Reviews

The film begins with the slow, brooding tone of a psychological thriller, but it gradually reveals its true nature as a stylized action-suspense hybrid. While it checks most of the boxes for a solid genre piece and benefits from sharp editing, the ending feels rushed and less satisfying than it could have been.

The scene where David Bowie’s character rapidly ages is heartbreaking. Through lingering close-ups, we see his wrinkles deepen and his hair fall out, while a clueless doctor discusses him offscreen. As time ticks on, his dried lips and panicked eyes paint a portrait of helpless decay.

Stephen King’s imagination deserves credit—each of the six tales keeps the viewer intrigued. Segments like the beachside murder and the monster-in-a-crate story offer chilling explorations of human darkness. It’s a bonus that King himself stars in one of them.

Based on the real 1971 Lloyds Bank heist in London’s Marylebone district, the film spins a web of corruption, blackmail, and scandal at the highest levels of British society. Though the pacing is on the slower side, its dedication to staying faithful to historical context makes it a surprisingly compelling watch.

Though based on Colette’s novella, the screenplay recontextualizes the tale to reflect American anxieties of the time. By repackaging the romance between a wealthy man and an ordinary girl, the film subtly reassures a society grappling with shifting ideas of love and marriage.

A powerful drama with outstanding performances. In just a few opening scenes, we get a clear sense of the family’s dynamics: the father’s favor for Aron, his coldness toward Cal, and Cal’s internal torment—torn between longing for love and a growing sense of alienation.

A deliberate homage to old-school horror, the film embraces a retro aesthetic from its 16mm visuals to its religious occult narrative. Unlike Ti West’s earlier teen-driven stories, this one shifts back to classic themes of sacrifice and satanic cults, marking a rare instance where it feels like he’s genuinely trying to make a mature film.

It’s been a long time since I’ve seen a film crafted with such meticulous design. From the basement to the restaurant, climbing all the way up to the attic; from small windows to cramped interiors, and finally to the vast terrace— the director uses space and the details of daily life to perfectly capture four distinct states of being. It’s humorous, ironic, and filled with a familiar mix of awkwardness and innocence.

The metaphor of the building’s floors and the director’s self-deprecating humor can’t outweigh the repulsiveness I feel from Hong Sang-soo’s self-absorption.

Opening with the controversy surrounding George W. Bush’s election, the film quickly shifts into an exposé of his administration’s darker chapters. Yet rather than observing with objectivity, Michael Moore seems more intent on building a prosecutorial case. It raises important questions about the balance between documentary storytelling and political advocacy.

This movie is supposed to be a comedy, yet I ended up in tears. Throughout the film, I kept thinking about my friends who are far away. Here’s to always keeping our passion for movies alive, whether we’re 20 or 60!

Nanni Moretti actually made a movie to critisize Titane—haha, that's totally his style. I wonder what Julia Ducournau would say if she saw it. And you've got to mention the ending: even though the idealized world might sound a bit childish, it's still incredibly beautiful. I love it!

"Slingshot" weaves claustrophobia and cosmic dread into a striking psychological thriller. The first hour builds a crushing sense of confinement, then the director cuts to the void of deep space, which creates a deep emotional impact. Beneath the sci-fi shell lies a probing study of the mind, consciousness, and the illusion of free will.

The film starts off a bit dull, but then it suddenly takes a wild, psychedelic turn. The visuals get super trippy, creating an intense, almost manic atmosphere that really freaked me out.

Roger Corman doesn’t merely adapt Poe’s tale; he expands it into a story of resistance against tyranny, infused with the American ideals of liberty and individual agency. His reimagining casts the prince as a satanic devotee. Unlike the original, where everybody perished, six humble survivors remain, signaling a belief in the possibility of individual triumph over fate and systemic evil.

As the Beatles' first official film, "A Hard Day's Night" remains their most accomplished. It stands at the crossroads of two cultural eras and captures the band's transition from youthful exuberance to artistic maturity. Under Richard Lester's inspired direction, it reignited the marriage between cinema and music after the golden age of Hollywood musicals. While it served as a clever marketing tool, beneath the surface lay a bold rejection of mainstream conformity and a clear proclamation of the Beatles' distinct cultural identity. The seamless blend of commercial appeal and artistic innovation keeps the film as radiant as ever.

In this film, the director exposes how our education and socialization systems just don’t work. He argues that ideas like rationality, logic, and language are nothing but made-up constructs. And by showing this system through the eyes of an outsider, he really lays bare its inherent hypocrisy.

The film looks polished, with masterful use of lighting and fluidly shot with a hint of realism. The black-and-white flashbacks even evoke the aesthetic of 1950s cinema. Unfortunately, the storytelling feels underdeveloped, and the killer’s self-revealing move makes little narrative sense. The ageing makeup on the two leads is also distractingly unnatural.

Werner Herzog's film works for two main reasons. First, every frame is filled with his genuine compassion for the characters, which really balances his typically rational visual style. Second, the lead actor gives an absolutely stellar performance.

This movie tells a really simple story—it's both romantic and touching. Before I met you, my life felt like a gloomy day; but after you came along, everything turned bright. Sure, a clear sky is nice, but what I really need is you. With you here, every day feels like a sunny day.