Reviews

In the 70’s and 80’s, Ed and Lorraine Warren made their own mark on the world as paranormal investigators. They were involved in an alleged over 1000 cases. THE CONJURING movie franchise and its spinoffs have highlighted quite a few of said cases. THE CONJURING: LAST RITES is the fourth main movie and ninth overall. This focuses on the case of the Smurl family, and the nightmare they endured in 1986. This time, it involves a creepy mirror. Ed (Patrick Wilson) and Lorraine (Vera Farmiga) are trying to live a peaceful life (can you blame them?). Their daughter Judy (Mia Tomlinson) has a similar affliction that her mom has, sensing paranormal entities. They get involved with the Smurl family and their peace is interrupted. For the most part, this movie is fine. It still boggles my mind that they have a room in their house full of possessed artifacts from their cases, and the demons are all just, what, too busy with group therapy to go haunt innocent people? We’ve seen most of the horror tropes and jump scares in many, many other movies. This one does have a few very effective scenes though. Sadly, it’s way too long and super predictable. THE CONJURING: LAST RITES has no rite being over two hours long. For a movie that keeps saying “based on true events”, none of this stuff actually happened. No matter how bad these movies are, Patrick Wilson and Vera Farmiga have always been great in these roles. I actually enjoyed this movie. I’ve seen so many bad horror movies, I can tell when one is competently made, even if the script is all over the place. Horror movies made by Hollywood are just not up to par with the lesser known, original indy darlings that keep surprising people these days. Fun fact: Just last month, comedian Matt Rife purchased the Warren’s home and occult museum, so get ready for some very funny demons. I’m now a bit worried that this movie felt like a “passing the torch” scenario. I need a new horror franchise to sink my teeth into. No dolls or nuns, please. Whether you believe in this stuff or not, THE CONJURING: LAST RITES is a mixed bag of horror tropes, family drama, some cool scares, and a very questionable label of “based on true events”. They say this is the final CONJURING movie. We’ll see.

very good

This review is about a movie that was filmed four years ago and premiered at the Fantastic Fest two years ago. Having finally had its wide release, this is THE TOXIC AVENGER. This is a remake of the 1984 cult classic, and the fifth in the franchise. I had never even heard of these until now, much less known what a “Troma film” was. Basically, these are low-budget, low-brow, mostly violent films from the 80’s onwards. I actually tried watching the original TOXIC AVENGER. I turned it off after about 15 minutes, it was just gross. And this is coming from a guy who loves the TERRIFIER franchise! For the most part, I enjoyed this remake. It still feels low-budget and it’s super violent, but the low-brow gross-out stuff from the other installments is mostly gone. This is about Winston Gooze (Peter Dinklage), a widowed stepfather struggling to take care of his stepson Wade (Jacob Tremblay). Working as a janitor in a chemical plant, Winston tries doing the right thing and ends up getting a terminal diagnosis, shot, and dumped into a vat of chemicals, transforming him into the radioactive creature we know and love, Toxie. Despite the fact that this franchise has a “so bad it’s good” vibe, this one also has heart, and something to say. You have commentary about the healthcare system and about how chemicals are killing the planet. Most of this movie features practical effects, which I always appreciate. It has a solid story with memorable characters. Kevin Bacon plays the corrupt CEO of the company, Bob Garbinger, while a criminally underutilized Elijah Wood plays is brother Fritz Garbinger. He’s the “Igor type” who looks like Danny DeVito’s Penguin. He needed to do more in this movie. Fans of these movies might think the first half is slow. It definitely picks up when the carnage candy starts. Despite the fact that you can never make a movie like the original 1984 version, especially these days, they pushed it to the limit with THE TOXIC AVENGER, especially with the violence. This is not a movie for mass audiences. I would only recommend it for fans of slasher comedies, Troma films, or the old franchise. It’s satirical, silly, and extremely violent. I had a fine time with this one.

good

It took me a long time, but I am now on the literal bandwagon for Netflix’s mega-hit pop-culture phenomenon, K-POP DEMON HUNTERS. Be warned, this is an animated musical. In an unsuspecting world, there are demons led by a devilish ruler Gwi-Ma (Lee Byung-hun). Every generation, there are three women who use their singing voices to protect the people using a magical barrier called the Honmoon. By night they are demon hunters, but by day, they are the world-renowned K-Pop group known as Huntr/x. The trio consists of Zoey (Ji-young Yoo) the bubbly lyricist, Mira (May Hong) the rebellious dancer, and Rumi (Arden Cho) the lead vocalist. They get into a rivalry with a new boy band called the Saja Boys, led by Jinu (Ahn Hyo-seop). They are demons trying to steal Huntr/x’s fans, to weaken the Honmoon. I now understand why everybody loves this movie. The songs are so powerful and catchy you might think you’ve been possessed by a demon. It’s emotionally empowering to an obviously wide variety of people. I can’t say I’m surprised by how much I loved this movie, since it’s still blowing up on Netflix 7 weeks later. This is simultaneously a love letter to K-pop and a commentary on manufactured hype and praise for celebrities. Despite the deep themes of sisterhood, acceptance, identity, and self-worth, this movie is also very funny and fun for the whole family. It appears cute and simple on the surface, but it packs a powerfully relevant and important message. It has vibrant animation that seemingly only Sony Animation can do these days. This has a great fast pace with a surprisingly important story that entertains pretty much everyone who watches it. I really wish this movie had a world-wide release on the big screen. As evidenced by the 2 days it was, it would’ve touched a lot of people’s hearts. I guess it still did, being the single most watched Netflix show/movie ever, with over 236 million views, plus a couple from me. I’ve given up trying to forget these songs. Best animated movie so far this year. If you already have Netflix, this is a must-see movie, and remember, embrace your weirdness. Don’t hide your true self, let it shine. Now, excuse me while I watch K-POP DEMON HUNTERS: SING-ALONG EDITION.

From the writer of THE FAVORITE and POOR THINGS, and from the director who brought us the AUSTIN POWERS trilogy, comes a remake of a movie directed by Danny DeVito, which was based on a book, this, is THE ROSES. It was love at first sight for Theo and Ivy. Theo (Benedict Cumberbatch) is a very talented architect, Ivy (Olivia Coleman) is a very talented chef. Fast forward 10 years and the foundation of their relationship begins to crack. This is a movie about two people in a tempestuous relationship trying to stay together, without having the emotional skillset to do so. Throughout the film, I had a strange feeling. No, it wasn’t gas. Yes, their British banter back and forth is mostly hilarious (great writing, no notes), but I guess I was waiting for either of them to grow up. I understand that’s not the point of the movie, but some moments felt a little too sad, or a little too real. Cumberbatch and Coleman have amazing chemistry, which seems like an oxymoron in this context. Theo and Ivy’s friends are Barry (Andy Samberg) and Amy (Kate McKinnon), who were fun to see, but I’m not sure they tonally fit in this story. I laughed quite a bit, but like a toxic relationship, it eventually became a downer. Look at me, talking like I’ve actually been in a relationship before. Overall, THE ROSES feels like a somewhat unnecessary remake, but I still had fun laughing at a horny Kate McKinnon, Benedict’s reactions to her, and Olivia cursing absolutely never gets old.

likeeee

classsic

mi experiencia fue algo muy intuitivo buena la recomiendo, es un analyze de muy buena enseñanzas

A dark, gritty blast. Vastly different from what the trailer promised, and definitely vastly different from Darren Aronofsky's previous offering. It's violent, mercilessly bleak, and flawlessly paced, with Austin Butler at the top of his game. The supporting cast is fantastic, but this movie belongs to Butler through and through. It's a career-defining performance, further enshrining him as one of the most promising actors of his generation.

I loved this. It can get a little predictable and its third act runs for a bit too long, but those are minor flaws that I found easy to ignore in the grand scheme of things. "Caught Stealing" is some of Aronofsky's most unique work, and an enthralling punk thriller in its own right.

When I heard that Darren Aronofsky had a new movie coming out, I’m ashamed to admit that I forgot who he was. How the hell could I forget the guy responsible for REQUIEM FOR A DREAM, THE WRESTLER, BLACK SWAN, and my personal favorite of his, THE WHALE? I mean, this is the guy who’s known for dragging out only the best performances from his actors, such as Mickey Rourke, Natalie Portman, and Brendan Fraser. I believe he has done it again, with CAUGHT STEALING, a dark comedy crime thriller about an everyday guy who missed his shot in life, who ends up in the wrong place at the wrong time. Struggling to find his footing in life (sometimes literally), Hank (Austin Butler) ends up taking care of a cute cat owned by his friend and neighbor, an unruly Brit named Russ (Matt Smith), who leaves town. Hank, along with his girlfriend Yvonne (Zoe Kravitz), get embroiled in a cat-and-mouse chase. Their chemistry is palpable. The cat almost steals the show, which for certain people could be a good or bad thing. The title is clever, meaning a few different things. This is based on a book written by Charlie Huston, who actually wrote the screenplay for this. The same situation happened with the author of THE WHALE. It makes perfect sense. This film has the feeling of a more realistic Guy Ritchie movie. The entire cast is great, but I’m not telling you who else makes an appearance. I also highly recommend seeing this without watching the trailer, it shows basically everything. The script is sharp and tight, not letting the audience get bored or check their watch. It’s erratic yet controlled. The film’s score was recorded by British post-punk band Idles. The authenticity of late 90’s New York draws you in. The tonal shifts in certain scenes might throw some people off, but it’s more of a nitpick for me. This has one of the best messages for seatbelt safety in a movie since, like ever. The further I dove into this movie, the more unpredictable it got, which is a feat. This might not be a home run compared to Aronofsky’s other work, but the bar is pretty damn high. CAUGHT STEALING sticks the landing, which can’t be said for quite a few movies these days. This is a throwback movie that should not be overlooked.

I was quite surprised by how much I enjoyed this one. And I'm glad it was based on a true story. Rosamund Pike, Sally Hawkins, Miranda Richardson, and Bob Hoskins are wonderful in this clever working-class British comedy-drama.

good

Después de que Juan mató a su hermano y creó una coartada, él y el sacerdote salieron del cine. El sacerdote comentó: "Parece que todas las películas son sobre nosotros". En el fondo, se pueden ver tres carteles en la pared del cine: La bestia humana, El doble indemnización y Thérèse Raquin. Cada una de estas películas gira en torno a un esposo atrapado entre su esposa y un rompehogares.

Nadeem

The action scenes and displays of superpowers could’ve used more imagination. It’s far from perfect, yet compared to similar anti-hero efforts like "Sky High," this film has sharper wit and stronger execution.

Es una buena película recomendable

Like many Christmas films, this one pushes a familiar message: believe in Santa, hold on to your inner child, and stop dismissing a child's wonder with adult cynicism. The film stays cozy and heartfelt overall.

"Pandorum" aims to explore a wide range of philosophical and existential themes, though its limited runtime forces viewers to connect the dots themselves. It’s an ambitious, cerebral sci-fi work that’s more intellectually stimulating than commercially appealing. Sadly, top-tier storytelling is paired with mid-tier production values, ensuring it remains a cult favorite rather than a mainstream hit.

The film’s spatial design is remarkably effective, using tight, enclosed environments to exert psychological pressure on both characters and viewers. As tensions rise, secrets and conflicts come to light—turning resource hoarding, suspicion, and desperation into a vivid portrait of human fragility under extreme stress.