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This latest take on the infamous vampire has Bill Skarsgard taking on the titular role as he sets his sights on the wife (Lily-Rose Depp) of a young man (Nicholas Hault). Written and directed by Robert Eggers ('The VVitch' and 'The Lighthouse'), by now, fans of his should know that he's quite adept at Gothic horror, and this may just be his most accomplished work yet. The film is absolutely drenched with pure dread and gloom, creating a tense and nerve-wracking atmosphere from start to finish. What's more, the performances here are all off the charts, ESPECIALLY Skarsgard, who practically disappears into his role and is rendered unrecognizable! Everything from his voice to his movement and prosthetics and everything else in between! Depp Also shines as the terrified and possessed young wife who is tormented by him. The rest of the cast, such as Hault, Willem Dafoe, Ralph Ineson, Aaron Taylor-Johnson, etc. are all fantastic in their own rights as well. Really? My only gripe is the film is maybe almost a little too dread-filled. It emanates with evil in damn near every frame, thanks. In large part to the production values, dark and moody lighting, eerie score, etc. overall, committed performances from all involved, along with Dark intense production design and values. Make this one of the most genuinely creepy horror films to come around in quite some time. This is Gothic horror and pure dread at its finest.

Nicole Kidman stars as the CEO of a high-tech startup company who meets and unexpectedly finds herself drawn in by a young, confident and domineering intern (Harris ****), jeopardizing her marriage with her husband (Antonio Banderas), her family life, and everything she's worked for. The film is a bold and unique look on power dynamics and challenges our perceptions on gender expectations as well, though the film's formula does become a bit repetitive at times. However, Kidman graces us with one of her most raw and vulnerable performances to date that's sure to leave a searing impression on many a viewer, and **** commands each and every scene he appears in as well. Even Banderas manages to provide some unexpected emotion and tenderness to his performance, especially towards the film's end. But overall, It's most certainly a daring and sexually provocative film that does feel somewhat repetitive throughout, but raises important questions on topics such as power and gender dynamics, with demanding performances from all involved.

Timothee Chalamet stars in this biopic on singer-songwriter Bob Dylan, widely considered one of the greatest writers, folk musicians and all-around poets of our time. The film chronicles his arrival in New York in the early 60s, his run-ins and relationships with fellow musicians and people such as Pete Seeger, Joan Baez, Johnny Cash, and Sylvie Russo, as well as his transition into electric/rock in the mid 60s, much to the chargin of his fans. Directed and co-written by James Mangold ('Walk the Line', 'Ford v. Ferrari'), the film is a pretty run-of-the-mill biopic unsurprisingly, and even those who aren't as well-versed with the enigmatic figure that Dylan is likely won't be too surprised by several of the familiar plot beats that come standard with a biopic such as this. The film is also pretty steadily paced and takes its time (maybe even a little too much time if you ask me). The biggest highlights to be found here by far are the performances, especially Chalamet who completely and quite convincingly channels Dylan's demeanor, voice, and everything else in between, even going so far as to remarkably matching his singing voice and doing all of his own guitar playing (he held his own on that harmonica quite well too). Supporting players such as Edward Norton as Pete Seeger, Monica Barbaro as Joan Baez, and Elle Fanning as Sylvie Russo turn in committed performances of their own as well. Moreover, the film does an impressive job of transporting the audience back to the 60s with its production design and values, as well as the music throughout. But overall, stellar performances all around (most of all from Chalamet of course) and a production design that transports us all back to the 60s compensate for the relatively pedestrian and expected biopic tropes to be found throughout.

Daniel Craig stars in this drama that serves as a biopic of sorts about author William S. Burroughs and his romantic encounter with a young tourist (Drew Starkey) whom he passionately falls in love with in 1950s Mexico City. Directed by Luca Guadagnino (who released the Zendaya starrer 'Challengers' earlier this year as well), this film is decidedly more subdued and slow burn, giving us an intimate look at the flourishing relationship between Craig and Starkey's characters. Adding to this are the tender and nuanced performances each of them give, with Craig at his best here and rightfully a serious awards contender. Also popping in are Jason Schwartzman and Lesley Manville in supporting turns. While the actors are all on top of their game here, the story began to feel more and more discombobulated as the film progressed until several surreal and dreamlike scenes began to muddle the remainder of the film for me. In the end, I left with a feeling of slight indifference, but apart from that, Craig and Starkey's performances and onscreen chemistry are reason enough to check this one out.

In this long-awaited sequel to one of the great sword-and-sandal epics of our time, Ridley Scott brings us back to the ancient Roman colosseum where we find Lucius (now all grown up from the first film and played by Paul Mescal) who is sentenced to slavery after his wife is killed. Now he finds himself battling for his life as he fights to reclaim glory and honor on behalf of Rome and avenge Russell Crowe's Maximus from the first film. When this was first announced, I had my doubts that such a thing was even needed, as the first film is one of my all-time favorite ancient historical epics, and surely no sequel could ever even hope to touch the greatness that was achieved through that film. But with Sir Ridley Scott back on board and a dazzling cast to round things out, I knew I'd have to give it a shot. And while it certainly doesn't come anywhere close to being as fantastic or memorable as the original, to paraphrase Maximus, I was still plenty entertained. The fighting sequences and production values were off the charts here, though the same emotional pull of the first film was notably lacking this time around. As for the performances, Mescal is in true warrior mode here, giving a lead performance of great ferocity. Rounding out the supporting cast includes Pedro Pascal who is equally as impressive here, as are Joseph Quinn and Fred Hechinger as a couple of scheming Roman emperors. Returning players from the first film include Connie Nielsen and Derek Jacobi in memorable turns. However, it should come as no surprise that the real scene-stealer here is Denzel Washington's flaunting and boisterous emperor that commands just about every scene he appears in. Overall, as far as living up to the original goes, while it may not even come close, it's still a plenty captivating spectacle in its own right thanks to the magnificent production/visuals and committed cast

This cinematic adaptation of the iconic Broadway musical sees film/Broadway powerhouse Cynthia Erivo taking on the role of Elphaba, a misunderstood young woman who meets and befriends Glinda (Ariana Grande). The two slowly but surely help each other fully realize and reach their true potential. Directed by Jon M. Chu (of 'Crazy Rich Asians' and 'In the Heights' fame), him and a stellar cast really pour their heart into this rendering of such a beloved story that really took on a life of its own separate from 'The Wizard of Oz'. That being said however, the film certainly felt its length to me this time around, clocking in at the 2 hr 40 min mark, while also bearing in mind that it's merely the first half. And though I enjoyed and was inherently familiar with the original Broadway show and its many songs, I really wasn't chomping at the bit with this one, it felt dragged out for entirely too long, and I simply wasn't as invested with it as I'd hoped I might be. But on the flipside however, Erivo and Grande are simply phenomenal together, but this is especially Erivo's film if you ask me! She's absolutely fantastic and a serious best actress Oscar contender here! Other familiar supporting faces in the form of Michelle Yeoh and Jeff Goldblum are great standouts as well, with a couple of great little cameos midway through even to boot. But overall, while I wasn't exactly as over the moon as most everybody else seemed to be with this one, the powerhouse duo of Erivo and Grande, along with some dazzling visuals and songs suitably kept me occupied enough, though I'm not really clamoring at the bit for part 2 next year.

This touching and wholesome little buddy trip of a film follows two cousins (Jesse Eisenberg and Kieran Culkin) who fly out to Warsaw, Poland in order to experience/explore their Jewish heritage by visiting the concentration camps and other sights while also remembering their Jewish grandmother who has recently passed. Eisenberg also writes and directs this tender and often heartfelt film, with his witty screenplay winning the top writing award at Sundance earlier this year. Him and Culkin manage to strike up an instantly believable and humorous chemistry with one another through the dialogue, with both giving sincere and often funny performances throughout. Though the film does travel at a leisurely pace, it does a remarkable job of balancing sensitive subject matter with the rest of the lighthearted tone of the film. Overall, brilliant writing, directing, humor and performances from Eisenberg and Culkin make this one an enjoyable and wholesome watch.

This thought-provoking thriller sees Hugh Grant as a seemingly charming and charismatic man who invites two sister missionaries (Sophie Thatcher and Chloe East) into his home where it soon becomes clear that he may have ulterior motives in store for them as he tests their faith in unusual and extraordinary ways. Obviously, with a film like this centered on the Church of Jesus Christ of Latter-day Saints and missionaries, It's going to hit pretty close to home for a lot of us living here in Utah. Having grown up in the church myself when I was younger, more than anything, I was especially curious to see how its teachings and everything else about it would be depicted. And while I personally don't believe it was near as sacrilegious as many local publications and others were making it out to be, It's still bound to strike a nerve or maybe push a boundary or two every so often, so active members, proceed with caution. Having said all that, I found myself heavily drawn to and compelled by the weighty themes that this film offers. It's almost certain to strike conversation/debate amongst many. As for the performances, Grant is in top form here in a role many of us likely figured we'd never see him in, but he truly relishes in it and makes the most of his complex role. Thatcher and East as the sister missionaries also hold their own against Grant here rather fiercely. As compelled as I was by the thematic elements, I found myself feeling as though their execution seemed uncertain and muddled at best, and truthfully only felt more compelling in theory. I found myself underwhelmed and felt like much was left to be desired as far as the themes go by the end, but the clever ideas themselves, along with the three lead performances are what made this one a worthwhile-enough watch.

In what may very well be Clint Eastwood's final film given his current age, Nicholas Hault stars as a juror called in to jury duty to assist with determining the verdict of a suspected murder case, only for it to be revealed that he may be the one at fault. This cast is stacked with great names, from Hault to Toni Collette to J.K. Simmons and Kiefer Sutherland, all of whom give compelling intense performances here. In addition, the story and writing help to keep things tense and grounded at all times, even if some of it feels a little familiar and pedestrian at times. I will also say that the ending left me feeling underwhelmed and under-satisfied, especially given that this might be the final note Eastwood goes out on. But for what it is, it's a perfectly fine and compelling enough courtroom drama that involves several of Eastwood's familiar themes of morality and conscious decision, justice, familial bonds, etc.

A Mexican cartel kingpin (Karla Sofia Gascon) tasks a sharp and idealistic lawyer (Zoe Saldana) with helping to receive a sex change transition from a man to a woman in order to retire from her business and leave her criminal life behind, much to the chargin of her wife (Selena Gomez). This film really has a lot going for it. It's got action, drama, suspense, and even musical numbers aplenty. Yes, you read that right! This is in fact a musical, and while it comes off as slightly tacky and out of place at times, it's surprisingly entertaining, energetic and effective to watch, giving the sense of a classic Bollywood musical at times. The performances from the three leading ladies here are especially compelling, with Gascon, Saldana and Gomez all turning in some of the fiercest performances of the year! While the film does start to wear out its welcome somewhat in the final act, it remains a stellar and entertaining musical romp nevertheless. Overall, the powerful performances and musical sequences, along with the story make up for any pacing issues and the occasional soap opera-esque/melodramatic moments that threaten to weigh the film down on occasion.

The latest from writer/director Sean Baker ('The Florida Project', 'Red Rocket') tells the story of a young New York stripper (Mikey Madison) who meets and falls in love with a young Russian man (Mark Eidelshtein) and marries him on a whim in Las Vegas, only to learn that he's the son of a powerful Russian oligarch who demands that the marriage be annulled. She is subsequently sent on an eventful odyssey through the city to try to find and fight for her marriage and husband. First of all, Baker is a bit of a hit-or-miss filmmaker for me. Having greatly admired 'The Florida Project' for its beautiful yet often heartbreaking look at childhood innocence and wonder while despising 'Red Rocket' for its sleazy and insufferable story and completely unlikable and irredeemable protagonist, I had my reservations about this one, even after it won this year's Palme D'or at the Cannes Film Festival. I told myself that it'd either be trashy and unbearable or that it would completely and pleasantly surprise me. And wouldn't you know it, the latter ended up happening this time around. What started off as and continued to be a pretty conventional-seeming storyline quickly became more and more hectic and outrageous as the film progressed. Scenes got wilder and more chaotic, and along with it some of the humor. However, what I was completely not expecting was that absolutely dramatic third act shift that left me with my jaw dropped and my eyes a little watery by the film's end. Something that started off seemingly so trashy and easy to dismiss completely redeemed and subverted my expectations with that third act alone that gives the film a completely unexpected tender beating heart that instantly elevated it from a passable film to an absolutely amazing film. I will seriously be thinking about that ending/final moment for a long damn time, considering how shook it left me right as soon as the credits rolled. Beyond that, Mikey Madison gives a breakthrough performance for the ages here and is bound to pop up in the awards/Oscars conversation for this year. She is the absolute heart and soul of this film, make no mistake. Overall, Madison's star-making lead turn, sharp directing/writing from Baker, and a surprisingly bittersweet third act that completely and almost immediately redeemed the film for me have instantly elevated this film to one of my favorites of the year EASILY!

This romantic drama stars Andrew Garfield and Florence Pugh as a couple who find themselves navigating various emotional ups and downs with one another over the years. The pairing of these two alone was enough to sell me on this one, and of course, they did not disappoint. Garfield and Pugh's chemistry with one another is evident from the very first frame and they bring such great emotion and nuance to each and every scene they appear in. Storywise, it didn't feel the most inspired, and does contain a lot of tropes that have been seen time and again, including the doomed cancer subplot. I also wasn't crazy about the non-linear narrative, as the film jumps around at various points in time, making it a little more difficult and frustrating to follow everything. By the end of it, I didn't quite find myself moved to tears, but I did feel rather touched by the whole experience, even if a lot of it I've seen multiple times in other films. Overall, formulaic at times, and narratively structured in a somewhat confusing way, but Garfield and Pugh's lead performances certainly don't disappoint. If for nothing else, see it for those two.

This film chronicles the hours leading up to the premiere of 'Saturday Night' on October 3rd, 1975 as aspiring showrunner Lorne Michaels assembles a motley crew of burgeoning comedic talent and scrambles to get everything running smoothly leading up to the show's premiere. Written and directed by Jason Reitman and co-written by Gil Kennan, I was highly intrigued by this one even without having seen any previews for it, as the who's who of talent assembled here blew my mind! First of all, Gabriel LaBelle (best known for his star-making lead turn as the young fictionalized version of Steven Spielberg in 'The Fabelmans') once again shows off his remarkable talent and charm here. As for the supporting cast, there's so many to mention here! Rachel Sennott, Cory Michael Smith, Ella Hunt, Dylan O'Brien, Finn Wolfhard, Nicholas Braun, Cooper Hoffman, Willem Dafoe, Tracy Let's, JK Simmons, and so much more! Several of them gave spot-on impressions of the comedic celebrities they portrayed (too many to mention!) The film races a mile a minute, much like the characters scrambling to put their show together last-minute, not giving us much time to breathe, but the jokes come just as fast and funny. The writing is sharp and on-point during several scenes, and feels much like the style of humor that we've all come to know and love from SNL. When all was said and done, the smile on my face said it all. This film was a joy to watch! Overall, even those not inherently familiar with 'Saturday Night Live' and its style will find plenty to enjoy here thanks to the energetic performances, humor, and tribute to so many classic and beloved comedic icons and the legacy of SNL itself.

An actor with a facial disfigurement (Sebastian Stan) has a medical procedure performed that allows his face to heal and appear more conventional. Soon, he finds himself gearing up to take part in a play about his life until the arrival of another actor with a similar disfigurement (Adam Pearson) inexplicably upends his life and seemingly steals his popularity and success. Written and directed by Aaron Schimberg, this is a surreal, almost satirical look at appearance standards in Hollywood, not quite unlike the recently released 'The Substance'. The elements and themes throughout are almost reminiscent of a Charlie Kaufman film, with many scenes surreally and hilariously blurring the lines between real and dream-like. Additionally, Stan gives arguably his best performance to date here, and Pearson is a charming and charismatic scene-stealer in the film's second half. Throw in an unexpected Michael Shannon cameo towards the end, and you've got one bizarre yet somehow amusing jab at the appearance-obsessed world that we seemingly live in. It's a film that cleverly reminds us that success and appearance don't necessarily go hand in hand.

Saoirse Ronan gives a powerful tour de force performance here as a young woman recovering from alcoholism and trying to regain control of her life, as well as reconcile with her past and come to terms with her present while doing her best to look forward to the future. The main selling point on this one for me was Ronan, who is truly one of the brightest and most talented young actresses in the business, and she certainly does not disappoint here! If I had my way, she'd finally win a long overdue best actress Oscar for this performance, has she truly gives it her all in each and every single frame she appears in here! Storywise, while some of it may feel a bit generic at times, its themes of overcoming addiction, grief, and other life hardships should be enough to touch and resonate with just about anybody. Another strong note, here is the cinematography, capturing The Irish island of Orkney in all its vast Glory. Even the editing I have to single out here for putting me in the perspective of a very disoriented and disarrayed mind of an addict. Overall, ronan's performance carries this film to a beautiful and triumphant finish that more than makes up for a familiar-feeling story at times.

Hahaha WTF did I just watch!? In this absurd and ambitious romp, Adam Driver plays a politician in a dystopian world in which he tries to build a perfect and unified world for everybody. I'm honestly at a loss as to what to say with this one. It's no wonder this film's initial polarized reception it received at Cannes has preceded this film as far as reputation goes. Considering this was written and directed by the great Francis Ford Coppola, it's kinda hard to believe that he's responsible for this mess of a film. It's been quite a while since I've seen such a stacked cast acting so ridiculous and confused from start to finish. Hard to blame them really since even I can't make heads or tails of what exactly this film was supposed to be about apart from its general premise. Each and every scene is truly a head-scratcher, and everything about it comes across as hammed up, over the top, and completely ridiculous. Driver tries to play his silly material as earnestly as he possibly can, and it's kinda hard not to cringe or sympathize with the man and his efforts. Other notable faces such as Aubrey Plaza, Shia LaBeouf, Lawrence Fishburne, Dustin Hoffman, etc. I'll turn up purely for the sake of acting crazy and adrift along with the rest of the film. Visually, it's truly a spectacle to behold, which is unfortunate considering it's definitely utilized to overcompensate for the lack of a coherent or intelligible story and compelling characters. Granted. However, all of this said isn't entirely a bad thing necessarily, as it made for quite an amusing and hilarious unintentional comedic farce. That's quite honestly the highest compliment. I can pay this film. Overall, completely a mess and all over the place, this is one of the biggest wastes of a-list talent I've seen since 'Don't Look Up', we're just saying a lot considering that film is in my top five worst movies of all time, but at least this one's actually funny (again, unintentionally) and I got a kick out of it in that regard. So approach this film with caution, and if you truly must, treat it as a comedy. I can't stress that enough. PLEASE do not take this film seriously or you will regret it. Consider yourself warned.

I've seen a lot of weird ones in my day, and this one's pretty high up there. Written and directed by Coralie Fargeat, a washed-up 50-something Hollywood actress (Demi Moore) finds herself turning to a mysterious black-market drug known simply as 'The Substance' under the guarantee of a "younger, more beautiful version of herself". However, her dependency on the drug leads to some dangerous and downright bizarre side effects. Going into this one, I had only a vague idea of what to expect, having heard of some of its body horror aspects, which happens to be a guilty pleasure subgenre of mine. That being said, The amount of gore and grotesquery on display here is enough to make even David Cronenberg **** his pants. What starts off as a vibrant and compelling first couple of acts quickly spirals downward into a dragged out and just plain messy third act. Furthermore, the amount of close-ups of bodies, mouths, and other such things comes off as too much and damn near gratuitous. On the flipside however, Moore gives what is easily the fiercest performance of her career. She is truly in top form here, as is an equally stellar Margaret Qualley as Sue, the younger version of Moore. Thrown in for good measure is Dennis Quaid as an ageist and misogynistic studio executive slob aptly named Harvey. Structurally and thematically, it truly is a scathing and ruthless takedown on Hollywood's impossible and sky-high beauty standards, as well as its bias towards and desperate cling to youth. However, the metaphor over-exceeds its grasp and overstays its welcome a considerable amount by the time that third act rolls around. But overall, striking cinematography (with a bit of an extreme close-up fetish), spectacular leading performances from Moore and Qualley, and an important message to Hollywood, albeit one spread a little too thin and overly exaggerated to an extreme and graphic degree over the course of its nearly two and a half hour runtime.

This remake of a 2022 Danish film of the same name sees an American couple (McKenzie Davis and Scoot McNairy) vacationing in Italy with their daughter where they meet a seemingly friendly and charming British couple (James McAvoy and Aisling Franciosi) who invite them to stay in their remote country home. Things become clearer and clearer that the couple have sinister intentions for their guests and are not who they seem to be. For starters, the previews of this one, coupled with the fact that it's a remake of an already pretty recent film didn't really have me sold on this one initially. I did find myself slightly intrigued by the prospect of seeing McAvoy in another dark role following his career-best turn in the M. Night Shyamalan films 'Split' and 'Glass'. After hearing surprisingly good things, I figured I'd give it a go. The result is not too tense and eerie, with not a whole lot of suspense or buildup. However, it hardly matters here, and McAvoy is in beast mode once again here. He's the film's real draw. Otherwise, it plays out about how one might expect. Overall, predictable and not too suspenseful, but McAvoy really needs to keep playing and taking on roles like this, cause he kills it every time (no pun intended).

Everybody's favorite wisecracking demon is back, just don't say his name three times! In this long-awaited sequel to Tim Burton's 1988 classic, Lydia Deetz (Winona Ryder) finds herself still haunted by visions of the dead from her time spent in the afterlife and at the hands of Beetlejuice (Michael Keaton) haunting her and her family. Now older and a single mother to rebellious teenage daughter Astrid (Jenna Ortega), they find themselves drawn back to their former home following a sudden loss within their family. When a door to the afterlife is suddenly opened in their town, putting her daughter's life at risk, Lydia has no choice but to turn to Beetlejuice once again for help. As someone who grew up with and loved the original, I had my trepidations about this being a highly unnecessary cash grab, as the original felt perfect just the way it was, and Burton is typically not known for sequels at all (The only other sequel he's ever made in his entire career is ' Batman Returns' for contact's sake.) So somewhat hesitantly, I went into this one hoping for a worthy follow-up and at the very least, some good old-fashioned fun. And wouldn't you know it, that's pretty much what I got. The film wasn't amazing or game-changing by any means, but it had its unmistaken Burtonesque flare and whimsy to it. It did feel as though there were times where Burton was trying a little too hard or went overkill on the reliance of stop-motion effects, but it was fun nonetheless to see many of these effects from him once again. Storywise, it's a little thin and it never felt like much was at stake, but arguably this left more room for enjoyment of the film as a whole. Performance-wise Keaton is once again a riot as the titular ghost with the most, owning every scene he's in brilliantly. Ryder holds her own again here as well, as does the hilarious Catherine O'Hara. As far as the new additions go, there's Justin Theroux and Monica Bellucci who deliver fine enough supporting turns, and of course Ortega coming relatively fresh off of her star-making turn on Netflix's 'Wednesday' is a delight to watch here as well. However, I might make the case for Willem Dafoe stealing the show with his all-too-underutilized supporting turn as a deceased actor-turned-cop patrolling the underworld and hamming up just about every scene he appears in in true character actor fashion of his. I will say that I enjoyed the film for the most part up to a point. It really lost me in a nightmare sequence right at the end that really took me out of it and came across as a little too absurd. But overall, a mostly fun and carefree story, dazzling stop-motion visuals, and a committed cast make for a enjoyable enough albeit still unnecessary legacy sequel.

In this heavy thriller, a young cocktail waitress (Naomi Ackie) finds herself and her friend invited to the private island of a wealthy tech CEO (Channing Tatum) after a chance encounter with him at a charity gala. However, things begin to feel rather off for the woman and other guests staying there as things quickly take a sinister turn. Written and directed by Zoe Kravitz in her directorial debut, this is at times a very smart and well-crafted thriller that kept me genuinely wondering and invested in what was going on and what sort of sinister and ulterior motives were at play leading up to the gradual buildup and eventual reveal. The film takes a slow burn approach in its first half in order to keep us audiences guessing, and the smartly-written and witty screenplay kept me invested in the meantime. The lush shots and cinematography also were a great highlight. On top of that, the entire ensemble is a hit here, with Ackie and Tatum giving standout performances. I'd even go so far as to call this Tatum's career-best performance. He really gives it his all here. Other notable faces include Christian Slater, Simon Rex, Kyle Maclachlan, Haley Joel Osment, Geena Davis, and Alia Shawcat. Storywise, it's pretty impactful, but as a trigger warning, it's also not for the faint-hearted due to sexual assault playing a prominent role in the story with smacks of #metoo and Epstein's island vibes thrown in the mix. For those who can manage it however, Kravitz brilliantly and satisfyingly makes the most of the difficult subject matter in a way that will leave a strong impact on many audience members. Although it does start to lose its focus and direction in the final act, it still leaves us with a real pack-a-punch of an ending that will have people reeling and thinking about what they just witnessed long after the credits roll. So overall, a committed all-star cast gives weight to a heavy and thematic topic while being greatly aided by first-time writer/director Kravitz's deft and clever hand, even if it loses some of its sharpness and comes up a little short towards the end. It's still managed to be one of the most gripping thrillers I've seen in recent memory.

In this potent and powerful drama, Colman Domingo stars as a wrongfully convicted felon at Sing Sing correctional facility in New York who finds purpose, meaning, and the emotional connection he so desperately seeks via the Rehabilitation Through the Arts program. Together, him and the rest of the inmates there are able to connect with their inner selves through acting/performing and putting on plays. As someone whose lifelong passion has been acting and performing, I knew this one would hit close to the heart and resonate with me in so many profound ways, and that's exactly what happened here. The film is one of the most beautiful, delightful, and life-affirming testaments to the transformative, healing, and cathartic power of art and performing. It truly reaffirms why I act and love what I do with it so much, but even non-actors will be truly touched by this film's raw and emotional honesty and the all-too universal feeling of being moved and inspired by art and storytelling. In addition, Domingo gives such a genuine and vulnerable performance here, as does inmate Clarence 'Divine Eye' Maclin in a surprisingly heartfelt supporting turn. Paul Raci ('Sound of Metal') as the crew's director is also a noteworthy standout. However, the entire ensemble of non-professional acting inmates here all deliver such honest and authentic performances. The entire thing made me smile and reflect on just how much I truly love acting as an art medium and form of storytelling, and the familial bond and connection I forge with it and so many people. Overall, not only is this a sincere love letter to actors, audiences, and storytellers alike, it's quite simply one of the most inspirational pieces of cinema I've witnessed in quite some time! It's a film that's truly for everybody!

Here we go with another Alien film. This time, a young crew (led by Civil War's Cailee Spaeny) finds themselves in a battle of survival on an abandoned space station against the xenomorphs. I was very hesitant going into this one for a number of reasons. For starters, 2017's 'Alien Covenant' left a horrible aftertaste and in my eyes cemented itself as EASILY the worst 'Alien' film in the entire franchise for a plethora of reasons I could go on and on about. Second, rather than being helmed by such familiar directors of past installments such as Ridley Scott of course, or even James Cameron, Fede Alvarez is at the helm of this one, and his filmography isn't exactly impressive if you ask me. This is the guy behind the lackluster reboot of 'Evil Dead', the inferior and forgettable Lisbeth Salander film 'The Girl in the Spider's Web' and the atrocious 'Don't Breathe', which I can honestly say is a strong contender for being in my top 10 worst films I've ever seen. Anyone familiar with any of those films that I just mentioned will very clearly be able to see the same style and influence that could be found in those films, especially 'Don't Breathe' for better or worse. So suffice it to say, I went into this one figuring it would be more fan film-quality, and in some regards... It is. However, in others, there's some surprisingly impressive action sequences and production values to be found here, along with some genuinely tense edge-of-your-seat moments. Coupled with this are a pair of strong lead performances from Spaeny (who I wasn't all that impressed with in 'Civil War' but gave a great performance in 'Priscilla') and David Jonsson as the android companion here. Storywise, it's as weak and uninspired as I feared it would be, as it follows the EXACT. SAME. FORMULA followed by EVERY. SINGLE. ALIEN FILM: 1. Space crew lands on abandoned space station or planet 2. Said space crew gets attacked by the alien(s) 3. Space crew has to try and escape the space station or planet that's set to self-destruct and kill the remaining alien(s) 4. Space crew escapes in the nick of time and they're finally safe 5. Oh wait a minute! One survived or got on board somehow! Time for one last showdown! To say that I'm beyond tired of this formula that has been rinsed and repeated for practically the entire franchise would be a VAST understatement. But overall, solid production design and effects, along with some genuinely tense and harrowing action sequences are more or less able to balance out the film's shortcomings of practically telling the exact same story and formula that's been used again and again throughout the franchise, along with questionable character logic and choices, which has been more of a recurring thing with the later installments. Very mid-tier as far as the 'Alien' franchise is concerned. I still like to only pretend that 'Alien' and 'Aliens' are the only two that exist.

It's the long-awaited team-up of the iconic clawed mutant and the merc with a mouth as Deadpool (Ryan Reynolds) bands with an alternate universe's Wolverine (Hugh Jackman) to stop the twin sister of Professor X (Emma Corrin) from eradicating his universe. Besides simply serving as a fun and awesome third outing for Deadpool, it also serves as his introduction to the MCU. Rest assured, there's plenty of fourth-wall breaking and wisecracks about the Disney-Fox merger and the convoluted mess that is the Multiverse Saga. And while this film does fall into some of the same traps as the previous films within that particular saga of the MCU, as it's quite the mess itself at times, it still achieved what it set out to do, which is give the fans the team-up that they had so long dreamed of, and surprisingly without going too overboard on the fan service. Yes, there are a handful of cameos throughout, some expected and some a genuine surprise, but they're all utilized to pretty great and humorous effect. As for the two showstoppers, Reynolds and Jackman are just as big of a riot to watch as you might expect. While the fight sequences are over-the-top to the point of sensory overload at times, and the film dragged on a bit too long for my liking, it's still a fun and raccous romp that was well worth it in the end. Overall, it's loud, fun, and a culmination of everything great for X-Men and Marvel fans alike, even if it didn't necessarily restore my faith in the MCU (it's golden days are long behind it still.)

In the Spanish indie animated film, in 1980s New York, a lonely dog named Dog sees an infomercial for a robot and orders him in order for him to have and make a new friend as they go on several misadventures together. Written and directed by Pablo Berger, this animated gem was nominated for the best animated feature Academy Award at this past year's Oscars, and it's easy to see why. Featuring no dialogue from its anthropomorphic characters, the film is a silent tale of love, friendship, and the harsh reality of how sometimes friends come and go in life. Each vibrant and colorful frame is a sheer delight to watch, and the film often made me laugh and even made me want to cry at times. But overall, it's a sweet and tender-hearted look at a beautiful and unexpected friendship and the places it can take you. Also, the recurring use of 'September' by Earth, Wind and Fire throughout is one of the most delightful things I've seen in a film all year long!

Lee, (Maika Monroe) a talented young FBI agent is assigned to the unsolved case of an elusive serial killer (Nicolas Cage) simply known as 'Longlegs'. Occult evidence is unearthed and it's up to Lee to stop him before other innocent lives can be claimed. Written and directed by Osgood Perkins (who just so happens to be son of famed Norman Bates actor himself Anthony Perkins), there was so much hype built around this film leading up to its release, from creepy and cryptic teaser trailers released online to equally eerie and ominous posters and advertisements that left the internet abuzz and eagerly anticipating what was to come with this film. Dare I say it even reached 'Blair Witch' and 'Cloverfield' levels of market hype. So it goes without saying that my expectations were riding quite high with this one... Unfortunately, that should have been the biggest glaring red flag for me in retrospect, because the higher one has their expectations set, the more disappointed they're likely to be walking out. Case in point. I cannot remember the last time I found myself so hyped and eagerly awaiting a film such as this due largely in part to the marketing strategy behind it, and unfortunately, this turned out to be one of those films in which the marketing was creepier, more effective and better than the actual film. Of course, it didn't help that early reviews were raving about this film and even going so far as to call it one of the best horror films of the decade. Give me a break with that! The scariest thing about this film was the nearly $14 I spent on my ticket for it! The music choice and background music throughout also made the whole experience that much less scary. Apart from that, we're given a couple of cheap jump scares, slow burn scenes that are not at all tension-building in any way, and a ridiculous and confusing twist that left me not shocked but merely dumbfounded at how silly and absurd it came across. Solid performances from Monroe, Cage, and even Alicia Witt set aside, this film is so unbelievably disappointing and largely forgettable. This one can only dream of living up to far superior and similar crime /horror films such as 'The Silence of the Lambs'. I feel so cheated and led on into thinking that this would be one of the best horror films to come around in a long time! Not even close!

Following the events of the film 'X', porn star/aspiring actress and slasher survivor Maxine Minx (Mia Goth) attempts to capture her big break in 1980s Los Angeles during the midst of a killing spree from a serial killer known as The Night Stalker, as well as a sleazy detective (Kevin Bacon) hot on her trail threatening to expose her and her haunted past. Written and directed by Ti West, this film marks the conclusion to his 'X' trilogy, which started two years ago back in 2022 with the 70s grindhouse-style flick 'X' about amateur porno filmmakers at a rural Texas farmhouse who find themselves being picked off by a murderous elderly couple there, one of whom is a woman named Pearl (also played by Goth who went on to play a younger version of her in a prequel origin film known as 'Pearl', which served as the second installment in the trilogy.) With this film serving as the big conclusion, I had high hopes, mostly being that it would turn out decently better than the previous two films did, having admittedly not been a fan of either 'X' or 'Pearl'. I found them both to be cheesy and cliche-riddled, bringing nothing new to the table in terms of horror or suspense/thrills. They merely just imitated (half-heartedly at that) the countless other slashers that came before them, so I was hoping for a decent and more original and innovative story this time around, and thankfully that's more or less what I got here this time around. The 80s glitz and glamour are a lot of fun to take in here, with plenty of pop-culture references, a look at the seedy side of showbiz, as well as little winks and nods here and there to the previous two franchise films. What's more, the story was actually fun, unique and quite compelling in several spots. On top of that, the cast lineup here is equally remarkable, with supporting players such as Michelle Monaghan, Bobby Cannavale, Giancarlo Esposito, Lily Collins, and even singer Halsey in an all-too-brief appearance. However, the two biggest standouts here are Goth (giving another incredible lead scream queen performance after 'X' and 'Pearl') and Bacon who is in full menacing sleaze mode here, but who also provides some bumbling comic relief moments throughout. However, despite being the best in what I already considered to be a pretty weak trilogy, the fact that it was the best for me unfortunately isn't saying much. While it has an infinitely better story and cast, and it actually takes some more unique and less predictable story turns and eschews some of the worn and tired slasher tropes that 'X' and 'Pearl' failed to subvert, in the end, it still merely just the best of a weak bunch as far as I'm concerned. It will no doubt be the most memorable one to me, but I will eventually forget about it and probably won't return to or revisit any of these films in the series, especially when compared alongside far superior modern horror films. Overall, fun enough to watch, subverts some expectations, especially after the last two films failed to do so, and a great cast. It just didn't strengthen an already weak trilogy as a whole for me or do quite enough to make it memorable in the end for me. Several will swear by this trilogy going down as modern horror classics, just not me.

Julianne Nicholson and Zoe Ziegler's genuine chemistry with one another onscreen is the main reason to check out this smaller A24 film from Pulitzer Prize-winning playwright and debut filmmaker Annie Baker that's otherwise a little too pedestrian and forgettable for my liking.

This anthology film consists of three separate but loosely connected stories, each of which feature the same set of actors in different roles and scenarios. A man (Jesse Plemons) has his life and every move controlled by his domineering boss (Willem Dafoe), straining the former's relationship with his wife (Hong Chau), a police officer (Plemons) finds himself growing increasingly suspicious of his wife's (Emma Stone) strange behavior following her rescue from a deserted island, and two cult leaders (Plemons and Stone) attempt to seek out a woman (Margaret Qualley) who supposedly has the ability to bring the dead back to life. Written and directed by Yorgos Lanthimos, those who know and are familiar with him and his style by this point should know what they're getting themselves into for better or worse, what with his absurdist and incredibly dark and morbid sense of humor. Truth be told, I've long been of the belief that his style has worn thin. What was once fresh and worked really well for some of his earliest films simply feels not so fresh or unique anymore. Having not seen some of his earliest work such as 'Dogtooth', 'Alps, etc. I can only really speak on behalf of the earliest films of his that I saw, which was 'The Lobster' and 'The Killing of a Sacred Deer', both of which happened to be distributed by the ever-so-popular indie distributor A24. With both of those films, his style hadn't quite outstayed its welcome with me, as that's when I was freshly introduced to his unorthodox style of humor and filmmaking. They both remain his strongest works to date (especially 'The Lobster', which has remained one of my absolute favorites.) otherwise, the guy is pretty hit or miss with me, and everything after 'Sacred Deer' has unfortunately been a miss, with this one sadly, but also unsurprisingly to me being no exception. His previous two films 'The Favourite' and 'Poor Things' were both heavy on style and little on substance, with 'Poor Things' in particular overindulging on smut and sleaze and marking a low point in Lanthimos' career (at least in my opinion.) This time around, the biggest sin he's committed is trying to thread three stories loosely together with very little sense of aim/direction and trying to act like there's anything of significance connecting these stories together (other than the cast.) His efforts prove futile and pretentious once again here. Really the only positives I can think to mention are the cast and their performances and commitment to all of this ridiculous and farcical nonsense, as well as a handful of genuinely amusing moments. Otherwise, this is overall an overlong and scattershot attempt at a compelling and connective triptych of stories that ultimately falls apart after nearly three hours of struggling to keep itself together. Here's hoping Lanthimos will grow on me again someday.

This film chronicles the story of gang of Midwestern motorcyclists in the late 60s, including their leader (Tom Hardy), their newest young recruit (Austin Butler), his concerned wife (Jodie Comer), and their impact on those around them. Written and directed by Jeff Nichols ('Mud', 'Take Shelter'), The film is a rich ensemble of talent and offers an often times compelling look at a bygone era of hooliganism and counterculture. Each frame paints a portrait, as The cinematography is almost always compelling throughout. However, there are a number of times and moments throughout the film that feel a bit redundant and derivative of other crime films. Comer's character's narration at times felt a little too reminiscent of Lorraine Bracos from 'Goodfellas', which on that note, the entire film almost feels like 'Goodfellas: Motorcycle Gang Edition' throughout. Not exactly the most original writing here to be sure, and there will inevitably be comparisons to 'Sons of Anarchy'. What's more, the compelling first half eventually gives way to a slow burn but also predictable second half that underwhelms by the film's end. But on the plus side, there's such an incredible ensemble of who's who assembled here. Butler solidifies his rise as a leading man here, and Comer is in fine form in her distressed wife mode. Other familiar faces throughout, such as Michael Shannon, Mike Faist, Boyd Holbrook, Norman Reedus, Damon Herriman, etc. are all welcome presences here. The real MVP however is Hardy, whose subtle and quietly dangerous aura throughout the film lends it its beating heart. But overall, what the film lacks in originality it mostly makes up for through its stellar ensemble (especially Hardy's performance), vibrant cinematography that captures the 60s biker era beautifully, and confident direction from Nichols. Certainly not the most compelling biker drama to ever come along ('Easy Rider' is briefly alluded to towards the end), but it stands confidently enough on its own to overcome any of its shortcomings or unoriginality.

A Hollywood stuntman (Ryan Gosling) recently recovering from an injury sustained on set tries to get himself back in the game to woo an up and coming director (Emily Blunt) he's long harbored romantic feelings for. However, he soon finds himself caught up in a mystery surrounding the disappearance of the film's star and must get to the bottom of it in order to save both the film and his chances with his love. Directed by David Leitch, a stuntman-turned-director who's most notable for helming 'Bullet Train', this loose reimagining of the 80s TV series of the same name takes high-octane stunts and action to the max, with Gosling notably performing the majority of them himself for this film. His usual charisma and charm is on full display here, solidifying himself as both an action star and a strong comedic presence as well! His comedic chops have always been on point, and it's no different here! Blunt also holds her own in a strong physical performance of her own as well! Supporting players such as Aaron Taylor-Johnson, Winston Duke, and other notable cameo appearances keep things enjoyable as well. While the action and spectacle is a sight to behold and is light on story, it mostly serves as a good way to kill a couple hours mindlessly. Overall, nothing award-worthy of course, but it's enjoyable enough thanks to the action throughout and the always-entertaining Gosling in a starry lead performance that pays great tribute to the stunt community.

This prequel to 'Mad Max: Fury Road' tells the origin story of a young Furiosa (Anya Taylor-Joy) and her first exploits within the wasteland involving a crazed warlord (Chris Hemsworth). George Miller is once again back at the helm here with high adrenaline action and unbelievably staged fighting choreography throughout that truly dazzles. And while this film isn't quite as heavy on the Non-Stop action as 'Fury Road' was (The entire first hour is one great big long exposition unfortunately), I did somewhat appreciate the greater attention to detail as far as Story goes, considering there wasn't much of one in ''Fury Road'. Performance-wise, Taylor-Joy More than capably handles her own and worthily takes the reins from Charlize Theron here. Hemsworth is deliciously wicked here, hamming up practically every scene and moment of dialogue he's given and enjoying every second of it. Really My biggest issue here is the amount of setup and exposition , as well as disappointment in the lack of action sequences, because when they do happen, they are a site to behold once again! Overall, brilliant action when it does happen, immersive production values, as well as two strong lead performances Make this a worthy enough follow up to one of the best best action films of the 2010s, Even if it understandably can't quite live up to the lofty expectations set by that one.

Two aspiring tennis players (Mike Faist and Josh O'Connor) compete for the affection of a highly skilled tennis prodigy (Zendaya) over the course of several years. Directed with flair by Luca Guadagnino ('Call Me by Your Name', 'Bones and All') the film had a lot of potential to offer but sadly my expectations weren't quite met here. What appeared to be a promising and tense tennis drama quickly turned into a cliche-riddled love triangle between the three leads, who I might add all had great chemistry with one another. They just sadly couldn't escape the trappings of the generic writing that reaches soap opera-levels of cringe at times. On top of that, loud music is played over moments of dialogue in several scenes, which I found pretentious and distracting, and the overuse of slow-motion and buildup in the tennis matches quickly became eye roll-inducing and laughable. Constant time jumping randomly throughout the film only convolutes things further. As if that wasn't already enough, the film manages to end on a cloying and forced-feeling anti-climactic note. Overall, the three leads are in top form here, but can't quite serve up a more innovative or compelling story here that transcends what we've already seen time and again with this kind of screenplay and predictable love triangle.

Man... Where do I even begin with this one. In this dystopian war thriller, a group of journalists (led by Kirsten Dunst in one of her most harrowing performances to date) make their way to DC as rebel factions descend upon the White House in order to execute the president. Written and directed by Alex Garland, who's best known for his writing and directorial effort 'Ex Machina', but also famously penned the script to '28 Days Later', this is quite possibly one of the most gripping, up close and personal looks at warfare and combat I've ever seen. Each moment of gunfire I felt as though I was right there in the middle of the action with each of the characters. It's loud, hard-hitting, and doesn't let up! However, there were some questionable music choices in certain scenes. The randomly placed rap songs in a couple of scenes felt very distracting and out of place. Some character choices and moments also felt ridiculous and implausible at times. However, as far as the performances go, Dunst is in top form here, giving us her bravest performance to date. Also serving as a standout is Wagner Moura (of 'Narcos' fame) and underrated character actor Stephen McKinley Henderson. Also, brace yourself for a nail-biting cameo appearance by Jesse Plemmons as a sadistic extremist soldier midway through. Surprisingly and refreshingly, politics take a backseat with this particular film. There are no truly good or bad sides depicted here, just a nation torn apart through ignorance and poor judgement all around. However, I find it difficult to recommend overall. While it's such a a spectacularly well-made film that's bound to have anyone on the edge of their seat, the music and ambient sounds are frustratingly distracting at times, one of the characters, a young journalist (played by 'Priscilla' breakout star Cailee Spaeny) was rather frustrating and made several dumb choices in addition to serving as the weakest performance out of the main actors, and the story is just so damn infuriating in so many ways that it admittedly made it difficult for me to enjoy and appreciate the craftsmanship of the rest of the film. Proceed with caution into this one, cause it's gonna divide a lot of people, and my opinion on this one just so happens to be split down the middle as well.

Dev Patel (star of 'Slumdog Millionaire' and 'The Green Knight') makes his directorial debut here and stars as a man who seeks revenge against a man who killed his mother in the Indian village he grew up in years ago. For those who have been paying close attention to this film's marketing and promotional material, it's no secret that it's been billed as a Bollywood-style 'John Wick' of sorts (there's even a cheeky reference to those films at one point towards the beginning of the film.) And while there's certainly plenty of those films and their influence seen and felt here, the film manages to tell a much more personal and deeper story at its heart. While we're treated to plenty of stylized action, the film also manages to pace itself and take its time with a thought-provoking and impactful story. In addition, Patel's performance is top notch, reaffirming his talent and potential both as a leading man and an action star. While there's not quite as much action as I was expecting, I appreciated the film's pacing and willingness to tell a story through more than just the action. However , whenever it does occur, the fighting is brilliantly choreographed and a spectacle to behold. And while there are a handful of moments that feel derivative of other action films and material throughout, it still manages to tell a compelling story and remain entertaining throughout. Overall, it's a worthy action-packed vehicle for star and first-time director Patel. And while it's not entirely groundbreaking, I eagerly await to see what he does next in his already-impressive career.

Julio Torres writes, directs, and stars in this whimsical comedic tale of a young El Salvadorian immigrant who ventures to New York in pursuit of fulfilling his dream as an innovative toymaker. However, he first must find sponsorship for his Visa, and his best hope lies with an erratic and temperamental art curator (a scene-stealing Tilda Swinton) who offers him an internship with her. Torres, who served as a longtime writer for SN, has a keen eye for whimsical and eye-popping colors, visuals, and storytelling. His depiction of the immigrant struggle is a unique, lively, and often-times funny one with plenty of heart of heart to spare too. His comedic chops are incredibly evident, and his chemistry alongside Swinton is palpable and always a hoot to watch. Even the narration provided by Isabella Rossellini adds a nice and charming touch. Overall, brilliantly acted and written with sharp and humorous dialogue and observations on immigration loopholes. It was a joy to watch from start to finish, thanks largely in part to Torres and Swinton and the amount of energy and hilarious charisma they bring to each scene.

Kristen Stewart stars as a reclusive gym manager in a small New Mexico town in the 80s when she meets and falls hard for a drifting bodybuilder (Katy O'Brien). The two unexpectedly find themselves dragged into the former's father's (Ed Harris) criminal ties, and make a desperate attempt at a clean break from him. Written and directed by Rose Glass (who made her directorial debut a few years back with fellow A24 horror film 'Saint Maud'), the film is an undeniably atmospheric and pulpy crime flick, with plenty of flare and style. On top of that, we're graced with stellar performances all around, especially from Stewart and O'Brien, who have unmistakable chemistry here, and a wicked turn from Harris as well. Storywise, It's a bit of a slow burn, but when the violence hits, it hits pretty damn hard. Things start to burn out a little towards the end, and the third act becomes a little predictable ,drawn out and corny, but overall, the solid performances from the cast and a gritty story are enough to keep things lively and compelling enough for the most part.

Po (Jack Black) is back, and finds himself reckoning with passing the torch and sacred duty of the Dragon Warrior on to a new protege, but first must defeat a new evil on the rise, a shape-shifting chameleon (Viola Davis) who intends to use the powers of kung fu to take over and enslave everybody. First of all, I couldn't help but roll my eyes at the prospect of a fourth film in this series. Not that I have anything against them (they're perfectly fun and enjoyable), but I just feared that they were dragging out a great thing even further than necessary. Nevertheless, I went in with an open mind and the intent of simply sitting back and enjoying myself just as I had with the previous films. The result: a perfectly acceptable, passable, and campy fun time. However, that's not to say that the franchise is starting to show some wear around the edges, and that maybe they should stop while they're still ahead. The characters and their voice actors are all a delight to watch and listen to. Black/Po is as goofy and endearing as always. Awkwafina joins in this time as a thieving fox that tags along with Po to stop the Chameleon, and while Davis (one of our greatest working actresses today) lends a chilling and sinister voice presence here, her character and motives feel rather weak, cliche, and uninspired. The same can be said for the film's story, which just doesn't feel fresh or new enough. Of course, the animation is eye-popping and a delight to watch, and while the film does wrap up satisfyingly enough, in the end, it's a little underwhelming. In all honesty, it can't help but feel like Dreamworks pulled their version of a 'Toy Story 4' here (a perfectly entertaining and passable yet completely unnecessary fourth film that negates and undoes the perfect endings of their respective trilogy cappers.) Overall, Po's fourth outing is enjoyable enough, but certainly nowhere near justifying the mere existence of this entry into a rather dragged out franchise.

Picking up immediately after the events of the first film, this second half of the battle over the planet Arrakis between Paul Atreides (Timothee Chalamet), along with his new lover Chani (Zendaya) and the desert people known as the Fremen against the house Harkonnen, raises the stakes and sets the bar higher to determine who will reign supreme and ultimately dethrone the emperor Shaddam (Christopher Walken). First off, I admittedly wasn't as floored by the first film as many seemed to be, but that might also have to do with the fact that I was never big on the 'Dune' lore in the first place, having not read any of the books and only ever watching the 1984 David Lynch adaptation a couple of times. So my anticipation and expectations for this second go-around were somewhat lower compared to most other people's as a result. And while it's definitely a lot more exciting and gets things moving at a better pace than the first film did, it's still surprisingly a bit of a drag often times, which is mostly attributed to the film's nearly 3-hour runtime. The story definitely takes its time again, but also like the first film, the main strength therein lies within the technical aspects. Everything from the breathtaking cinematography, score, and visuals are an absolute sight to behold! There's hardly ever a dull shot or image in this film, even when the story drags on at times. In addition, the all-star cast all deliver, with Chalamet in top form, along with a menacing, scene-stealing Austin Butler as Feyd Rautha (that last knife fight between them is .) Returning stars from the first film, such as Zendaya, Rebecca Ferguson, Josh Brolin, Dave Bautista, and Stellan Skarsgard further aid the narrative gravitas with their performances too, while other newcomers such as Walken and Florence Pugh as father and daughter turn in some great work of their own. When all's said and the done, the emotional journey and stakes that are raised by the film's end bring it to a somewhat satisfying, albeit frustrating close, as it ends on seemingly another cliffhanger for the sake of trying to set up and firmly establish a franchise out of this and the sequel novels going forward (yay for originality and big tentpole IP franchises .) But apart from that, the pacing did unfortunately drag a bit again for me, even if not quite as much as with the first. But the technical marvel that the film is, along with its exceptional cast at least made it a more solid go-around than the first film, but don't expect me to fawn over it too much and declare this film and the franchise it's established as this generation's 'Empire Strikes Back's/'Star Wars'.

In this heartfelt little Japanese slice of life, Koji Yakusho plays a middle-aged janitor who goes about his day-to-day routine cleaning and sanitizing the public restrooms in the streets of Tokyo. The film is a true showcase for the often-underrated veteran Japanese actor, who delivers an equally heartfelt and nuanced performance as a man perfectly content and delighted with life's everyday blessings and simple pleasures. While it does feel a bit monotonous and repetitive at times, it is after all the whole point of the film, and shows that sometimes the simplest of lives and routines can be fulfilling in their own right. Overall, Yakusho's lovely performance and the film's heartwarming message of gratitude for the gift of life make this the first great film of the year for me!

Wow... I'm still feeling pretty numb from this one (in the best way possible.) I'm just going to come right out and say it: I honestly don't think a film has ever made me cry and sob as much or as hard as this one has. Even as I type this, I'm giving it everything I got to keep holding back the tears. In this absolute tearjerker of a film, lonely screenwriter Adam (Andrew Scott) living in solitude finds himself confronted with the potential for love when a drunken young man (Paul Mescal) stumbles upon his apartment one night. Through this encounter, he recalls his long-deceased parents (Jamie Bell and Claire Foy) while attempting to write about them and unexpectedly finds himself inexplicably face-to-face with them in his childhood home once again, granting him the chance to face them with his unspoken truths, sexual identity, and other things he wish he could've said to them. Directed by Andrew Haigh ('45 Years', 'Lean on Pete') and adapted from a Japanese novel titled 'Strangers', the trailer for this film alone left me a bawling mess, and I knew that this film was going to be something truly tender and special. This film explores so many universal truths and ideas about love, grief, what lies after, reconciliation, hope, and moving forward. Andrew Scott is an absolute revelation here. His aching and tender heart is reflected in his layered and nuanced performance here that feels all too raw and genuine. Alongside him is Paul Mescal (of last year's indie tearjerker 'Aftersun') as the romantic prospect that enters into Adam's life when he least expects it in an equally heartfelt performance. Claire Foy and Jamie Bell as Adam's deceased parents also turn in heartaching performances of their own. What's more, the film's story is beautiful, heartbreaking, and hopeful all in equal measure. But be forewarned, as if the majority of the film wasn't already emotionally devastating enough, the ending is an absolute gut-punch straight to the heart. This film DOES NOT ever let up or pull its emotional punches for even a second. Anyone with a pulse is bound to feel compelled to call their parents, loved one/significant other, family, etc. and tell them how much they love them. The first thing I did when I got home from this one (apart from being a sobbing, blubbering mess still) was hug each and every one of my family members to tell them how much I love them. It also had me thinking of my recently-deceased Grandpa Tyler the entire time I watched it. I felt his love and presence shine through virtually every last scene and frame of this film. If that isn't a true testament to the power of this film, then what is!? Overall, gorgeously acted and performed by its four stars, who commit themselves mind, body, and soul to the tender and universal themes of love, loss, grief/lamentation, loneliness, repressed identity, what-ifs, and hope/moving forward in life in the face of profound loss. It's quite possibly the most equally heartbreaking yet hopeful and life-affirming film I've ever seen. My rating: FIVE OUT OF FIVE STARS (the only five-star rating I've assigned to any film this year.)

This absolutely haunting film details the lives of a family headed by SS Commandant Rudolf Hoss. Him, his wife, and their children's seemingly banal life is chillingly overshadowed by the fact that they live in a house right next door to Auschwitz. As they go about their day to day routine, screams and gunshots are heard, smoke is seen coming from incinerator ovens, and the Hoss family is perfectly complacent in the suffering that occurs at the hands of the Jewish prisoners just beyond the walls that separate the camp from their house. Written and directed by Johnathan Glazer ('Under the Skin'), this is a film that no doubt had a potent effect on me while watching it, but I can sense that it's also one that will linger with me and send chills through my body whenever certain images and moments from this film will undoubtedly pop back into my head down the road. What's more, the film is a sheer testament to the power of what goes unseen being just as haunting and unnerving, if not more so than what is seen. All we ever see or hear of the atrocities of the Holocaust are the screams, sounds of gunshots, and billowing smoke from the ovens leering over the camp off in the background. It is truly unsettling. As for the performances, everybody involved does a very scarily-convincing job of acting and feeling indifferent to the horrors being committed offscreen. In addition, everything from the fittingly eerie score by Mica Levi to the static cinematography that lingers on several unnerving shots throughout only add further to the film's sense of dread throughout. By the time the credits began rolling, I had to sit there and collect my thoughts in order to process all that I had just witnessed. Overall, undeniably haunting and relentless with its sense of dread, it's an all too important reminder of arguably the darkest chapter in human history, and the sheer urgency of it even now, as antisemitism and Holocaust denying is beginning to see an unfortunate comeback. My only real note of criticism is that the amount of shots of smoking chimneys and screams in the background almost becomes overused to the point of overkill. But then again, one could argue that this only adds to the film's unrelenting nature and its goal to make its audience uncomfortable and remind them not to repeat this dark chapter in our history.

A middling author (Jeffrey Wright) who is tired of the popularization and glorification of African-American hood/thug stereotypes depicted in several books, films, and various media takes up an anonymous pen name and identity, writing a book in the stereotypical fashion that he so despises in order to prove a point to the masses. Sure enough, the book becomes a bestselling phenomenon, much to the chargin and frustration of the exasperated author. Written and directed by Cord Jefferson in a searing debut, I was a bit skeptical of checking this one out initially, as I feared that it might already be treading familiar ground already previously explored in films such as Spike Lee's 'Bamboozled'. However, I was pleasantly surprised and delighted to find that there were, in fact plenty of original and humorous moments and ideas to be found throughout this satirical look at African-American stereotypes and the preconceived notions attached to many of them. The brilliant screenwriting strikes an impressive balance between subtle yet also refreshingly sharp. What's more, underrated character actor Jeffrey Wright is given a savory leading role here how's the disgruntled author who sets out to try and knock some sense into the masses and their tendency to buy into stereotypes of the African-American experience. Other supporting players such as Leslie Uggams and John Ortiz also live in things up. Quite a bit here, but it's Sterling K. Brown who arguably steals the show here. Granted, there were times where the film seemed to overstay its welcome with certain scenes that threw the pacing a bit off for me, but the film's final act really just hammers home the whole point of the film in an equally unexpected and cliche fashion. But overall, sharp writing, often hilarious one-liners, and great performances with impeccable comedic timing all around. Make this a decidedly funny and entertaining watch in addition to being a refreshing look at racial stereotypes and their portrayal in pop culture.

Based off the novel, film, and later Broadway musical adaptation, Fantasia Barrino gives an incredible performance reprising her role from the stage version, as does Danielle Brooks, Taraji P. Henson, Colman Domingo, Halle Bailey, and H.E.R. While the ensemble is terrific, and the picture is bursting with heart, it does fall into the regular trappings of a musical narrative, but is otherwise enjoyable and inspiring to watch.

This biopic sees Enzo Ferrari (Adam Driver) attempting to overcome his auto-racing business's looming bankruptcy while entering his racing team into the 1957 Mille Miglia in the hopes of reclaiming glory for himself and his name. Meanwhile, his personal exploits are detailed here as well with his family life and his encounters with his mistress (Shailene Woodley) behind his wife's (Penelope Cruz) back. Directed with great flair and sleek style by Michael Mann (who hasn't helmed a project since 2015's critical and commercial failure 'Blackhat'), he returns to great form here with a cool and confident albeit slow burn of a biopic that will no doubt draw comparisons to 2019's similarly themed 'Ford v. Ferrari'. I most certainly see this film as a prequel/companion piece of sorts to that film, as it does a great job of setting up Ferrari's legacy and how he was able to continue and prosper with his business just when it seemed he was about to lose everything. On top of that, we're given solid performances from all involved, including Driver of course (who finds himself once again donning a more or less convincing Italian accent after 2021's messy Italian-accented romp 'House of Gucci'). Also in top form here is Cruz as his distressed and cheated wife Laura, as well as Woodley as the mistress Lina. Also worth noting here is Patrick Dempsey (who notably races in his spare time in real life), who gives an impassioned performance as racer Piero Taruffi. While I did find myself underwhelmed at times, particularly in the film's first half due to its decidedly pedestrian pacing, the second half is when things really kicked into higher gear through the genuinely tense and immersive racing sequences that left me on edge and at times even shocked. However, several of the crash visuals looked rather cheap and unfinished in certain spots, which I found disappointing, given the film's nearly $100 million dollar budget. But overall, the film's able to overcome its narrative shortcoming thanks largely in part to the high-octane racing sequences and committed performances from its cast. And what's more, it's a plenty satisfying return to form for director Mann.

Zac Efron headlines this familial drama based on a true story about the legendary Von Erich wrestling brotherhood (Efron, Jeremy Allen White, Harris ****, and Stanley Simons) as they try to carve a name for themselves in the ring under the supervision and immense pressure of their domineering father (Holy McCallany) throughout the 70s and 80s. I definitely had high hopes for this one upon seeing the trailers and the incredible transformation Efron and the rest of the actors playing his brothers made to get into fighting shape here. I also knew it was probably going to hit me pretty hard emotionally after doing a bit of research and learning more about the tragic backstory of the Von Erich family. Sure enough, not only was it all incredibly tense and compelling from start to finish, but the emotional chords it struck with me more and more throughout the final third or so of the film hit pretty hard. The wrestling matches and sequences throughout were all spectacularly put together and incredibly entertaining to watch, although the cinematography became a bit too shaky in these particular spots for my liking. The story and all scenes outside of the ring were compelling in their own right, as the Von Erichs' story is told with maturity and grace with just the right amount of brutal tension throughout. Performance-wise, Efron has truly never been better. His physical and emotional commitment here is plain as day to see, and he truly bears his all here like never before. As a matter of fact, there isn't a weak link here as far as performance is go, as Allen White ****, and Simons all commit to a genuine brotherly love with Efron and one another. Together, all of them carry the film perfectly. Even McCallany as their tough as nails ex-wrestler father Fritz Von Erich turns in a stone-cold performance of his own. Granted, there are a couple of moments and plot beats throughout that felt a bit predictable at times, as goes with most biopics, but the story, performances, and overall craftsmanship on display here easily outweighs that. Overall, absolutely solid performances all around, along with a brutal and compelling yet heartbreaking story make this one of the more impressive, memorable, and emotional family dramas to come around in quite some time.

A deceased woman (Emma Stone) is brought back to life by a mad scientist (Willem Dafoe) through having her brain zapped. From there, she begins to experience life and the world around her once again through great wonder as she rediscovers high society, sex, and many other things along the way. Directed in typical absurdist fashion by Yorgos Lanthimos.('The Lobster', 'The Killing of a Sacred Deer', and 'The Favourite'), I was quite looking forward to this one, being quite a fan of his style and previous films. However, the film's disjointed and scattershot narrative structure and approach in the first third or so was an early bad sign for me, and while things did seem to pick up a little in the second act, it all culminated in a half-assed and jumbled mess of a third and final act. What's more, the dark humor here is more miss than hit, with only a truly genuine laugh or two out of me for the nearly two and a half hour runtime. The story feels wandering and aimless, much like most of the film's characters, and random subplots and characters are introduced seemingly out of nowhere in various spots, particularly towards the end. As if all that wasn't enough, I found myself quickly exasperated with the near-constant sleazy sex scenes throughout that squandered quite a bit of Stone's talent and dignity. I will say that aside from those scenes, her performance is the film's biggest highlight, along with that of Mark Ruffalo's as a charming yet bumbling suitor who tags along with Stone's character and her misadventures. Stone's commitment and physicality in particular here is quite notable and admirable, and she'll no doubt be in contention at the coming Oscars later this new year. I will also say how visually and aesthetically unique the film appears as well, with a distorted and eye-popping surreal world that often tried to distract me from the heavily disjointed and clumsy narrative, but to not much avail. In the end, it was clear to me that this film was much more style over substance, tried as it did to be the reverse of that. Overall, a wandering and aimless narrative with no clear sense of plot or direction, a visually pleasing world accompanied by a rather whimsical musical score that, paired together with the production design, tries its damnedest to come off as a slightly darker and more absurd Wes Anderson fare, and enough sleazy sex to almost make you want to look away in shame and disgust. Sadly, not even the committed performances from the brilliant cast can save this one from being anything more than halfway decent. That's all it really amounts to.

In this charming little musical prequel to the beloved Roald Dahl children's novel, Willy Wonka (played beautifully by Timothee Chalamet) arrives in a small little town with the hopes and dreams of becoming the world's best and most well-renowned chocolatier. However, he faces opposition and stiff competition from rival chocolatiers that are set on running him out of town. With the help of some unexpected pals and a young orphan girl he takes under his wing, Willy must set out to prove his naysayers wrong and bring all the magic and delights to the townspeople that he knows he's capable of. For starters, I along with many others were of the notion that this prequel simply seemed unnecessary at first glance, as I had been under the impression that it would be yet another cash grab that would capitalize on an already familiar story. And while at most certainly is, thankfully that didn't stop this film from being a delight to watch for the most part. As for those wondering if this caters more to the Gene Wilder Wonka or the Johnny Depp Wonka, the latter might as well not even exist at all as far as this film is concerned, because this one very obviously references and winks and nods to several songs and aspects of the 1973 Wilder-led flick without so much as a mention of the Depp film or anything regarding that one, which is totally fine by me, as I too like to pretend that one never happened as well to be completely honest. Aside from this, Chalamet is bound to sing and dance his way into your heart, as he radiates with pure charisma and charm from start to finish. As for his singing, it comes out rather gentle yet smooth sounding, and he definitely proves that he's perfectly capable of carrying out a tune with the handful of musical numbers he's given, even if the songs do feel rather uninspired and generic for a musical of this caliber at times. Besides him, there's an equally dedicated supporting cast that rallies behind him, from faces such as Olivia Colman, Keegan-Michael Keye, Sally Hawkins, Rowan Atkinson, and even Hugh Grant as an oompa loompa. Newcomer Calah Lane is also worth mentioning as the young orphan Noodle that Wonka befriends. Her singing and chemistry alongside him is admirable, and she definitely holds her own with him. Storywise, it's pretty predictable and by the numbers as far as musicals go as well, but it's still plenty silly and entertaining to distract the majority of audiences who see it, and that's really all that matters. Most of the jokes either land flat or are pretty hit and miss too unfortunately. One of the most commendable aspects of this movie however has got to be the production value that went into this. The set pieces and costumes are all so elaborate and beautiful to look at and are sure to dazzle just about anybody. For all the positives I've mentioned though, I do have to be honest and say that as cute and entertaining as this film may have been, it simply feels more like a Broadway show as opposed to a film, which isn't necessarily a bad thing. I simply feel as though we didn't exactly need another Wonka movie, let alone another origin story, as those are a dime a dozen lately. To me, it simply felt like it would've been better suited for Broadway, and I probably wouldn't go out of my way to watch this one again. It was cute and fun to see once, and I'll probably end up forgetting about it from here. But overall, Chalamet charms, the music and songs are just entertaining enough to be not quite so memorable after the fact, and the production value and sets are sure to dazzle, but otherwise, it's a bit too sweet and generic, and an overindulgence **** thing.

Bradley Cooper stars in, directs, produces, and writes this stirring biopic of famed composer Leonard Bernstein, chronicling everything from his humbling beginnings in the early 40s when he's discovered after filling in for Bruno Walter to his long but turbulent marriage to Felicia Montealegre (the always brilliant Carey Mulligan), all while battling depression and closeted homosexuality. Not knowing much about Bernstein and his life, I was nonetheless eager to see Cooper's drastic transformation as the legendary composer, and sure enough, he did not disappoint! He completely disappears into and allows himself to be utterly absorbed into the being and essence of Bernstein, with everything from changing his voice, smoking like a chimney in practically every scene he appears in, and donning heavy makeup and a prosthetic nose to top it all off. He's utterly incredible here, and is sure to be a serious contender for the lead actor Oscar! Right beside him is Mulligan who equally dedicates herself quite effectively to embodying Felicia and her tumultuous relationship with Bernstein. In addition, we're graced with striking cinematography that switches from black and white to color and changing aspect ratios, depending on each period of time the film is depicting, a grand production design that celebrates not just the art of music and composing, but also the art of theatre and performing as a whole. There are times where the film falls into the typical biopic trappings, but is mostly and surprisingly able to subvert most of them to great effect with its unconventional storytelling methods and constantly changing camera techniques. Overall, compellingly shot, note-perfect performances from Cooper and Mulligan, and a passion for music and the arts makes this particular biopic shine quite brightly in the face of some of the cliches one would normally come to expect of most biopics.

Anne Hathaway and Thomasin McKenzie headline this otherwise forgettable 60s set noir thriller based on the 2015 novel of the same name about a young woman who forms an unexpectedly dangerous bond with an older woman she meets working at her local correctional facility, while also navigating her broken home life with her abusive alcoholic father (Shea Wigham). The film is a rather slow burn, and the period atmosphere is fun to watch at times, but it's all in service of a relatively straightforward story that plays it relatively safe for the most part. And while Hathaway and McKenzie both make for a compelling onscreen duo at times, it simply can't overcome an overall underwhelming execution and ending that fizzles things out rather disappointingly.

Nicolas Cage stars in this trip of a film about a slovenly college professor who inexplicably starts randomly appearing in everybody's (even complete strangers') dreams, making him an overnight viral star around the world. However, he soon starts to experience firsthand the downsides of fame and the spotlight when he starts to become homicidal in everybody's dreams, putting him and his reputation on the line. First of all, I've long held the opinion (a hot take to some) that Cage is not a good actor. More often than not, he's quite terrible I might add, as no one else in Hollywood overacts quite like him. Be that as it may, I do find him incredibly entertaining to watch nonetheless. This film is certainly no exception, as Cage seems to fully embrace and lean into this whacky concept that this film has to offer. I do feel as though the concept could've been explored and expanded upon a bit more, but what we got was still highly intriguing and fun to watch. Moreover, the film does a fine job of highlighting the less than desirable effects of cancel culture and just how far certain people can take it. As for the performances, Cage gives us a surprisingly broad range of emotions here, turning in one of his more nuanced and fleshed out performances to date, which I certainly was not expecting from him. Supporting actors such as Julianne Nicholson as his wife and even Michael Cera appear to help liven things up throughout. The story does start to wear a little thin in the third act, and like I said, I personally wanted the concept to be expanded upon a bit more than it ended up being, but otherwise, it was wildly imaginative and inventive throughout. Overall, Cage gives it his all in this whacky but certainly never dull look at our dreams while cleverly tying it into a larger conversation about cancel culture and public perception.