Reviews

This film is a unique love story featuring the signature Milky Way Image style. While it’s not my favorite, it’s filled with everyday realism and delivers a satisfying ending.

What a surprise! The film tackles the topic of children’s sex education in such an unexpected way by delving into themes of women and sexuality, mothers educating their children about sex, and a custody battle.

Rather than exploring conflicting views on sex, this film centers on an ex-husband’s revenge against his ex-wife’s new relationship. A truly good mother wouldn’t exploit her daughter’s misfortune to win custody.

Despite its length, the plot remains fairly engaging. Indian cinema continues to deliver solid screenwriting and soundtracks, and of course, the obligatory high-energy dance numbers. The film falters with uneven performances, especially the lead actor’s jarring shifts between bravery and cowardice, and the supporting actresses unfortunately deliver some of the weakest acting.

There’s a moment meant to depict Rosario’s traumatic memory—her arm is wounded, explaining the ever-present belt around it—but it’s strangely lit in soft, warm tones. This visual choice clashes with her anguish, and a colder palette might have heightened the emotional impact.

I got to say their body figures are all so beautiful. Didn’t expect the ending though. It’s so heartbreaking to see Amaia alienated by everyone when she’s been trying so hard to stick to what’s right but ultimately took the wrong turn just to impress her mom like a little girl. (I guess there will be Season 2. Please don’t torture Amaia anymore）.

The plot borrows liberally from "Taken," though the film leans more toward domestic drama than full-blown action. As a result, the few fight scenes are brief and abruptly wrapped up. It feels like a mid-tier streaming film, and if Liam Neeson weren’t the lead, it likely wouldn’t have made much noise.

The film’s political commentary barely scratches the surface, and its feminist messaging feels equally superficial. It attempts to highlight female strength by placing a tough female lead in an environment where girls have no rights, yet most of the runtime is spent building toward a single rescue mission. For an action film, it’s surprisingly light on action.

The plot is painfully dull, and the few action scenes are not memorable. The story is stale, offering no surprises, and aside from a reasonably watchable lead actress, there’s nothing worth recommending. It’s baffling why such a slow, unengaging film had to be this long.

The surprise MVP here is a new blue robot sidekick—it's absolutely adorable. Its expressive cartoon face hilariously channels M3GAN’s trademark smugness, disdain, aloofness, and sarcastic wit, making it far more engaging than the original’s plastic-doll face.

This film offers an immersive glimpse into the adrenaline-fueled world of Formula 1. The roar of engines, the howling of wind, the cheers of the crowd—all of it fades at 300 km/h, leaving only the visceral thrill of skirting death.

The film excels in character work. Each major figure is vividly drawn—the repressed desires of the protagonist and her sister, the absent husband, the curious younger sibling, the rebellious brother, and the emotionally absent mother. A few deft strokes sketch out an entire world shaped by religion, patriarchy, and war.

What moved me most was Isla’s decision to let go. Aware of her illness and her son’s impossible burden, she chooses to stay behind so Spike can escape with the baby. Her sacrifice isn’t played for melodrama—it’s a quiet, clear-eyed act of love.

The plot seems eventful, but in reality it's draggy with slow pacing and bloated storytelling. This family appears to be gearing up for something big, yet that "big moment" lands with a thud. Apart from the plot twist involving the mother's identity at the end, very little comes across as truly unexpected.

Although it brands itself as a reboot of the original, "The Exorcist: Believer" feels just as careless and uninspired as the many imitators of the 1973 classic. It offers little new to the exorcism genre, once again relying on the contortion of young female bodies and nauseating scenes of vomitting as the highlights while lacking both depth and creativity.

Set on the windswept plains of 18th-century Europe, "The Promised Land" follows Captain Ludvig von Kahlen, a solitary settler who pushes back against chaos and cruelty in pursuit of justice. The opening image—Kahlen polishing his badge in the dark—signals his unshakable belief in honor, a theme that resonates throughout the film.

The acting is solid and the pacing holds tension well. The atmosphere in several key scenes is palpable. Yet there’s a jarring moment where, during a torture sequence, a teammate is executed and the protagonist abruptly loses a tooth—either a clumsy edit or censored violence, but either way it disrupts the flow.

This biopic of Brazilian singer Ney Matogrosso honors his legacy as both a musical icon and a pioneering LGBTQ+ figure. Openly gay in a deeply conservative era, Ney never shied away from discussing his sexuality—even during the 1970s, when such honesty came at a cost. His courage defined not only his public image but also his artistic identity.

Some critics find the plot too simplistic, but this is clearly a lighthearted, youth-oriented comedy. It doesn’t pretend to be deep, and that’s part of its charm. The actors’ expressions are irresistibly cute, adding playful energy to every scene.

The plot follows a familiar formula, though it's riddled with plotholes. Compared to Gerard Butler’s previous action films, this one feels scaled-down but more grounded. The gunfights are less flashy and the characters more believable, making for a grittier, if conventional, experience.