Reviews

Among A24’s thrillers, this is probably the most boring. On the surface, it satirizes Gen Z pop culture, but in reality, it mocks the new generation that peppers every sentence with “psychology buzzwords,” believing they’re empathetic but coming off as hollow. When phrases like “gaslight” and “you are silencing me” popped up, I actually burst out laughing. By the end, I couldn’t help but think: for today’s youth, friendships without smartphones might really crumble like sand.

Aside from a few action sequences and the aircraft carrier’s explosion, everything else in this film is tediously dull.

It’s honestly bad. The story follows a teenager traveling across the Middle East, Asia, and Europe to finally fulfill the 'American Dream,' but the plot feels fragmented and disjointed, ultimately falling flat.

I didn’t expect it to be a full-blown musical. While it feels like Netflix mashed up well-loved formulas to craft a “Disney-style Eastern tale,” once I embraced that idea, I found I couldn’t get this version of Chang’e out of my head.

The film is loaded with Chinese elements, but at its core, it still lacks an authentic “Chinese flavor.” The frequent song-and-dance numbers are unmistakably Disney-esque, especially the jaw-dropping entrance of Chang’e! That said, I have to admit the little rabbit Bungee is absolutely adorable.

When the film ends, the only thought I'm left with is that the deepest fear comes from not knowing anything at all about the source of our terror.

The opening is stunning, though the ending feels a bit underwhelming. However, after two rewatches, I find myself adding another star each time. The atmosphere is masterfully crafted—the terror in The Happening arises from the unknown, mirroring the uncertainty of humanity’s fate. What we call “order of nature” feels like an excuse for the mysteries we fail to grasp.

The pacing is incredibly tight. However, the plot is entirely formulaic, culminating in a predictable “good triumphs over evil” ending that feels like a nostalgic nod to the movies I grew up watching.

The story is simple: a demon attempts to enter the human world through surrogacy, only to be outsmarted by God. Surprisingly, it did not use special effects excessively for a fantasy film.

The film draws you in slowly but powerfully. I found myself deeply invested in the characters’ fates, with tension mounting scene by scene. By the end, I was devastated and helpless. The near absence of music only adds to the emotional weight. This was so emotionally draining I've to seek lighter films lately.

The film follows three sailors on a 24-hour shore leave in New York where they fall for three local women. While the vibrant set designs, dance choreography and cinematography are top-notch, the narrative itself feels flat, and the character work leaves little emotional resonance.

From its sweeping score to its excellent cinematography and thoughtful performances, this is a film that's worthy of an Oscar. Critics may have dismissed the music, but few films open with such thunderous, imposing orchestration. Honestly, I was hooked from the very first note.

Visually, the film is undeniably alluring. The lavish production design and golden-hued palette evoke an intoxicating sense of opulence, while the frequent, deliberate close-ups heighten the tension and sensuality between characters. The only drawback is that none of the three leads possess the acting chops to fully sustain such intense scrutiny.

This sequel lacks the freshness of the original and feels largely improvised, with barely any plot to speak of. What lingers is a sense of nostalgia—the cast looks so young, and time has clearly flown. The film’s ’70s aesthetic is well-executed though, with vibrant colors and a fun atmosphere.

A significant step down from the original. While the first film managed to tell a coherent story, this one feels like it only exists to set up a third installment. The dramatic scenes are flat, and the action lacks any real flair—whether due to camera work or fight choreography, nothing on screen manages to leave a mark.

Told through a minimalist, linear structure, the film leans into naturalistic rhythms and embraces the everyday with subtle mastery. Its greatest strength is the feeling of immediacy—nothing is forced, and everything unfolds with quiet authenticity.

Looking almost like a performance art, this mockumentary delivers far more than just a clever format. The songs are genuinely good, and the attention to detail—from lyrics and album art to stage design—is astonishing. Even knowing that the band is fictional, the emotional beats, like the lead singer and guitarist’s reconciliation, still hit hard.

Gareth Edwards brings an impressive sense of scale to the prehistoric spectacle, capturing both the majesty of the Titanosaurs and the primal ferocity of the T-Rex. Beneath the surface, the film reflects contemporary concerns about genetic science—reminding us that while innovation can uplift humanity, its misuse can wreak havoc on the natural world.

As a film, "Cube" is rather mediocre. Its depiction of human nature is shallow, the acting underwhelming, and the plot riddled with holes. The real standout is its core concept—the mechanical deathtrap cube. While many critics read into its philosophical and political layers with enthusiasm, some of that feels like a stretch. Maybe the director intended those themes, but the execution falls short. Or perhaps he didn’t intend them at all and would be baffled by the analysis.