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There is a scene that perfectly encapsulates what ‘Christy’ —the biopic of American boxer Christy Martin—represents. In it, the protagonist, having endured repeated bouts of stress and emotional abuse, leaves her home, heads to the beach, and sits on the sand gazing at the horizon; the beautiful sunset offers a moment of peace amidst the storm. This part is just one of the many clichés that make up this lackluster film, which does little more than wallow in the character's suffering and rehash the tired formula of the up-and-coming athlete who triumphs over tragedy. While Sydney Sweeney once again sets aside the sexualized public persona she has embraced—and which others have exploited; yes, we’re looking at you, Sam Levinson—to play Martin, an unimaginative script, weak direction, and a limited effort on her part prevent her from truly disappearing into the role. It is as if she believed that by simply looking “messy” it would’ve been enough to get an Oscar nomination.

'Brand New Day' lives its best moments when it focuses on the emotional and existential conflict that consumes the arachnid; in this sense, Zendaya and Tom Holland together become the heart of the film. But things don't work so much when a predictable plot about a conspiracy takes center stage. Nevertheless, this new installment manages to project a very comic vibe and even capture a part of the essence that characterized Sam Raimi's films.

"It’s too bad you never know when you’re at your happiest," says one of the protagonists in ‘Sound of Falling,’ winner of the Jury Prize at the 2025 Cannes Film Festival. Director and co-writer Mascha Schilinski immerses us in the lives of four young women sharing the same space: a farm in the Altmark region of Germany. None of them is exactly happy, yet none is devoid of moments of carefreeness and tranquility—reminiscent, almost, of the cinematic universe of Terrence Malick. Their circumstances are complex, but female resilience emerges to confront them. In what might well be defined as an epic of intimacy, Schilinski alludes to Germany’s contemporary history through the experiences of four girls grappling with traumas, secrets, and conflicts that put their innocence, their fortitude, and even their very existence to the test. A masterpiece of contemplative cinema.

If they wanted ‘Evil Dead’ to go full New French Extremity now, they might as well have called Gaspar Noé or Julia Ducournau to direct this.

"A face… An idea… A man… A war… A fleet…" —so the bard recounts, within the palace of Ithaca, the heroic deeds of Odysseus, the Achaean who longs only to return home and resume the life he left behind when he set out to conquer Troy on behalf of a vengeful and capricious king. In this interpretation of ‘The Odyssey,’ Christopher Nolan—as he does in so many of his films—questions the concept of the hero. Does Gotham need Batman? Does the United States deserve Oppenheimer? Does Ithaca need Odysseus? Much like in his movie about the creator of the atomic bomb, the acclaimed filmmaker presents a tormented protagonist whose completed mission forces him to question whether a genocide was worth it. Unfolding a titanic vision and striving to craft a cinematic experience the audience will cherish, Nolan adapts Homer’s work with reverence, focusing on the fall of empires—specifically, the drive to destroy others that, ironically, leads to their own self-destruction.

Despite incorporating an anti-colonial message and sequences filmed in a stunning location like Malta, the mystery this time around fails to generate enough interest. Neither the script, with its excessive exposition, nor the direction provides Millie Bobby Brown with the tools she needs to make her character compelling. A well-intentioned film with its focus on female empowerment, but ultimately quite basic.

Moana's remake is a blatant exercise in corporate greed; an aberration that demonstrates the laziness with which Disney currently operates; a crude exploitation of nostalgia for something that's barely a decade old. The insistence on creating a cartoonish representation makes everything look ridiculous, not to mention that the flat cinematography and excessive CGI strip it of any cinematic essence. Only Catherine Laga'aia is spared from this disaster.

“One should always be in love. That is the reason one should never marry.” This quote opens ‘The Invite,’ a sex comedy that isn't exactly about the act itself, but rather the ingredients needed to keep passion alive within a marriage. The British author’s words serve as the philosophical foundation for a film that is both hilarious and intelligent, examining life as a couple through the meeting of two pairs of lovers who couldn't be more different from each other. A tense gathering gives way to an unexpected proposition and, in turn, an exploration of who we want to be, who we pretend to be, and who we cease to be—and how all of this affects the sexual bond we share with the person we believe we love. Driven by four strong performances, a sharp script, and Olivia Wilde’s refined direction, the film confronts us not only with a hypothetical scenario but also with what we believe it means to be with someone.

'Twinless' completely defies expectations with a dark comedy tinged with drama about two young men who have lost a twin. What begins as a typical melancholic Sundance film takes a dark and twisted turn thanks to an unexpected revelation very early on. What follows is a humorous exploration of loss and the lengths we'll go to find companionship. Dylan O'Brien delivers what is arguably the best performance of his career.

Carla Simón embarks on an autobiographical journey that builds a family portrait from memory. The nature of the exercise avoids cliché, as this is not an idyllic representation; a good part of the characters represented here have great flaws and share problematic ideas. However, the Spanish author makes her young protagonist's journey through Galicia to learn about the past of her deceased parents a cathartic experience that also uses magical realism to amplify the lyrical meaning of the narrative.

The 'Emilia Pérez' of gender violence. This musical attempts to highlight the feminist cause in Chile, but director Sebastián Lelio ends up celebrating himself with an egocentric exercise that ignores the complexities of systematic abuse. Visually striking, yes, although most of the songs lack good lyrics (the first musical number is perhaps the only one worthwhile in any sense). In short, this film trivializes the movement, almost to the point of parody, with so many caricatured characters.

Despite Milly **** delivering a more than decent performance as Kara Zor-El, everything surrounding her in 'Supergirl' is extremely generic and derivative; the influences of 'Guardians of the Galaxy,' 'Star Wars,' and 'Mad Max' are all present, and not in a good way. Furthermore, it feels as though James Gunn overstepped his bounds and directed much of the film. With forgettable supporting characters and an uninteresting story, this latest installment in the DCU leaves much to be desired.

"You shall not lie with a male as with a woman; it is an abomination," states the Book of Leviticus in the Old Testament. Drawing on this verse, Australian filmmaker Adrian Chiarella conceived his debut feature, 'Leviticus,' which captures the terror of living in fear as a **** person. In it, Chiarella transforms the horror of the immoral "conversion therapies" into a supernatural nightmare that two young lovers must endure. Naturally, the film confronts Christian hypocrisy with a story that highlights the hatred stemming from archaic beliefs and prejudices embedded in a community whose conservatism drives it to engage in appalling practices. Although its very short runtime prevents a deep exploration of the characters' desires and frustrations, the film uses its unsettling allegory to ingeniously depict how—in the name of religion—attraction is twisted into aversion through trauma.

Bi Gan reminds us of the power of cinema: a land of dreams permeated by every feeling the human experience is comprised of. This epic anthology delivers everything you could possibly imagine: sci-fi, a silent movie, a cute fantasy drama, a vampire tale, and probably the most **** crazy one take shot a human being has ever accomplished. Every segment here functions as fantastic showcase for Gan’s technical and narrative skills; you wish all these were developed as full length features. An insight look into one country’s sentiments through time. A true cinematic experience that celebrates dreaming as the rawest form of storytelling. If only we could dream forever.

In 'The Mysterious Look of Flamenco,' director Diego Céspedes melds a **** fairy tale into the Western that unfolds like a coming-of-age story about the community as a form of resistance. The young Chilean filmmaker explores both the violence emanating from homophobia and transphobia and the tenderness emanating from a chosen family that fights to protect itself. Beautifully shot and topped with little touches of fantasy.

Can you imagine a whole 'Toy Story' movie with the animation style of Bonnie's imagination sequences? Now that would be interesting! This fifth installment is cute, yes, but we've already seen the toys' existential crisis in previous films, as well as several jokes and even the Buzz Lightyears who don't know they're toys. And the commentary on children's technological alienation feels years too late. The best part: Jessie's heartwarming adventure. I wish the whole story had focused on her. Again, like many other recent Disney projects, it gives the impression that this one was conceived for television.

‘Alpha’ appears to be the beginning of a new stage for Julia Ducournau’s career, seemingly abandoning the sordid for a more “serious” approach. And this is precisely what reveals itself as the Achilles' heel of her failed third feature film: a drama about clinging to saving someone who doesn't want to be saved, wrapped in pretentious packaging and delivered with an insecurity that soon infects the entire film. An erratic, exhausting, and ultimately dead-on-arrival movie that relies on obvious metaphors and repetitions that lead nowhere. Such a shame for the actors, who deliver fine and sometimes raw performances. You can hate ‘Titane’ or even ‘Raw,’ but at least those have an unserious touch that makes them enjoyable or interesting. This is just excruciating; your patience will be tested early on.

The new 'Masters of the Universe' movie basically functions as the Marvel version of He-Man. It's undeniably entertaining at times, but its long runtime, reliance on jokes, generic story, and excessive CGI are reminiscent of the worst of Marvel. Ironically, Jared Leto's Skeletor becomes the funniest element. While Nicholas Galitzine seems committed to his role, this second adaptation ultimately feels like a parody.

'Disclosure Day' isn't Spielberg's best, but it's not a complete failure either. Emily Blunt is phenomenal, projecting a wide range of emotions from beginning to end. Furthermore, the questions it raises about religion, empathy, and the possibility of extraterrestrial life provide food for thought. However, the rest of the characters are quite forgettable, and the "catch me, you escape, catch me" structure is exhausting. David Koepp's screenplay leaves much to be desired.

"México 86" intenta desesperadamente ser "El Lobo de Wall Street", pero no le sale. El antihéroe al que da vida Diego Luna tiene buenos momentos, pero está lejos de ser memorable. Además, la ficción creada alrededor de la obtención de la sede se resuelve muy fácil. Y Karla Souza no tiene nada que hacer. Entretenida e ilustrativa históricamente en cierto sentido, aunque destinada a quedar rápidamente en el olvido

The new 'Scary Movie' boasts of being offensive to everyone, but its humor feels so dated and basic that it only elicits pity. The Wayans brothers repeat themselves with poop, weed, and **** jokes. The parody boils down to a collection of sketches that barely land; only a couple, like the one about 'The Substance,' manage to pull it off. The film is so engrossed in mocking minorities that it forgets to make sense of its attempted plot. Conservatives will love it, of course.

John Travolta took his children's novel about a long plane trip and turned it into an... audiobook? In this film, we hear him narrating nonstop for an hour, describing what the characters are doing and thinking. Adding insult to injury, the story couldn't be more corny, repetitive, and boring. It's practically just about a kid flying to Los Angeles with his mom. Exasperating and saccharine from beginning to end.

'Peter Hujar's Day' is a movie that relies heavily on its staging and Ben Whishaw's powerful performance as photographer Peter Hujar. Ira Sachs's film precisely captures the zeitgeist through words alone. It's also a profound exploration of an artist's frustration. Boredom occasionally creeps in, but the immersive experience it offers is captivating at times.

Visually, 'Backrooms' is a great adaptation of the YouTube series. Kane Parsons successfully translates the anxiety and unsettling atmosphere of his project to the big screen. Narratively, despite some good ideas related to distorted reality, the film falls into the trauma cliché, so overused in elevated horror. The protagonists are defined by this, leaving them without the necessary nuances to be more compelling. It's not a bad film, but the script falls short.

During this year's Berlinale, legendary director Wim Wenders made headlines with his decidedly unexpected statements. "Cinema must be apolitical," he declared in a geopolitical moment in which there shouldn’t be room for this kind of stance. Fortunately, auteurs like Kleber Mendonça Filho and Park Chan-wook later set things straight, making it clear that art is inextricably linked to politics. All of this frames the release of ‘Anniversary,’ the new film by Jan Komasa, responsible for the politically provocative ‘Corpus Christi,’ which recounts the curious adventure of a criminal who undergoes a spiritual transformation by impersonating a priest in a small town. With this in mind, it’s hard to believe that Komasa’s new effort reveals itself as a supposedly political commentary that, nevertheless, completely avoids taking a stance, thus emptying its discourse of any relevance, just like ‘Civil War’ and ‘Eddington’ recently did.

“If you die for Nigeria, you die for nothing,” says a man in ‘My Father’s Shadow,’ Akinola Davies’ feature debut. The British director of Nigerian descent pours his childhood memories into an exercise in autofiction that simultaneously offers a panorama of contemporary Nigeria, a country troubled by religious extremism and military dictatorship since the last century. It’s also a tribute to the paternal figure, as imperfect as it is loving. Alongside his brother Wale—who co-wrote the film—, Davies reopens his own wounds and those of his homeland, drawing inspiration from a profound loss, both of a loved one and of democracy itself. Like other great directors in recent years, he constructs a parallel between his own experiences and those of a convulsed nation: shared laments and grief.

Disney keeps on making TV content for the movie theater. 'The Mandalorian and Grogu' is just an irrelevant collection of 4 lame episodes of the TV series. No one will remember this in a couple of weeks. Such a weird thing to have this as the Star Wars return to cinemas after seven years.

We weren't prepared for Inde Navarrette's demented performance in Curry Barker's brilliant debut; we're witnessing the rise of a new horror star. ´Obsession,' then, is a film that nimbly moves between comedy and horror to deliver a shrewd commentary on coercion and on how a man can deprive a woman of her free will out of pure selfishness and malice. A very clever portrayal of toxic masculinity. The last 20 minutes are brutal and cruel, but they don't feel gratuitous at all. Barker dazzles with visual and narrative flair, while simultaneously sparking conversation about concerns relevant to both his generation and older ones. More content creators like him in film will always be welcome.

The concert part is fine, but the quick cuts and the endless shots of people recording are annoying. The 3D barely contributes; watching iPhones, confetti, cables, or random fans popping out of the screen is not exciting. And the documentary aspect is very lame. James Cameron asks Billie the most basic questions; the personal exploration doesn’t go deep. Instead of showing how this amazing show came to be, we got cute shots of Billie playing with puppies? At least the chemistry she has with the camera saves this project from being a total misfire.

There's something undeniably unsettling about ‘Undertone’. Of course, contextualizing children's songs in horror films is nothing new, nor is exploring how eerie they can sound when played in reverse; however, director and screenwriter Ian Tuason found a way to revalue the concept, at least to some extent, with his debut feature. Focusing entirely on sound and off-screen space, his work offers a dose of analog horror whose tools are its greatest appeal. Unfortunately, despite an interesting commentary on Catholic upbringing and the guilt that stems from it, the film ultimately delivers a cliched story that culminates in a sequence that could easily have been pulled from the ‘Paranormal Activity’ franchise.

'Mortal Kombat II' finds in Karl Urban/Johnny Cage a protagonist more in tune with the franchise's spirit. However, the film insists on exploring this universe with a solemnity that ultimately becomes irritating and boring. Shao Kahn is a one-dimensional villain, while Kitana falls into cliché. As for the violence, the fatalities are uninspired and lack impact due to the heavy reliance on CGI. A sequel hampered by a lazy script and characters who are merely existing.

La intersexualidad es un tema poco retratado en el cine. Curiosamente, en plena era franquista, una película llamada “Mi Querida Señorita” irrumpió en un panorama de represión y mojigatería con una historia acerca de una mujer madura que descubre que también tiene gónadas masculinas tras una visita al médico. Esta superó la censura e incluso fue nominada al Óscar. Muchísimos años después, el concepto vuelve de la mano de Netflix, Los Javis —creadores de la aclamada serie “La Mesías”— y la escritora Alana Portero para modernizar el relato y brindar visibilidad a una temática de la que la mayoría de la sociedad todavía permanece ignorante. El remake es un noble intento que, sin embargo, carece de la potencia de la original; el didactismo resulta el culpable. Aun así, gracias a algunos bellos momentos y a la relevancia social de la que está impregnada la trama, la cinta ofrece un aliciente en tiempos de odio e intolerancia.

"El Yerno" es la peor película de Luis Estrada que no dirigió Luis Estrada. Un ejercicio completamente derivativo que pretende impactar con sus temáticas acerca del contubernio entre política y crimen organizado. El montaje errático la vuelve confusa en partes, mientras que las mediocres actuaciones impiden tomarla en serio. Una sátira anticuada condenada por un guion lleno de escenas aleatorias y personajes irrelevantes. Un despropósito muy molesto.

Damian McCarthy returns with another horror film that unsuccessfully attempts to blend “elevated terror” with the typical jump-scare-heavy formula. Channeling his inner Stephen King, the director presents a detestable writer as the protagonist, grappling with a haunted hotel and its secrets. The plot twists and the traumas revealed are predictable. 'Hokum' has some genuinely terrifying moments, but neither these nor the initial conflict lead to anything truly surprising.

A politically incorrect tragicomedy that is both hilarious and heartbreaking. Simón Mesa Soto criticizes cultural systems and the expectations Europeans place on Latin American representation in art. But this is about a man who has spoken as a father, husband and poet, and who simply wants to be a good person. Our protagonist is pathetic, but noble at the end of the day; a kind of unforgettable antihero who becomes a symbol of resistance.

Just another sequel without a soul that lives on from the grace of the previous one. Again, Meryl Streep steals the spotlight with her performance, but Anne Hathaway and Emily Blunt have a lot to do with what they do. Worst of all, it is false that criticism of excessive capitalism and unfair corporate practices is felt. A superficial and boring film whose cynicism is not graceful. Could've easily been released on Disney+.

There's a moment in ‘Exit 8’ in which, before the title of the next act appears on screen, the first letters legible read "hell." In the 21st century, hell is no longer that vision of burning plateaus and caverns with people being eternally incinerated. Now, it's everyday life: the long, tedious commute home that we repeat time and again. Based on the popular indie video game of the same name, the film fully translates its premise to confront the viewer with an extreme and sadly familiar experience. In a style of horror and mystery, Genki Kawamura uses liminal spaces—there's something of the infamous "backrooms" in the production design—so distinctive of the game, and creates a kind of purgatory where his protagonist must learn to decide whether to move forward or not, and not necessarily physically. Although the nature of the game works somewhat against it, the existential reflection it offers is more than relevant.

Lucrecia Martel's first documentary portrays more than the judgment derived from the murder of Javier Chocobar; This is an audiovisual testament to the Chuschagasta struggle and how colonialism is driven by the system to perpetuate abuse, spoils, and violence against, in this case, original communities. The emblematic Argentine director proposes to study the root of this problem by listening to the members of the community, displaying the twisted ideas of the white settlers and using a powerful audiovisual language (conformed by a variety of drone shots) to understand how “God” is against indigenous people. Fundamental work of civil resistance.

This is my ‘Stranger Things’ and ‘Dark’ at the same time. One of those movies that aged like wine.

If Terry Gilliam directed ‘Everything Everywhere All At Once’ and ‘Terminator’ at the same time, with some ‘Black Mirror’ shorts included.

It could be said that Jim Jarmusch entered the late stage of his career with ‘Paterson,’ a contemplative film about trivialities and poetry as a way of reinventing yourself. After making something different for a change and having some fun in another genre with the parodic ‘The Dead Don’t Die,’ the iconic auteur returns with ‘Father Mother Sister Brother,’ another anthology that, on this occasion, examines family relationships from the most uncomfortable aspects of everyday life. This triptych, although seemingly a minor work compared to his turn-of-the-century films, finds in repetition, the inexpressiveness, and the unspoken or the undone a way of showing the impossibility of truly communicating with those we love or think we love. The first two segments rely on deadpan comedy to make their point, while the last one walks into a more emotional and serious territory. Not the most engaging Jarmusch film, but still a solid effort from a filmmaker always committed to showing the complexities of human connection.

This is what happens when you’re stuck in the ‘Evil Dead’ universe and decide to remake ‘The Exorcist’ with an Egyptian demon as the villain.

Blandest and ugliest music biopic of all time. Reading Michael Jackson's Wikipedia entry is more exciting than this.

Jonah Hill pretending to be a victim of “cancel culture” and making a deeply unfunny movie about it’s a new low for him. So sad that the guy responsible for ‘Mid90s’ ended up like this.

'The Drama' is an anti-rom-com about empathy. Kristoffer Borgli continues his exploration of social prison with a story that morally challenges what we believe we know about what we believe, in this case, of our peers. Zendaya and Robert Pattinson move nimbly between black comedy and psychological drama. And although the treatment does not work at times with everything burgle he wants to say, the tension and the acidic humor are enough to keep you engaged.

Rebuilding the ruins we inhabit, both physically and spiritually. This film recaptures the more contemplative side of the western genre to explore the deepest of the U.S. and its inhabitants: ordinary people with few opportunities, struggling to survive day to day. With this intimate and modest work, director and screenwriter Max Walker-Silverman enlists the already popular Josh O’Connor to create a brief but moving character study based on resilience and a sense of community. While several clichés linger in the plot longer than one might wish, the honest and minimalist approach is enough to convince you to accompany a rancher on his descent into despair and his climb back to the surface.

'Kokuho' offers a glimpse into the elitist, social, and artistic implications of kabuki through a story about the pursuit of greatness at any cost. The rivalry and bond between two actors and friends becomes the heart of a film that questions sacrifice and legacy. With stunning makeup, costumes, and production design, the film immerses us in the world of kabuki through the frustration and pain of its conflicted protagonists.

A collection of references, nonsense, and mediocre gags that lead to nothing more than fleeting gratification. Its creators clearly thought a story wasn't necessary with several of the world's most beloved characters jumping and running around. With titles like 'The Wild Robot,' 'Hoppers,' and 'Puss in Boots: The Last Wish' already out there, why couldn't this one treat its young audience in a way that isn't condescending?

Paolo Sorrentino has always been an introspective filmmaker, but this characteristic is often overshadowed by too much style that, at times, doesn't quite serve his ideas. ‘Parthenope,’ for example, is an uneven ode to his native Naples whose scattered execution leaves it as a remarkably superficial exercise. Now, with ‘La Grazia’ the Italian director, once again interested in the political figures of his country—as he first showed in ‘Il Divo’—and drawing once more on his great muse, the actor Toni Servillo, achieves a relatively healthy balance between substance and style to deliver a character study that offers a reflection on loneliness, the search for truth, and the unexpected peace that doubt brings.Perhaps his most restrained work in a very long time, though not devoid of his sometimes excessive desire to be noticed, Sorrentino rediscovers a sensitivity that is at times deeply moving with the story of a president immersed in a moral dilemma: to pass or not to pass a controversial law on euthanasia. The film relies on some obvious symbolisms, but it shines when it focuses on the unexpected liberating weight of uncertainty. What looked at first like a political thriller turns out to be an existential drama with a little touch of comedy.

'They Will Kill You' is a copy of a copy. This action-horror comedy succumbs to a lack of originality. Everything it presents comes from films like 'Kill Bill,' 'John Wick,' 'Oldboy,' 'Evil Dead,' and 'Ready or Not.' More than an homage, it's a soulless pastiche that tries to hide its lack of creativity with flashy action sequences. Zazie Beetz demonstrates physical commitment, but the script doesn't give her the tools to make the protagonist less derivative.