.

Dave Bautista and Jason Momoa are an incredibly fun duo in this film. It also has some enjoyable and fight choreographyHowever, this film ends up feeling like the most by the numbers, straight to streaming film. The plot is bland, the writing is bland, the characters are bland, the shoot-outs are bland, the music score is bland and the visuals are bland. The film is also too long at 2 hours with too many moments of slow pacing. It does its job of being a serviceable popcorn flick but it does feel like a waste of Dave Bautista and Jason Momoa.

The Rip has a solid first two acts. The way the tension and suspense build is incredibly ****’s lying? Who’s trying to get the money? Who’s the traitor?Ben Affleck and Matt Damon are one of the best duos in movies, and they’re an absolute joy to watch here as well.Unfortunately, what brings the movie down are the underwhelming action set pieces and the disappointing final act. The action scenes are hard to follow due to lame shaky cam and overly dark visuals. The final act also devolves into generic Netflix action slop.Overall, it’s an enjoyable time, and I was at least never bored.

With the previous film ending with Elphaba finally becoming the Wicked Witch, it felt like Part 2 was going to kick into high gear!It doesn'tFor some reason, this film is incredibly slow but also rushed at the same time. The plot is paper thin and the only real conflict is the bland love triangle. When the plot starts to connects with The Wizard of Oz, the film just rushes straight to the end with no proper development of certain characters. Doesn't help that the songs in this film are less memorable than the first part as well. It ain't Wicked For Good, it's more like Wicked but Dull.

28 Years Later: The Bone Temple is the fourth entry in the 28 Days Later film series and the second in the 28 Years Later trilogy. I did enjoy aspects of the previous entry, 28 Years Later, but I admit that I came away feeling somewhat disappointed. With this next installment not being directed by Danny Boyle but instead by Nia DaCosta, I had some concerns. Were these worries unfounded, or is this a worthy sequel?There are two main plotlines: the Jimmy Gang and Dr. Ian’s research. The tonal-whiplash cliffhanger involving the “Jimmy Gang” from the previous film had me concerned, particularly with how ridiculous they initially appeared. However, this film succeeds in making the Jimmy Gang feel genuinely disturbing and threatening. There is a strong focus on one of the gang’s raids on a human settlement, and it results in a truly unsettling sequence of scenes. This contrasts sharply with Dr. Ian, who returns as a much more prominent character in this entry and anchors the research storyline. This is easily the more interesting of the two plots, as it follows his strange friendship with the Alpha Zombie, Samson, from the previous film. It is weirdly entertaining and surprisingly heartwarming to watch this relationship develop. The film effectively explores the juxtaposition of humanity’s cruelty through the Jimmy Gang and humanity’s empathy through Dr. Ian. The inevitable collision between these two paths is tense and ****. Ian is a genuinely compelling character. Watching this deeply compassionate man attempt to keep hope alive while the world slowly grinds him down is engrossing. Nia DaCosta’s confident direction and Ralph Fiennes’ performance convey an immense amount of character depth with minimal dialogue. Fiennes is phenomenal, bringing remarkable subtlety and nuance to the role, and he delivers an absolute standout moment in the final act. Jack O’Connell is also excellent as Sir Jimmy, infusing the human villain with an unpredictable, unsettling, and almost childlike energy that makes him deeply disturbing. Chi Lewis-Parry is a surprising standout as well, as he is given more room to imbue the Alpha Zombie with personality this time around.Alfie Williams returns as Spike, and despite having less screen time in this entry, he once again delivers a strong performance. His character completed a coming-of-age arc in the previous film, learning how to survive against the infected. The Bone Temple presents him with the next logical challenge: witnessing the cruelty of humanity firsthand. You truly feel for Spike, as he seems genuinely terrified of Sir Jimmy and his gang, and you find yourself rooting hard for him to escape. One of the more notable members of Jimmy’s gang is Jimmy Ink, played by Erin Kellyman. She brings a balance of toughness and empathy that aligns well with the film’s themes. Her interactions with Spike add a much-needed sense of heart to the Jimmy **** DaCosta’s decision to shoot on digital cameras rather than iPhones is noticeable. Visually, the film looks far better, with cleaner, clearer shots throughout. The cinematography captures both the eerie atmosphere and the beauty of the locations more vividly. While the zombies felt somewhat underwhelming in the previous entry, the few zombie set pieces featured here manage to make them feel frightening once again.That said, the film is definitely lacking in zombie set pieces overall. Most of them appear in the first act, and afterward they are largely absent, aside from Samson. At times, you may almost forget that the story is meant to take place during a zombie apocalypse. I also found the cult elements to be less engaging. It’s a concept that has been explored extensively in other films and shows, and this movie doesn’t do much to differentiate its take. Additionally, because this storyline has to share the runtime with the far more compelling Dr. Ian plot, the Jimmy Gang doesn’t receive enough development. As a result, Jimmy’s followers feel largely like disposable fodder. Even Erin Kellyman’s Jimmy Ink ultimately comes across as simply “the nicer one,” without much added **** final gripe is admittedly nitpicky, but the film lacks much of the energetic flair that defined Danny Boyle’s style. There are no especially dynamic visuals, rapid editing, or surreal flourishes, which makes this entry feel more visually standard. While there is some effective use of licensed music, Hildur Guðnadóttir’s score is ultimately not very memorable.Overall, The Bone Temple ended up being far better than I expected. This series continues to take big risks, and this time I think they paid off. Nia DaCosta does an impressive job of imprinting her own style onto the franchise while still respecting its core themes. The ending is also far more hopeful than anticipated, and I’m genuinely excited and optimistic about the third entry in the 28 Years Later trilogy.

Sisu 2 is a huge setup from the first film! Firstly, the pacing is significantly better as it doesn't take as long to get into the action. Secondly, the antagonist is more enjoyable with them being played by the wonderful Stephen Lang. Lastly, the film leans even more into the insane, nonsensical and bonkers action! There is a wonderful Mad Max Fury Road style chase sequence and an incredibly entertaining last act.A great sequel!

Sisu is another action film involving the trope of the bad guys "pissing off the wrong guy". What this film has going for it, is how ridiculous, nonsensical and absurd the film is. The main character survives the most ludicrous scenarios! You really got to suspend your disbelief a **** you're coming in looking for a mindless, short 90-minute action film, Sisu absolutely delivers. Don't go in expecting anything more than that.

Wake Up Dead Man is the third instalment in the Knives Out series. I absolutely adore murder mysteries, and this series has been consistently stellar. The first Knives Out was phenomenal, and while the second film Glass Onion was enjoyable, it was admittedly a bit of a step down from its predecessor. Because of that, I was incredibly excited going into this entry. Does the series continue to deliver, or is this a case not worth solving?Daniel Craig returns as Benoit Blanc, and once again, he delivers a terrific performance. A Sherlock can’t be without his Watson, and this time Blanc is accompanied by “Priest Jud,” played phenomenally by Josh O’Connor. Jud is easily the most layered partner character the series has had so far. He has a meaningful past and a compelling reason for becoming a priest. You truly understand why he wants to solve this case, and as an audience, we genuinely root for him to succeed. His dynamic with Blanc is also a lot of fun, as the two often clash due to Jud’s faith and Blanc’s atheism. A special mention goes to Josh Brolin, whose performance is particularly disturbing and effective.Unlike previous entries, which leaned heavily into themes of greed and wealth, Wake Up Dead Man explores the more intriguing subject of faith and religion. Josh Brolin’s character, Wicks, uses faith to create a loyal cult through fear and hellfire preaching. In contrast, Priest Jud views faith as a means to heal the world and help others through forgiveness and empathy. This fundamental difference puts Jud in direct conflict with Wicks and his followers, ultimately isolating him. The film does a commendable job of exploring the dangers of obsessive faith while still illustrating the positive impact faith can have when rooted in **** course, the murder mystery itself is the main reason people watch these films, and I’m happy to say it remains a delight. This time, the mystery revolves around a classic locked-room murder, and it easily feels like the most difficult case yet, one that genuinely seems near impossible to solve. The film also takes a more streamlined approach to its storytelling. There is less reliance on flashbacks, opting instead to move forward chronologically alongside the characters. As a result, we uncover information at the same time they do. This makes the mystery more engaging, as the audience can actively attempt to solve it themselves. At no point does it feel like the audience is being cheated by withheld information, which was admittedly an issue in Glass Onion.That said, Wake Up Dead Man isn’t without its flaws. The suspects are easily the weakest of the series so far. Beyond being creepy, many of them lack a strong presence, distinctive personalities, or compelling chemistry with one another. One of the biggest strengths of the previous two films was their larger-than-life suspects, each with clear motives, memorable quirks, and strong relationships with one another, making it believable that any of them could be the culprit. Unfortunately, this is sorely lacking here. Most of the suspects have little screen time, few defining traits, and minimal connection to one another. This ultimately makes it fairly obvious who the culprit is, as certain character receives significantly more focus than the rest. Thankfully, this doesn’t completely ruin the mystery, as the “how they did it” remains unpredictable and satisfying.Overall, Wake Up Dead Man is another excellent entry in the murder mystery genre. While it doesn’t quite reach the heights of the first film, it delivers a stronger and more engaging mystery than the second. Rian Johnson and Daniel Craig continue to provide a thoroughly entertaining experience, and I certainly hope we get a fourth instalment.

Avatar showed how amazing CGI could be in 2009, and then further illustrated the leap in technology with Avatar: The Way of Water in 2022, especially with how realistic everything looked, particularly the water technology. While the franchise isn’t well known for its plot or characters, the world itself has always been very intriguing. Now we have the third entry in the franchise with Avatar: Fire and Ash. Does it continue to deliver something magical, or is it finally running its course?Let’s get the obvious out of the way: yes, this film is still a visual spectacle. There are so many incredible shots and downright beautiful CGI moments that it’s easy to get completely immersed in the world. It also continues to deliver fantastic and exciting action set pieces. Despite the massive runtime of three hours and fifteen minutes, the film is actually very well paced. Slower moments never drag on too long, and the action scenes are spaced out effectively throughout the film. Simon Franglen returns to compose the score after taking over from James Horner, who sadly passed away, for The Way of Water. His score in the previous film was very serviceable in my opinion, but he does a noticeably better job in this **** of that was expected, though. In terms of new elements, the story places Spider at its emotional center this time. He continues to struggle with how different he is from the Na’vi people and with being accepted by them. His relationship with Jake’s family is a major focus and leads to some of the film’s more emotional and heartwarming moments. The movie also introduces a new Na’vi tribe, the Ash People, who serve as antagonists. I really like their design and how savage they are compared to the tribes we’ve seen before. Oona Chaplin does a great job portraying the sadistic and slightly unhinged nature of the Ash People’s leader.However, despite the title Fire and Ash, the Ash People don’t really play a major role in the overall plot. Their presence mostly feels like an excuse to introduce a new type of enemy for our heroes to kill, and not much more. The humans, and returning villain Colonel Miles Quaritch, remain the primary antagonists and continue doing the same evil things as before. The plot also repeats far too many narrative beats from the previous films, to an almost bizarre degree. Once again, we get the kids going off on their own, another coming-of-age storyline for the son, Sigourney Weaver’s character having a mysterious special gift, and Jake needing to unite everyone for a final battle. This becomes especially noticeable in the final act, where the climactic fight feels like a near complete rehash of The Way of Water’s finale, even hitting many of the same beat-for-beat moments. My final gripe is a bit nitpicky, but there just isn’t anything truly special or revolutionary about Fire and Ash. We’ve seen these visuals before, and there isn’t much that feels genuinely new this time around.Overall, by this point, you probably already know whether you enjoy these films or not. I still think it’s a fun experience, especially in 3D. In an era of modern cinema plagued by awful CGI, it’s genuinely refreshing to see a film where the visuals and CG are consistently gorgeous. While the story and writing have always been weak points for the franchise, this entry is particularly disappointing in how heavily it recycles previous plot beats instead of trying something new. I hope that the inevitable Avatar 4 and 5 at least take more risks with the writing.

The film is weighed down by excessive melodrama, an overly long runtime, and an overcrowded cast, many of whom are underdeveloped.That said, this is the best work Jackie Chan has delivered in a long time. It’s refreshing to see him in a dramatic role once again. Tony Leung Ka-fai is phenomenal as the antagonist, delivering a genuinely menacing performance. The film also features impressive fight choreography, thrilling cat-and-mouse chase sequences, and some well-handled quieter moments.Hopefully, we’ll get more films like this from Jackie Chan in the future.

The film knows exactly what it wants to be: a silly, campy B-movie, and it succeeds at that!The way it’s filmed, the dialogue, and the actors’ exaggerated performances are all a clear love letter to the ’****’s very bloody, gory, and quite funny at times. It’s an entertaining film if you’re into this type of movie.

I finally got around to watching One Battle After Another. I wanted to see why critics were praising it so **** be honest, I don’t get it. The plot is bare-bones, the characters aren’t fully explored, and the themes it touches on are surface-level at best. Most of the comedy didn’t really land for me either. I also found the first 20 minutes to be awful and weird. It does get more interesting after that, but then it just has an incredibly underwhelming ending. On top of that, the film is just too long for the story it’s trying to tell.That said, it does have great visuals and cinematography, along with a really strong music score. Leonardo is great, Benicio Del Toro is a lot of fun, and Sean Penn is pretty creepy as the antagonist.Overall, the film just didn’t resonate with me.

I adore Arnold Schwarzenegger’s 1987 Running Man film. It’s incredibly cheesy and far from a faithful adaptation of the book, but it’s enjoyable dumb-popcorn fun. I was hesitant about a remake, but knowing it was directed by Edgar Wright, best known for the Cornetto Trilogy and Baby Driver, made me more open to it.However, this new film lacks nearly all of Edgar Wright’s personality. The sharp editing, high-energy pacing, creative transitions, and playful visual flair are all missing. It feels like it could have been directed by anyone. Even though it’s more faithful to the book, there are some jarring changes, especially in the final act, that really dumb the film down. The humour also falls flat, which is surprising coming from **** Running Man (2025) ultimately ends up as a serviceable action flick, which is fine, but not what I hoped to see from Edgar after four years.

[SPOILER ALERT: This review contains spoilers.]

Dan Trachtenberg successfully brought life back to the Predator franchise with Prey (2022) and followed it up with another strong entry, the animated film Predator: Killer of Killers (2025). Now, he returns with yet another fresh spin on the series, this time putting the Predator front and centre as the main character. But does this new take deliver, or is it a step too far?The biggest question going in is whether a Predator can truly work as a main character. I can confidently say it does! The Predator, named "Dek" is an outcast for being a runt. His Yautja clan believes he should be killed for his weakness, so he vows to prove himself by hunting the unkillable beast known as the Kalisk. This classic underdog setup makes Dek instantly sympathetic, we want to see him succeed and prove everyone wrong. His journey also doubles as a compelling coming-of-age story as he learns what it truly means to be an Alpha Predator. While the plot follows a familiar formula, it’s executed very well. Alongside Dek, we’re introduced to his synthetic robot partner, Thia, played wonderfully by Elle Fanning. She and Dek share surprisingly strong chemistry, and I really believed in the friendship between them. Elle also takes on a dual role as Thia’s sister, Tessa, giving both characters distinct personalities and mannerisms that make each one feel unique.There were some concerns about the action, given the film’s PG-13 rating instead of the usual R. Fortunately, the action remains as intense and brutal as ever. There are genuinely great kills, exciting set pieces, and sharp fight choreography. I especially appreciated how the Synthetics fight with a cold, robotic precision that fits their nature perfectly. The score by Sarah Schachner and Benjamin Wallfisch deserves praise as well. Their use of synths and electronic instruments brings the sci-fi setting to life, and the inclusion of Yautja chants in the score adds a unique flavor. Visually, the film is stunning, the planet design, the bizarre creatures, and the Kalisk itself all look fantastic. I particularly liked the eerie "tree tentacle" creatures. The CGI is pretty good, especially the CG on Dek's face is pretty well-done.That said, there are a few minor issues. Tessa’s character feels underdeveloped; she had the potential to be far more layered but ends up somewhat one-dimensional. The Kalisk, while visually striking, is a bit underwhelming as a creature feared even by the Yautja. There’s also more humour than expected, it mostly works, but I can see it rubbing some viewers the wrong way. Additionally, the Synthetics occasionally act cartoonishly dumb, which feels inconsistent given their supposed intelligence. The second act also drags slightly, with the plot stalling before picking back up in the finale.Overall, Dan Trachtenberg delivers another fun and refreshing take on the Predator franchise. Predator: Badlands is an entertaining adventure that just happens to star a Predator and his robotic sidekick. It’s a bold new direction for the series, and I’m genuinely excited to see where Dan takes it next.

It’s disappointing that this film is “Until Dawn” in name only and doesn’t truly adapt the game. However, the time loop element is intriguing, and I did enjoy the group’s camaraderie.Unfortunately, the horror is generic and uninspired, and the visuals are equally dull, marked by flat cinematography. Overall, it’s a shallow film that delivers a lackluster execution of what could have been an interesting concept.

After the ending of Tron: Legacy and the lingering sequel hooks it left behind, I had a lot of anticipation for a third Tron film. Well, after 15 years, it has finally happened! Better late than never, I guess. So, does Tron: Ares live up to Tron: Legacy? (Pun intended.)The previous film, Tron: Legacy (2010), had a phenomenal soundtrack by Daft Punk. I wasn’t sure Tron: Ares would be able to match that, but I can safely say that Nine Inch Nails did an exceptional job delivering a soundtrack that’s just as good. Their score elevates every scene and perfectly captures the tone of the film. There are clearly a few tracks made as nods to Daft Punk’s original score, which is a nice touch, but I especially love the violent grit in Nine Inch Nails’ music, something they’re well known **** visuals are also stunning. The visual effects are excellent, and the scenes set within the Grid are a joy to look at. I particularly liked the way the Programs materialize in the real world and how their disintegration has been altered to look more painful and grotesque, it’s visually striking. There’s also a fair amount of practical effects used throughout. The costumes look extremely cool, and the vehicles are awesome. The action scenes are thoroughly entertaining as well, most notably the light cycle chase sequence, which features a lot of practical stunts. The Grid-based sequences are downright **** terms of characters, Ares makes for a solid main protagonist. As much as I dislike Jared Leto and don’t think he suits a heroic role, he does a fine job here. The character is meant to feel like a villainous A.I. who gradually learns to feel and become more human. In that sense, Leto’s stoic and cold performance actually works for Ares.Unfortunately, none of the other characters in this film are remotely interesting. The first issue is that there are simply too many of them. Most of the human characters feel unnecessary and don’t add much to the story. One character seems to exist solely for comic relief, but none of their jokes land. Leto ends up delivering better humorous moments than they do.Secondly, the characters aren’t properly developed and lack depth. Greta Lee plays the human lead, Eve Kim, but she’s forgettable and bland. Apart from the fact that she lost her sister, there isn’t much to her character. Lee’s performance also isn’t strong enough to make the emotional moments land, they just don’t hit as hard as intended. Meanwhile, Evan Peters plays the new villain, Julian Dillinger, who comes across as another over-the-top tech mogul that’s underbaked. At least Peters seems to be having fun with the **** for the story, it’s not much better. It touches on some interesting ideas such as weaponizing A.I. and exploring an artificial being learning to become human, but the execution falls flat. The film constantly rushes from one plot point to the next and is overloaded with exposition. There aren’t enough moments of downtime or meaningful character interactions. The few emotional beats that do exist lack resonance, something Legacy managed to achieve with its father-son dynamic.Adding to that, Tron: Ares completely ignores most of the setups from Tron: Legacy. If you were hoping for answers to the lingering questions from the previous film, you’ll be disappointed. The story also takes place primarily in the real world rather than the Grid, which is unfortunate since the Grid is far more visually and conceptually interesting. It would’ve been fascinating to see what the current state of the Grid is, but this film doesn’t explore that aspect at all.Overall, Tron: Ares lacks a lot of soul, just the Programs it portrays in the film. If you’re looking for a visual and audio spectacle, this film absolutely delivers. However, the script and characters are bland, and the film doesn’t have much to say about technology or A.I. Still, it’s a fun popcorn flick and it does tease a potential Tron 4. Hopefully, if that happens, they bring back Sam, Quorra, and Alan from the previous films. And hopefully, it doesn’t take another decade for the next Tron to arrive.

Barring the extremely uncanny de-aging effects used in the film, the visual effects are exceptional, they still look better than many movies released 15 years later! The score by Daft Punk is absolutely phenomenal as well.While CLU is an entertaining villain, the story and characters remain somewhat weak, a problem that the original 1982 film also had. The pacing also drags a bit in the second half.Still, a lot of potential for a sequel!It’s not like we will get a sequel 15 years later right???

Definitely revolutionary at the time for its unique visuals and settings. The visuals are definitely outdated by today and not visually everlasting like the original Star Wars Trilogy. It also has a very underwhelming plot with bland characters. Still, a lot of potential for a sequel! It's not like we will get a sequel 28 years later right???

You come for the brutal deaths, and this film definitely delivers with some truly memorable kills. The opening scene is incredible, building tension perfectly, and the MRI sequence is especially spectacular. It explores some interesting ideas while also serving as a wonderful send-off for the late Tony Todd.A few gripes remain, mainly the occasional awful CGI and a somewhat underwhelming ending, but overall, this was an enjoyable ride!

I appreciate having a weird, random, silly slapstick comedy in 2025. Some of the jokes did get a genuine chuckle out of me.That said, it never quite rises to the level of a laugh-out-loud riot, and it doesn’t fully capture the magic of the original.Still, it’s worth a watch, if only for the sheer ridiculousness of seeing a bunch of kids get beat up.

The first Nobody was a surprisingly enjoyable action film. Bob Odenkirk kicked ass, and the action scenes were fantastic. The sequel delivers more of those entertaining set pieces, with the final act being especially fun to watch.That said, this is a weaker sequel. The first film struck a nice balance between realism and comedy, but this entry cranks up the silliness and humour too much. The plot feels bland and uninspired, like something straight out of the ’90s, and Sharon Stone gives a genuinely poor performance as the ****’s a shame, because there was real potential here to explore more of Hutch and Becca’s backstory. Instead, we’re left with a decent but ultimately forgettable 90-minute action flick.

A horror film centered around American football is such a fascinating idea. It could have explored the corruption behind the sport, the lasting brain injuries, the fame, and the sacrifices required to achieve greatness. There was so much potential!Unfortunately, this film doesn’t tap into any of that. Instead, it’s just another overdone “evil cult” horror story with nothing meaningful to say. While the visuals show some stylistic flair, the film ultimately lacks substance. Marlon Wayans delivers a strong performance, but even he can’t save this mess.

It’s astonishing how gripping a film about walking manages to be. The Long Walk wastes no time, quickly introducing the characters and the rules before plunging us straight into the ordeal. Once the walk begins, the film never relents, remaining brutal, harrowing, and relentlessly intense from start to **** performances across the board are excellent, and Jeremiah Fraites’ score heightens every moment, perfectly underscoring both the tension and the quieter beats. The direction is unflinching, refusing to soften the violence or the horror of the premise. Yet what surprised me most was how hopeful the film feels beneath its darkness. The friendships and camaraderie that emerge along the way are genuinely **** story avoids the clichés of the battle-royale genre, keeping the audience on edge without ever being entirely predictable. Unfortunately, the one major misstep lies in the ending. It feels unsatisfying and muddled in its message, leaving a weaker final impression than the journey deserves.Still, The Long Walk is a gripping, powerfully made adaptation that should not be missed.

Demon Slayer finally begins its climactic arc with this film. Ufotable once again delivers a phenomenal adaptation, elevating the source material to new heights. The animation is breathtaking, and the Infinity Castle itself is mesmerizing in its design. The action set pieces are exhilarating and gripping, with stunning choreography throughout. The character-driven moments are emotional and powerful, and the soundtrack perfectly complements every scene, whether intensifying the battles or heightening the impact of quieter, dramatic moments. Overall, this is a beautifully crafted, high-production anime film.That said, the movie stumbles at times due to its repetitive structure and over-reliance on flashbacks, which slow down the pacing. The formula often goes: a battle begins, a flashback for an Upper Demon unfolds, then a flashback for a Demon Slayer character follows, before the fight resumes. This cycle repeats multiple times, with flashbacks occasionally stretching on for too long. Being the first part of a trilogy, the film also doesn’t quite wrap up or push the story forward in a fully satisfying way.Nevertheless, Infinity Castle is both an emotional roller coaster and a visual spectacle that longtime Demon Slayer fans will undoubtedly enjoy.

It’s refreshing to see a Stephen King story that isn’t rooted in horror or dystopia. The film features wonderfully fun dance sequences that are a joy to watch, along with a genuinely hopeful message. The cast is excellent, with special mention to Mark Hamill and Mia Sara, who are phenomenal as Chuck’s grandparents. Likewise, all the young actors portraying Chuck are terrific and incredibly lovable.What keeps me from completely loving this film is the heavy reliance on narration. Too often, the story tells us what the characters are feeling and seeing, rather than allowing the audience to experience it naturally. I also wish we had spent more time with the present-day, adult Chuck (played by Tom Hiddleston). While Act 3 sets up an intriguing mystery, it doesn’t feel fully centered on Chuck.Still, this was an enjoyable watch, and I look forward to seeing more Stephen King adaptations!

This is a beautifully animated film about self-discovery, connection, and creativity through music. The characters are super expressive, and the animation is colourful and vibrant in all the right ways. The relationships are a joy to watch, especially between our two main girls: Totsuko and Kimi. The music is great too, with a strong score and a fantastic performance at the end.What keeps it from being truly amazing is that it tries to juggle too many storylines without giving them enough time. Totsuko’s Synesthesia feels like it’s just there rather than something meaningful to her character. Kimi hiding the fact that she dropped out of school from her grandmother never really pays off, even though it builds a lot of tension. Rui, the third member of the trio, is the least developed, he barely gets screen time compared to the girls, and his conflict between music and inheriting the family clinic isn’t explored much at all. The Catholic school setting brings up an interesting angle of religion versus creativity, but the film doesn’t really dive into it. There are even some pretty clear lesbian undertones in certain scenes, but they stop short of moving into romance.Because of all this, the film ends up feeling more like a solid, serviceable story rather than something special. But honestly, it’s still really enjoyable. It’s well put together, the music is excellent, and it’s just nice seeing a couple of teens dealing with relatively normal problems while still creating something beautiful together.

Weapons is one of the most interesting experiences I’ve had with a horror movie. The premise alone is incredibly intriguing, and the gradual unravelling of the mystery kept me engaged for the entire **** first two acts are suspenseful and eerie, with a strong sense of foreboding. The cast deliver terrific performances, with special praise for Julia Garner and Josh Brolin.However, the film is surprisingly comedic, containing far more humour than the trailer suggests. By the final act, the horror elements have largely faded, and the tone becomes quite goofy. The story also leaves many questions unanswered, and the ending may feel slightly unsatisfying.Nevertheless, I had a great time with it, and I appreciate bold, original films like Weapons.

I kid you not, there is a scene where they use a drone courtesy of Amazon Prime Air and said drone crashes near homeless man who will only help if he is given a $1000 Amazon gift card.A film by Amazon everyone!

The Fantastic Four is one of Marvel’s most iconic teams, yet they’ve never quite been done justice in a live-action film, until now. The Fantastic Four: First Steps marks Marvel's first attempt at rebooting the team since regaining the rights to the IP. With the underwhelming Multiverse Saga still fresh in viewers' minds, the pressure was on. So, is this a fantastic first step or just another misstep from Marvel?If there’s one thing Marvel consistently excels at, it’s casting, and that continues to be the case here. Vanessa Kirby is phenomenal as Sue Storm (Invisible Woman), bringing warmth and kindness to the character, while also showing plenty of strength and resolve. When Sue gets angry, it's genuinely impactful. Ebon Moss-Bachrach is equally excellent as Ben Grimm (The Thing), perfectly embodying the "monster with a heart of gold" persona. Joseph Quinn delivers a terrific performance as Johnny Storm (The Human Torch), capturing the flirty, high-energy charm the character is known for. Pedro Pascal, though initially a controversial choice for Reed Richards (Mr. Fantastic), proves the skeptics wrong. He portrays the brilliant yet socially awkward leader with nuance and charisma. The chemistry among the core cast is fantastic. You really believe they’re a family, and the banter between Ben and Johnny is especially fun and endearing. Julia Garner shines as the Silver Surfer, and Ralph Ineson’s voice work as Galactus is superbly **** of the film’s smartest choices is skipping the traditional origin story. The origin is covered briefly in an opening sizzle reel, which allows the movie to dive straight into the action without unnecessary exposition. The story itself is engaging: the Silver Surfer arrives, heralding the impending destruction of Earth by Galactus. The Fantastic Four must face a threat unlike anything they’ve encountered before. At its core, the film is about family, and that theme is tested throughout the narrative. Another highlight is that the film isn’t set in the mainline MCU universe. This standalone approach makes it more accessible to newcomers, without requiring prior Marvel "homework." The film also benefits visually from this creative freedom, boasting a 1960s retro-futuristic style that’s both bold and **** strongest element of the film is undoubtedly the characterization of the team. The script doesn’t shy away from Reed’s flaws. His intelligence can make him seem cold and controlling, something the character is painfully aware of. Johnny Storm, often portrayed as just a hothead, is given more depth here. He’s still charming and impulsive, but also brave and clever. The CGI is well done overall; while early concerns were raised about the Silver Surfer’s look, the final product is impressive. And finally, we get a Galactus who isn’t just a giant cloud, he’s a visually stunning and a genuinely threatening presence. A standout space sequence in the second act is a particular visual treat. The costumes are spot-on, perfectly matching the retro aesthetic, and Michael Giacchino’s score may be one of Marvel’s best yet. The Fantastic Four theme is especially memorable and sticks with you long after the credits roll.That said, the film isn’t without flaws. At just 114 minutes, it feels a bit short for a superhero film. Some characters get less development than they deserve—most notably Ben Grimm, who lacks a major character arc or standout moment. Supporting characters like Mole Man (Paul Walter Hauser) and Lynne Nichols (Sarah Niles) feel underused. Galactus, while impressive, doesn't appear as much as one might hope. Similarly, Reed Richards barely uses his stretching powers, which is a bit of a letdown. The film is also relatively light on action, likely due to the overwhelming nature of Galactus as a villain. There’s a quick montage of the team in action early on, but it feels like some of this may have been cut **** Fantastic Four: First Steps is truly a fantastic step in the right direction for Marvel. This film completely nails the family dynamic and the characterization of these iconic heroes. It brought me so much joy to finally see these characters done justice on the big screen. While not a perfect leap forward, it’s a strong and confident first step and I can’t wait to see what the next step is for the Fantastic Four!

Sony Pictures Animation has delivered an outstanding original animated film, something that's been sorely missing from Disney and Pixar lately. The movie features a stunningly beautiful animation style that seamlessly blends 2D and 3D, compelling world-building, fluid and thrilling action set pieces, and a fun, lovable main trio. To top it all off, it boasts phenomenal K-pop music!While the plot is fairly predictable and the third act feels a bit rushed, the film would have benefitted from being about 10 minutes longer. It also leaves a number of dangling plot threads that seem to be setting up a sequel.Still, this was an absolute surprise! With a title like that, I wasn’t expecting something so thoroughly enjoyable.

It’s been 12 years since Superman’s last solo outing, and this new film not only marks his return but also launches James Gunn’s revamped DC Universe (DCU). I’ve always had a soft spot for Man of Steel (2013), though Batman v Superman (2016) left me disappointed. So the question is: does this fresh reboot soar or crash?The new cast is superb. David Corenswet had enormous shoes to fill, but he absolutely delivers. He captures Superman’s inherent kindness and warmth, while adding a layer of vulnerability that makes the character feel more grounded and human. Rachel Brosnahan is equally strong as Lois Lane, bringing intelligence and charisma to the role, and her chemistry with Corenswet is genuine and compelling.Nicholas Hoult is a standout as Lex Luthor, delivering an obsessive, petty, and sharply calculated performance. It’s exactly the kind of Lex we’ve been missing. Among the supporting cast, Nathan Fillion is a delight as the cocky Guy Gardner Green Lantern, but the biggest surprise is Edi Gathegi as Mister Terrific. He brings a fun, confident energy that steals more than a few scenes. Gunn continues to excel at spotlighting lesser-known heroes and making them shine.Where Snyder’s Superman was often criticized for being too somber, Gunn takes the opposite route, offering a hopeful and optimistic version of the character. Watching Superman save people and not just punch things, is a genuine joy, and some of the film’s most memorable moments come from these heroic rescues. The film is bright, colourful, and visually rich, with several beautifully composed shots and creative action sequences. A kaiju battle and a slick, one-take Mister Terrific sequence are particular highlights.John Murphy does a good job with the music score and his new rendition of the classic John Williams Superman theme is magnificent. He doesn't overuse license music like he did with The Suicide Squad or Guardians of the Galaxy but there are some that are used and thankfully they do work very well in the film.That said, the film isn’t without its flaws. At times, it feels overstuffed. There are simply too many characters, and not all of them get the development they deserve. Green Lantern and Hawkgirl, in particular, feel underutilized, barely contributing to the plot and undergoing vague off-screen arcs that aren’t clearly **** movie also juggles a wide array of themes: immigration, legacy, family, politics, romance, war, media, and the ethics of heroism. While each idea is intriguing on its own, the film spreads itself too thin, touching on these concepts without fully exploring any of them. For example, the contrast between Superman’s unwavering moral compass and the Justice Gang’s murkier code is compelling, but the film never digs deep enough into it.Another slight letdown is how often Superman finds himself on the receiving end of beatdowns. While it is clearly done to show how effective Lex is as a villain, it would’ve been nice to see more scenes of Superman at his most powerful. Additionally, Clark Kent’s life as a reporter is barely touched on. There’s disappointingly little of the classic curly-haired, glasses-wearing Kent persona.James Gunn also changes a huge element to Superman's backstory and mythos which is fine but it does raise some questions. It felt like a big mistake for James to not touch upon it at the end of the film when the opportunity was clearly there.Superman may not be the masterpiece some were hoping for, but it’s a heartfelt and highly entertaining return for the character. It balances comic book spectacle with a refreshing tone of optimism, and lays a promising foundation for the DCU. If this is the direction James Gunn is taking us in, I’m excited to see what’s next.

The main character's relationship with his wife is barely developed so you barely feel his grief. And you'd think they’d lean into the fun spy stuff with the nerdy guy and his gadgets, but nope. The plot is your standard revenge fare and doesn’t really get more interesting than that. If you start thinking about it too much, a lot of things stop making sense. Laurence Fishburne brings some much-needed charisma, but he’s barely in it. And Jon Bernthal shows up... for reasons? He has no real impact on anything, which is a shame. Also, the ending? Kind of silly. That said, there are some fun action scenes and a bit of decent tension sprinkled in. So if you’re in the mood for something Jason Bourne-ish and don’t mind turning your brain off for a bit, it’s a decent way to kill a couple of hours.

Jurassic World Rebirth is somehow the seventh entry in the Jurassic franchise. After the massively disappointing and downright abysmal Jurassic World Dominion (2022), it felt like time to let the franchise rest. However, considering it made over $1 billion, the studio was never going to let it die, and now we have another installment. The only redeeming news, in my opinion, was that Colin Trevorrow was no longer involved. Instead, we have Gareth Edwards, director of Godzilla (2014) and Rogue One: A Star Wars Story (2016). So, does this bring new life to the franchise, or should it have remained extinct?To start with the positives: the dinosaur set pieces are genuinely enjoyable. There's a horror-movie-style sequence in the opening, a thrilling Jaws-like moment involving the Mosasaur at sea, and a fun finale set piece that echoes the spirit of the original film. The standout set piece, however, is easily the tense and terrifying T-Rex scene involving a raft. Scarlett Johansson, Jonathan Bailey, and Mahershala Ali are solid as the leads. What truly sets this film apart from the Trevorrow Jurassic World movies is the excellent cinematography. There are genuinely stunning shots with impressive use of lighting, and it helps that Gareth Edwards shot most of the film on location rather than on sets. The lush forests and flowing rivers feel vibrant and real, adding to the film’s visual appeal.Unfortunately, that’s where the praise ends. The story and script leave much to be desired. The dialogue often feels stilted, and the jokes come off as forced. The characters are one-dimensional and forgettable, and the plot is bland and predictable. Worse still, the film feels like two different scripts awkwardly mashed together. One storyline involves mercenaries trying to collect blood from three different dinosaurs to get rich. An interesting and unique premise for the franchise. However, the other half of the film follows a family stranded on the island, struggling to survive. The constant switching between these two plotlines is jarring, especially since the family story is significantly less compelling. Because the film tries to balance both arcs, neither is developed well. The director and writer would have been better off focusing on just one.Another ongoing issue with the recent entries is the obsession with mutant-hybrid dinosaurs. The hybrid in this film, the D-Rex, doesn't even remotely resemble a dinosaur, it looks more like a weird alien creature from a sci-fi movie. Its inclusion feels pointless, especially since the plot doesn't revolve around cloning experiments or genetic engineering. While I didn’t care for Colin Trevorrow’s Jurassic World trilogy, I did appreciate his occasional use of practical dinosaur animatronics. Strangely, Jurassic World Rebirth features no animatronics at all, which is disappointing. The CGI, with the exception of the T-Rex, is also underwhelming. Unsurprising, given reports that the VFX team had less than a year to complete the film’s effects. Unfortunately, that shows.Overall, Jurassic World Rebirth is not the film to revitalize this franchise. Gareth Edwards fails to bring fresh energy, delivering yet another mediocre installment. Maybe it’s finally time to let this franchise go extinct. But who am I kidding? It’ll probably gross another $1 billion and then we’ll be right back here again.

I’m not an F1 fan, but this film had me hooked from start to **** racing sequences are genuinely exhilarating, packed with tension and shot mostly using practical effects. This results in some truly breathtaking camera work that puts you right in the driver’s seat. Beyond the action, the film delivers an engaging and well-acted drama that keeps the momentum going off the track. The pacing is spot-on, striking a satisfying balance between character-driven scenes and high-octane races, so it never drags.Brad Pitt, Javier Bardem, Damson Idris, and Kerry Condon all give strong performances, adding depth to a story that might otherwise feel overly familiar. Hans Zimmer’s score amplifies the thrill, enhancing both the emotional beats and the on-track ****, the plot is formulaic and leans heavily on well-worn tropes, it’s predictable and doesn’t take many creative risks. But honestly, I didn’t mind. I came in hoping for a fun, fast-paced racing movie, and that’s exactly what I got.