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'Forgotten Island' is a wonderful DreamWorks movie that takes the viewer on a frenetic, colorful journey underpinned by a beautiful story of friendship. It's also a celebration of Filipino culture and its fascinating mythology. The animation is vibrant, and the frequent anime-style details are brilliant. But best of all is the way it builds a narrative and thematic framework around memories. An unmissable fantasy adventure.

Succeeds by setting aside the game's lore to focus instead on the experience of playing these titles. Zach Cregger embraces the franchise by incorporating his signature dark comedy; he pokes fun at it while keeping the saga's essence intact. In a sense, the third act undermines what was built up, featuring an overblown finale and a shift in tone. However, Austin Abrams saves the day with a hilarious performance and great physical commitment.

Andy Serkis and his team turned George Orwell’s classic into a fart joke that looks like something conceived by Illumination. 'Animal Farm ' completely dilutes the original material's critique of totalitarianism and even distorts it to construct a tepid narrative that ultimately embraces far-right ideologies. To make matters worse, the animation looks like it dates back 20 years. This is quite possibly one of the worst films of recent times.

'Ice Cream Man' is a horrible movie in which Eli Roth's reveling in the brutality and torture becomes nonsense of gore and bad taste. Basically, it feels like a Weapon´s parody. With all the slasher clichés imaginable, a villain who practically disappears throughout the plot, the most ridiculous explanation, and unconvincing practical effects (there is also AI), Roth delivers his worst work yet.

'Oasis: Don’t Look Back in Anger' is a documentary that largely steers clear of sensationalism regarding the Gallagher brothers' split; instead, it builds a narrative around forgiveness and what the band means to those who waited so long for its return. The musical segments are stirring, but it's the commentary from Liam and Noel that truly immerses the viewer in the real dynamics of a legendary band that found itself again.

Yeon Sang-ho combines '28 Days Later,' 'The Last of Us,' and 'Dawn of the Dead' with Train to Busan’s premise, but now the characters are trapped in a building with a horde of zombies in constant evolution. That sounds cool, and yet the movie fails to deliver most of the time. The over-explanatory dynamic is tiring, and none of the protagonists is particularly interesting. The emotion that characterized 'Train to Busan' is nowhere to be found here. At least the actors portraying the zombies deliver amazing physical performances, and the AI allegory around “groupthink” compensates for the movie's clichés.

I don’t even know if the book is good or not, but hearing a filmmaker say that he didn’t read the source material because “why bother if the screenplay is that good” is just another sign that Ridley Scott just doesn’t even care anymore and that he’s making movies just because.

'One Night Only' is a strange and unconvincing blend of 'After Hours', 'The Handmaid’s Tale,' 'Materialists' and 'The Purge.' A romantic comedy that seems opposed to sex, with a conservative message that aligns closely with the regressive politics defining the United States today. Despite the good chemistry between Callum Turner and Monica Barbaro, the film is unsettling, attempting to craft a sex comedy amidst a dystopia.

“Don’t forget the power of your humanity. It’s the one thing they cannot take away from you,” a local sheikh tells Salim, a Palestinian man who has truly lost almost everything at the hands of Israeli settlers. In ‘All That’s Left of You,’ Palestinian-American filmmaker Cherien Dabis pays tribute to her family and ancestors with a harrowing tale of hatred, dispossession, and injustice. By encapsulating the modern history of Palestine within the multigenerational saga of a family that—across different decades—confronts the theft of their land and their possessions, Dabis reveals the origins of our current reality: Israel committing genocide against the Palestinian people. Centered on a family drama that lays bare a range of emotions and lived experiences amidst the destruction, the film serves as a call to never forget what has happened and what is currently unfolding. It seeks to raise awareness through a story in which compassion ultimately blossoms against all odds.

An endearing film that transforms Wile E. Coyote’s misadventures in trying to catch the Road Runner into a battle against the system and a reflection on the purpose that defines our lives. Through the protagonist and his beleaguered lawyer, the project portrays a Sisyphus-like existence that anyone can relate to. With fun cameos, a compelling legal drama, and a lovely tribute to the Looney Tunes, it is clear that this movie did not deserve to be scrapped.

‘The Choral’ could very well be ‘Whiplash’ for the elderly: a choir director named Henry Guthrie is hired to lead a choral group in Yorkshire, UK, during World War I. Stubborn and at times harsh, he frequently loses his temper with his all-ages pupils; his sole desire is to achieve a perfect performance for an upcoming public concert. But unlike Damien Chazelle’s memorable film, obsession and greatness are not the driving forces of the plot here; instead, the story focuses on loss, the communal power of art, and resilience. Nevertheless, an extremely pedestrian execution, a host of underdeveloped supporting characters, and a performance by Ralph Fiennes in a role that feels all too familiar prevent this effort from truly transcending the ordinary.

'Facing El Chapo' features a couple of notable action sequences and strong performances from Alfonso Herrera and Noé Hernández; however, the script struggles significantly to flesh out the characters and craft a more compelling plot. Furthermore, it is impossible not to view the story as a form of propaganda or a romanticized portrayal of Mexican police forces. Basic and clichéd, the film even borders on parody in its depiction of the criminal underworld.

'Rosebush Pruning' is a pretentious exercise that seeks to artificially provoke the viewer with taboo situations that lead nowhere. A great cast is wasted on a story featuring absurdities that are both annoying and inconsequential. It is a supposed satire of privilege that has nothing to say about class, sex, or dysfunctional families. It is as if someone posing as Yorgos Lanthimos had directed 'Saltburn.'

The impossible female beauty standards promoted by influencers and corporations on social media provide perfect fodder for the body horror subgenre, which has seen a recent surge in both quantity and, at times, quality. ‘The Substance’ stands, of course, as the definitive title in this regard, yet other films—such as ‘The Ugly Stepsister’ and ‘Shell’—similarly capture the anguish of maintaining beauty and youth to remain socially accepted. It’s against this backdrop that ‘Saccharine’ arrives. This Australian film follows a young woman drawn into a dangerous void by the pressure to stay thin. While director Natalie Erika James successfully capitalizes on the possibilities body horror brings in terms of visual language, the film’s narrative falls short due to repetitive ideas and certain inconsistencies in its portrayal of an eating disorder.

'The Last House' is another algorithmic film that tries to emulate the success of 'Bird Box' and other post-apocalyptic titles by simply altering the concept a bit, which, this time, is based on a phenomenon that leaves everyone locked in their homes. Wagner Moura and Greta Lee do what they can as parents, but the poor script and bad direction do not contribute to the chemistry between them. Tedious, derivative, and ridiculous product that will be forgotten soon.

'Pressure' is your typical World War II film that informs rather than thrills. The performances are correct, and the execution is decent; however, it has nothing that makes it stand out in an already highly exploited subgenre. Character development is conspicuous by its absence, and the drama of some gentlemen arguing about whether it is going to rain or not during the Normandy landings is far from being... electrifying. A shame to have Kerry Condon as a decoration, by the way.

'The End of Oak Street' draws so heavily from Spielberg’s work that it ends up being a very basic pastiche of his entire filmography. The concept of a family fleeing dinosaurs in their own neighborhood sounded fun, but David Robert Mitchell’s execution is repetitive and tedious. The protagonists' psychological depth remains superficial, while an odd, unintentional comedy constantly crops up to the story's detriment. It needed to go further.

'Teenage Sex and Death at Camp Miasma' is the horror movie of the year. Jane Schoenbrun delivers a metaslasher that questions the conventions of the subgenre and, in the process, reflects on the power of horror cinema to shape our identity; the relationship established between this and sexuality is revealing. It's a violent yet tender film of self-discovery that uses avant-garde techniques to develop a highly seductive metatextual commentary.

In ‘The Death of Robin Hood,’ stories harbor a terrible power—or so the protagonist claims. In this version, he’s not exactly the noble hero who steals from the rich to help the poor, but rather a ruthless killer whose actions have caused immense suffering. For him, tales are cyclical in nature: the violence they recount breeds further violence. "They can be used by men to do terrible things," he declares. Consequently, the film presents a deconstruction of the myth—a process the protagonist himself undertakes in search of redemption during his final moments. Director and co-writer Michael Sarnoski questions the romantic legend—albeit in a manner that is more repetitive and lethargic than one might have expected—to deliver a realistic and visceral account of Hood’s demise.

In 'A Child of My Own,' Maite Alberdi finds—in the case of Eleonor Marín, who stole a baby from a hospital out of a desire to become a mother—another story with which to expand her cinematic universe, where reality and fiction coexist. Much like 'A Cop Movie,' this documentary employs fiction to present one perspective and reality to juxtapose it with another. While its social critiques may not be particularly profound, it at least questions the system that compels women to become mothers.

Imagine a movie that incorporates themes and concepts of 'Antichrist,' 'If I Had Legs, I’d Kick You,' '****,' 'We Need to Talk About Kevin,' 'Die, My Love,' 'The Substance,' 'Hatching,' 'Rosemary’s Baby,' and 'Lamb.' Sure sounds like a fun time, and yet director Hannah Bergholm fumbles while trying to make this an interesting take on postpartum depression, maternal anxiety, and nature vs nurture. It has its moments, especially when dealing with motherly instinct, but the execution can’t commit to full camp or a serious drama, leaving it in an awkward narrative limbo.

In ‘Dead Man’s Wire,’ Gus Van Sant aims for a character study in the vein of Sidney Lumet’s ‘Dog Day Afternoon.’ Bill Skarsgård emerges as the film’s greatest asset; as in several of his previous projects, he manages to disappear into the role of an ordinary man whose anger and frustration drive him to exact revenge—a quest he embraces as a social crusade. Yet Austin Kolodney’s script—although it cannot be labeled as bad—leaves some themes undeveloped, preventing the movie from delving into even more interesting avenues, especially the spectacle of crime and its political angle. Fortunately, Van Sant finds a way to stylize the movie; the inclusion of archival footage, the use of varying aspect ratios, the soundtrack, and the editing allow the device to work despite its narrative limitations.

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.