Reviews

The film’s lopsided pacing is hard to overlook. Paul Haggis devotes far too much time to domestic routines, dulling the momentum with excessive buildup. Still, the clean, grounded visuals and the absence of heavy-handed sentimentality are refreshing.

Despite a weak story, the film manages to stay engaging thanks to its striking use of visuals and atmosphere. Tarsem Singh knows how to manipulate details and imagery to create a compelling sense of dread. The audiovisual design compensates for the bland plot.

Epic

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Tenía muchas ganas de ver Napoleón. No solo por Ridley Scott, que ya demostró cómo hace épicas con Gladiador, sino también porque la historia de Napoleón es puro drama, ego, poder y contradicción. Y con Joaquin Phoenix en el papel, imaginé que iba a ser una bomba emocional e intensa. Bueno… sí y no.

La película arranca fuerte, con imágenes imponentes y una batalla brutal que te mete de una en el mundo de la Revolución Francesa. Y visualmente, no hay nada que criticar: está impecablemente filmada. Las batallas son cinematográficamente gloriosas, el vestuario es precioso y la ambientación te transporta de verdad. La música acompaña bien, aunque no se roba la escena. Hasta ahí, todo muy sólido.

Pero… a medida que avanza, la historia se vuelve un poco irregular. Uno espera que con una figura tan compleja como Napoleón, la peli entre en su mente, en sus motivaciones, sus miedos, su genio militar, su ambición. Y algo de eso hay, pero no termina de cuajar del todo. Phoenix hace un laburo muy particular: su Napoleón es excéntrico, inseguro, a veces torpe y hasta un poco ridículo. Es una elección arriesgada que por momentos funciona y en otros te saca un poco del personaje histórico. Me gustó porque es distinto, pero también me dejó con gusto a poco. Quería entenderlo más.

Lo que sí me sorprendió fue la relación con Josefina (Vanessa Kirby). Es lo más humano de la película. Hay química, tensión, obsesión. A veces parece una historia de amor, a veces una guerra psicológica. Ella está increíble, muy magnética y manipuladora, pero sin caer en clichés. Sus escenas juntos son de lo más interesante y, sinceramente, algunas de las mejores del film.

El problema es que Napoleón intenta contar demasiado en poco tiempo. Pasa por años y eventos históricos enormes como si fueran capítulos de una serie acelerada. Te tiran coronaciones, guerras, traiciones, exilios, todo rapidísimo. Y eso le saca profundidad. Me faltó pausa, momentos más introspectivos, más desarrollo de los personajes secundarios. Se nota que hay una versión más larga (dicen que hay un corte del director de más de 4 horas), y la verdad, no me molestaría verla. Esta versión de 2 horas y media se siente editada con tijera.

En resumen: Napoleón es una experiencia visual potente, con momentos brillantes y actuaciones interesantes (aunque no siempre convencionales). Pero también es una película que se queda a medio camino entre lo épico y lo íntimo. No es la biopic definitiva de Napoleón, pero sí una interpretación provocadora que vale la pena ver, sobre todo si te gustan los dramas históricos con estilo y personajes intensos. Eso sí, andá preparado para ver algo distinto a lo que esperás.

I had never watched a Víctor Erice movie before, but this was supposed to be his big return to screen. It is insanely boring. Some good parts, but its bloated run time makes it not worth it.

Cool and creepy with some cool death scenes. A good one for some midnight madness.

An amazing classic. Slow and melodramatic, but it's also very singular and unique. Plus, it's the origin of the term we know today. Pretty cool! Has me walking around saying "Paula" in the creepiest voice possible to absolutely no one. That's what movies are for!

Much better than people give it credit for. Also a lot darker. Leans into melodramatics sometimes, but I think the point it's trying to get across is valid. The word choice has not aged well tho, lol

I remember first watching this and thinking it was good. But then I rewatched it and its so inconsequential. Lucas Hedges is the best part of it. The rest is just like skaterboy blues

The 2025 reboot of Lilo & Stitch brings the beloved characters of the original animated film into a new era with a fresh yet faithful live-action adaptation. Directed with warmth and respect for the source material, the film successfully captures the quirky charm, emotional depth, and chaotic fun that made the 2002 version a classic.

At its heart, Lilo & Stitch (2025) is still a story about family — or, as the film reminds us, 'ohana — and the bond between a lonely young girl and a genetically-engineered alien. The casting of Lilo is a standout, with the young actress delivering a performance full of authenticity, humor, and vulnerability. Stitch, brought to life through impressive CGI, retains his mischievous spirit while appearing more lifelike than ever.

The updated setting and visuals give the movie a modern touch without losing the Hawaiian cultural essence that grounds the story. The soundtrack cleverly blends nostalgic songs with a few new tracks, enriching the emotional impact of key scenes. Some purists might feel the pacing differs from the original, or that a few comedic beats don’t land quite the same — but overall, the adaptation honors the original while introducing new layers of depth.

Most importantly, the film doesn’t shy away from the themes of grief, belonging, and resilience, making it just as relevant and moving today as it was over two decades ago. Whether you’re a longtime fan or a newcomer, Lilo & Stitch (2025) is a beautiful reminder that family means no one gets left behind — or forgotten.

MOONRISE KINGDOM was the first Wes Anderson movie I saw, and it’s still my favorite. His newest is THE PHOENICIAN SCHEME, a caper about Zsa-Zsa Korda (Benicio del Toro), a businessman trying to squeeze his investors for more money to help overhaul the infrastructure of Phoenicia with slave labor. Joining him on his swindling journey are his estranged nun-to-be daughter Liesel (Mia Threapleton) and his assistant/tutor Bjørn (Michael Cera). It’s a wonder how this is the first Anderson film that has Cera in it, the style is a perfect fit for him. If you’re not familiar with the style, it’s basically side scrolling camera work, symmetrical compositions, vibrant colors, and quick, whimsical dialogue. His best works have both style and substance. This movie definitely has the style, but I think the substance was lacking for me. Maybe I’m just getting tired of his schtick. The plot felt too mechanical and less emotional. It didn’t truly have me invested in any of the characters. I laughed quite a bit though. It’s always fun to see who Anderson has in his movies. They probably just come in for a day or two, have some fun filming their scene then leave. As always, this has exquisite art direction and production design. I really enjoyed the main trio. Ultimately, THE PHOENICIAN SCHEME boils down to whether or not you’re a fan of Wes Anderson movies. This is one of the quirkier ones in his repertoire. In my opinion, it’s visually beautiful and funny, but forgettable.

The JOHN WICK franchise consists of some of my favorite action movies of all time. There is now a spinoff that takes place during PARABELLUM, called FROM THE WORLD OF JOHN WICK: BALLERINA. Ridiculous title, I know. This focuses on Eve Macarro (Ana de Armas), a ballerina/assassin with a tragic past, not unlike Black Widow. Taken in by Winston (Ian McShane) and given to the Director (Angelica Huston). I’m assuming you’ve watched the JOHN WICK movies, as these are known characters from them. Having been delayed, it was nice seeing the late Lance Reddick reprise his role of Charon one final time. Eve goes on a well-tread path of revenge to avenge her father, leading her to this leader of a new rogue faction/cult, the Chancellor (Gabriel Byrne). The hardest part about this movie was trying to not be overshadowed by John Wick’s other excursions. The beginning action scenes rely on quick camerawork to cover for subpar fighting, but it does get much better as the movie kicks into gear. The action sequences alone are worth watching this in the theater. Norman Reedus is great in this, but he’s underutilized. Some of the dialogue made me roll my eyes, making me think that they should’ve just used the John Wick mantra of “Actions speak louder than words”. I like how they acknowledge the fact that Eve is pretty small, so they utilize different techniques when fighting guys twice her size. I would’ve liked a little more lore, expanding the world, the antagonists, and the people Eve is with. I’m surprised I’m saying this, but this movie has too much John Wick. Give Eve more of a chance to fully blossom into a badass. I also hate that the marketing team had to literally put “John Wick” in the movie title, just so people would go see this. While it doesn’t reach the atmospheric heights of others in this franchise, BALLERINA is a great action movie with a plot you don’t have to care about too much. It is a sturdy enough bridge between JOHN WICK: PARABELLUM and JOHN WICK 4, making me hyped for more movies and spinoffs from this crazy action-packed “rules and consequences” world I love so much.

Não é terrível, mas na sexta parte o enredo parece completamente reciclado. O único destaque é o inexplicável abandono do protagonista. Com a nudez presente em quase todas as cenas, parece que o diretor se concentrou no valor de choque em vez de polir o roteiro.

O uso de 10 tomadas longas por Hitchcock é simplesmente de tirar o fôlego.

I didn’t grow up with the KARATE KID franchise. I saw them much later in life. I really enjoyed the first one. The others are serviceable enough. There is now another installment called KARATE KID: LEGENDS. This focuses on kung fu prodigy Li (Ben Wang), who leaves behind his instructor Han (Jackie Chan) and moves to New York with his mom (Ming-Na Wen) for her new job. There, Li meets his love interest Mia (Sadie Stanley) and his rival Conor (Aramis Knight). I mostly enjoyed this one. Ben brings the charisma, Sadie brings the chemistry, and Ming-Na keeps the story grounded. Now, this being a KARATE KID movie, they made the decision to pull in Daniel LaRusso himself back into this world, the original KARATE KID (Ralph Macchio). I’ve been enjoying seeing him on the COBRA KAI series, but in this movie, it just feels like nostalgia bait. I felt like they could’ve fleshed out the new characters more, instead of pushing them aside in the story. It was great seeing Jackie as always, but I don’t think Ralph did much to add to this. I was fully invested in the new characters and the new city, then they literally knocked the wind out of the story to have yet another fighting tournament that the protagonist had to fight in. Why did he have to fight? I honestly can’t remember. I wish Ming-Na had more to do in this, she’s great. Another great character is played by Joshua Jackson. It felt like they had two storylines and karate chopped them together. They could’ve kept going with the story from the first half and called it KUNG FU KID. I know that sounds blasphemous, but at least it would’ve changed the formula. The second half is the formula you know from previous movies. This is the directorial debut of Jonathan Entwhistle, who does do a pretty decent job. Li’s backstory is well done. This franchise knows that this formula still works for the most part. Overall, this movie plays it very safe, but it’s still very enjoyable, lighthearted, and wholesome. KARATE KID: LEGENDS isn’t going to change the world, but it’s going to put a smile on your face by the end.

Better than Oppenheimer.

Amazing movie from the same group that brought us Loving Vincent. The story is harsh but beautiful. But what you're going to want to watch this for is each frame being literally a painting. Like hand painted. Each one. It's beautiful and poignant. One of the best movies I've watched in recent memory.

Waste of time. Even with its hilarious/ridiculous premise, it still messes it up.