Reviews

When the kestrel dies, so too does a part of the boy. The bird is not merely a pet, but a symbol of dignity, autonomy, and the fleeting sense of freedom in a life otherwise trapped by circumstance. In its wings, he projected all his dreams. The falcon is his totem, the only glimmer of grace in a grey and unforgiving world.

This was my first Norwegian film, and it exceeded expectations. While some plot points stretch believability, the dark humor and brisk pacing keep it compelling. The lead performance is excellent, and despite its flaws, the film is undeniably entertaining.

A textbook example of British gangster cinema, "Layer Cake" follows a low-profile dealer trying to quietly retire, only to be pulled into a web of double-crosses. He navigates both sides like the filling between layers of cake. Unlike sprawling American crime sagas like "The Godfather" or "Once Upon a Time in America," this British take feels leaner, more eccentric, and charged with dark humor.

Light in tone and rhythmically charming, the film shines through its elegant voice work and musicality. The male lead’s performance captures every emotional turn with expressive gestures and facial nuance, while the lush score elevates even the simplest scenes.

Written, directed, and performed by Sammo Hung, this period horror comedy was a massive hit upon its 1980 Hong Kong release. It pioneered a new subgenre by blending martial arts, horror, and absurdist comedy. The sets may be small, but the script is impressively tight.

Director Ari Astor enjoys making movies that people talk about, sometimes years after their theatrical release. His movies are also depressing, pessimistic, thought-provoking, and wild. So far, he has made HEREDITARY, MIDSOMMAR, and BEAU IS AFRAID. His fourth movie under the A24 banner is called EDDINGTON, his most thought-provoking and divisive movie yet. This dark comedy tells the story of a fictional town called Eddington, New Mexico during the pandemic, the summer of 2020. Sheriff Joe Cross (Joaquin Phoenix) has asthma and is in an uncomfortable marriage with Louise (Emma Stone), who makes strange sculptures. They also live with her mother Dawn (Deirdre O’Connell), who is glued to social media. Joe finds contention in being forced to wear a mask, which leads to him running for mayor, against current mayor Ted Garcia (Pedro Pascal). This movie says a LOT, but after everything that happens, I failed to see the point of it. I understand that Astor very obviously wants the audience to feel the same feelings that were already felt by everybody back then, but why would we want to feel anxious, possibly hypocritical, and extremely divisive again? I don’t think the message of this movie needed to be told so blatantly, especially at almost 150 minutes. EDDINGTON is about so many things: COVID, Black Lives Matter, social media, A.I, religious cults, and conspiracy theories. Quite a few of these things feel tacked on, not contributing to the main plot at all. This movie makes fun of the crazies on the right and the left side of the political spectrum. The first half is a little tedious, but it’s a slow burn that really escalates. It has flawed characters and a messy script. The first half is a little tedious, but it builds up to something at least interesting. The cast does a phenomenal job with what they’ve been given, even though some of them needed more to do. I like movies that make you feel something, whether that’s good or bad or mad. A24 might need to pull the reigns a little bit on Aster, but I can’t deny his intriguing talent. He’s able to capture the atmosphere and overwhelming uncertainty of 2020. I don’t want to think about “the COVID era”, much less watch a movie about it, but if anybody can take a crazy time and somehow amp up the crazy, it would be Ari. EDDINGTON is a divisive movie about a divisive society in a divisive time, and I know people are going to talk about this one, divisively.

The film version delivered exactly what I hoped for and even went beyond my expectations. It introduced a fresh storyline that felt perfectly paced, while preserving all the charm and signature features of the original series. There were plenty of laughs, sweet romantic moments, and even a few heartfelt tears. It was a thoroughly satisfying return to Downton.

The film maintains a relentlessly oppressive tone, trapping the audience in a space of dread. The screams of the victims aren’t just horrifying; they will chill you to your bones. One scene where the heroine sees her boyfriend nailed to a board, unable to help, while the killer’s footsteps echo on the stairs, builds a suffocating tension. The horror here isn’t just physical—it’s existential.

Pelicula para todo público,genial.

If I had to rate it, the trailer easily scores a 9 out of 10, but the main film barely makes it a 3, with the ending climbing up to around a 7.5. I think the film suffers because the director tried too hard to use a light tone to tackle terminal illness. Not that a lighter approach is inherently bad, but it feels like the story is missing the strength that is needed to carry it forward.

I'm really into these understated films. There's something compelling about hitting life's peak of happiness only to be suddenly sentenced to death, with everything afterward turning into a countdown. This kind of story doesn’t need to be thrilling—it just has to capture that mix of struggles and eventual acceptance we all feel when facing mortality. To me, all films about death are telling us one thing: cherish the present. Plus, I loved the female lead’s strange ideas and am deeply moved by the male lead's serious responses.

The film might not blow your socks off in terms of techniques, but it covers the topics I'm really into—especially the kind of sexual relationships and perfect lifestyle I've always dreamed of.

This movie is amazing—the story itself is so moving! It not only perfectly captures the origin of Wonder Woman but also showcases the unique appeal of all three leads. Luke Evans delivers an outstanding performance, striking a perfect balance without overshadowing the two incredible female leads.

The film is full of close-ups of the body, with visuals that are seriously sexy and mesmerizing. The story, which touches on the struggles of seeking thrills through sex and drugs while having to hide being gay because of societal pressures, has the potential for much deeper exploration, but here it only skims the surface. That said, the lead actors are ridiculously good-looking—together, they could be straight off an Abercrombie & Fitch ad!

The director managed to bring a fresh perspective to a well-worn LGBTQ+ theme. You wouldn’t guess this was directed by a woman—It avoids the typical pain and struggle that are so common in similar films. Instead, it’s overflowing with raw energy, hormones, and an abundance of sexy male physiques.

I love this series because it's not just another biopic that logs one big win and splits characters into winners and losers. Whether it's Adonis Johnson, a new dad, or Viktor Drago, who ends up abandoned, every fighter in the ring earns respect. Plus, the director weaves in plenty of family storylines to give the supporting characters depth. I left the theater feeling completely satisfied!

I had really high expectations for this movie, but in the end, I was pretty disappointed. The story was just too flat. As a boxing fan, it didn’t have the excitement you get from the Rocky series. And when it comes to the music—the iconic Rocky theme only showed up at the very end, which felt way too little to me.

The movie is pretty serviceable. It nails all the genre elements, keeping the suspense high from start to finish. Even the erotic scenes are beautifully done. The only downside is that the suspenseful ending feels a bit forced, leaving you wishing that the story had more room to breathe. Still, I can see why the director made that choice—sometimes a thriller has to make sacrifices to keep the tension tight and engaging.

After watching this movie, I feel like the director's style hadn't fully taken shape at the time. He's still experimenting with middle-class themes, always spiked with his signature dark humor. While the story feels like something straight out of a sensational news headline, as a die-hard fan of his work, I really enjoyed it.

Honestly, I'm not much of a fan of Claire Denis’ films. In this one, Juliette Binoche's desperate pursuit of love felt rather unconvincing. That said, I really appreciated the final scene, where the entire crew list was revealed during a conversation—it was a nice touch.