Reviews

As a low-budget genre film, it’s actually pretty solid. It manages to be thrilling while keeping the logic as consistent as possible. The fact that the story comes together is no small feat.

Is Jeannett's father a good father? You cannot answer this question as you can't judge your dad by normal rules you apply to others. J's father loves his kids, like any father. He tells his daughter to be brave; he tries his best to quit his addiction to alcohol because his daughter asks him to do so. He will lend a hand when his sweet daughter needs his help. He is poor, but he can give his kid a universe. He really wants to build a perfect castle for his family, yet he never makes it. However, he does many bad things that let his children down. He breaks his promises numerous times; he leaves his kids hungry. The worst thing he has done to his kids is that he deprives them of their choices for their own future. Anyway, this movie is touching, and I like it. I will cherish the time spent with my mom, dad, and sister.

Eat the carrots, save your friends

What a cheesy ending! It blew my mind that the fat girl was actually played by the male lead. After checking out Norbit, you'll be totally impressed by Eddie Murphy’s comedic skills. He pulls off three roles in the movie: the nice guy Norbit, the super funny plus-size lady Rasputia, and even the white orphanage director.

Is there a worse movie than Skyline? Oh yeah, Beyond Skyline definitely takes the crown.

People are like machines. Every bit of information you absorb shapes your decisions and guides you step by step toward the right path.

In a society rife with discrimination and injustice, the protagonist didn’t waste energy on pointless complaints or fights. Instead, he gritted his teeth, endured, and focused on improving himself, ultimately achieving success. That in itself is the most powerful retaliation. It really makes me reflect on myself...

The plot of this one is pretty confusing. The action scenes just don't compare to Seagal’s real martial arts skills. Maybe the only real highlight of the film is the supporting actor, who seems impossible to kill — it's actually pretty funny.

All of Seagal’s movies are pretty much the same—boring. Is it really that impressive just because an American knows karate?

Sometimes, science fiction doesn’t just take you to the future—it makes you appreciate the present. When this movie was released, Californians were probably still haunted by the 1906 San Francisco earthquake and the 1992 Los Angeles riots, prompting them to reflect on their lifestyles and social conditions. The movie is set in a California that, after being ravaged by riots and earthquakes, rebuilt itself with advanced technology into a society that’s highly orderly, overwhelmingly safe, extremely eco-friendly, and culturally refined—a world vastly different from the 1990s. Yet, in the film, this perfect life feels stifling and boring. The ultimate flaw in this idealistic world is that it’s still impossible to stop those in power from abusing their authority. Many scenes are dedicated to showcasing this perfect and interesting premise, though they sometimes overshadow the action, making it feel a bit dragged out.

A chilling riot. Scary, atmospheric, and with an unexpected twist of cleverly constructed hilarity, all of it building to a third act that's one phenomenal bit in itself. Its themes become a little muddled under the weight of its stylish structure and brutal gloom, but I loved the film. I enjoy when horror allows itself to be campy and goofy without sacrificing a single bit of its scary factor.

I do wish that the film had lasered in on one of its themes and explored it more deeply. There's commentary on addiction, communal grief, and gun control issues, but Cregger never quite dissects any of them; he simply touches on them. Even still, "Weapons" is amazing. Horror needs more of these kinds of releases nowadays.

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Kenta Fukasaku was the screenwriter for the first film, so how on earth did the second one end up like this?! The film swaps concepts, tries to sell terrorism as a theme, and the Hollywood-style gunfights have no punch at all. If this wasn't Kinji Fukasaku's last film, I'd be cursing up a storm right now.

This sequel drops the fascinating exploration of human nature that made the first film so compelling. What’s left is just a mess of chaotic gunfights. The characters aren’t developed enough—only about five of them leave any impression at all. The new rules don’t seem to serve any real purpose, and the overall theme feels muddled. Aside from the soundtrack and the gore, there’s little to remind you this is even a sequel to Battle Royale.

Honestly, there’s no need to reboot this movie. It’s actually worse than the last two.

The Assassin is unmistakably a Hou Hsiao-hsien art film. To me, it’s not a martial arts movie—it lacks the legends and love stories typical of the genre. Instead, it’s a meticulously crafted "sensory feast." Hou has moved beyond telling stories about people; he’s painting the landscapes left behind after the stories have ended and exploring the souls of those who endure after seeing it all.

The Assassin is ultimately a film about loneliness. When someone reaches a high position, they become unknown, misunderstood, and bound to walk a solitary path to the very end. This loneliness isn’t just felt by Nie Yinniang—it extends to Tian Ji’an and even to director Hou Hsiao-Hsien himself.

This is a film that meets the director’s usual standard. I really enjoyed the narrative in the first half, which skillfully weaves several key plot points through fragmented flashbacks and then gradually ties them together into a cohesive story. It’s not messy at all; in fact, it’s quite engaging to see how it all comes together

Rooney Mara is absolutely stunning! She is truly outstanding in this otherwise average film.

Hitchcock would be kidding if he claimed he hadn’t read Freud. Bruno is a textbook case of the Oedipus Complex—he’s attached to his mother and wants to kill his father. Meanwhile, Guy, acting as his superego, is driven to eliminate the "evil mother figure" symbolized by the woman with glasses.