Reviews

A surprisingly great movie. Put Sebastian Stan on the map, for me. It's kind of confusing and more than a little weird, but its creative and unique. I would highly recommend this for a kind of off-the-wall drama/dark comedy.

A great coming-of-age movie. Saoirsie is a revelation. And the story is so true and heartfelt. Greta Gerwig tells an amazing and relatable story. Lucas Hedges and Chalamet are both great. Definitely a fun, cool movie that you can enjoy with the whole family, I think,

Karate Kid: Legends opens with promise—exploring grief, cultural displacement, and legacy—but quickly devolves into a sanitized, algorithm-friendly spectacle. What begins as a story rooted in discipline and identity ends up repackaged through Sony’s IP pipeline, relying on TikTok-style edits, shallow character arcs, and brand-safe moralism. Despite moments of sincerity, especially from Jackie Chan, the film trades myth for marketing and reverence for rehearsal. It’s not a reboot—it’s a rehearsal of a memory.

Goated. I did not get it on my first watch, in fact I hated it. But on the second watch, amazing. The representation of anger in this is one of the best. As well as the obtaining of goals only to lose your purpose because of your achievement. Spectacular. "You never got me down, Ray. You never got me down."

Not as good as I wanted it to be. Disappointed me. Maybe because I watched it on a plane. I don't know. There was a lot of hype about it, but I thought it was pretty mid.

I can't say exactly why, but this was my favourite of the trilogy. I think I liked the VHS vibe, the LA setting. Even if the ending isn't my favourite, it's still a really fun movie. I loved the inclusion of the Psycho set.

Ok, not the best movie. BUT it's worth watching for Val Kilmer's performance. Truly one of the best of this decade. Just ignore basically all of Kurt Russell's story line, especially the love story (yikes). But Val as Doc Holliday is 10/10. And there's a fun cameo from Billy Bob Thornton

A brutal watch, but I respect the commitment of using the real language of the time. Obviously, super religious. But it also has powerful visual (sometimes too powerful... that flagellating scene; had to look away). And by focusing on this little period of Jesus's life, the filmmaker is able to extrapolate so much of his philosophy and teachings. Despite it's religious story, this movie is still must-see cinema.

The best fantasy movie ever.

Scorsese still knows how to do it. An important movie with an important story. I wish Lily Gladstone had more scenes where she wasn't sick, but I guess that's just the character. This old master still has it. Really remarkable.

A little bit aged out, I think. If you like the occult and weird ceremonies, then check this out. But Anger has better works.

Awesome. Influential. Provocative. The music is amazing. The symbolism is poignant. The second half gets a little hard to watch, as it gets deeper into shame kinks and anti-Nazism, but it's still an important watch. I am also a sucker for anything to do with preludes. And this movie is mainly preludes.

Totally bizarre but also awesome. Works heavily in symbolism. Crazy to see these people dressed up as these ancient Egyptian deities in the location where these figures were formed.

This is one of the most effective bottle horrors I've ever seen. Limited cast, limited locations, just pure cinematic storytelling. The sound design should be getting so much more love than it is as well. Stellar performances all around.

This movie feels like if you took Talk To Me and Hereditary and mashed them together, but it also manages to feel totally unique. I have to say that I still prefer Talk To Me as a whole, but they are aiming at totally different things. Bring Her Back is bleak, horrifying, and has no desire to "entertain" at all. It's almost too effective to watch, so unsettling is what's happening on screen

Unfortunately, the plot is overloaded with convoluted subplots and alliances that are poorly explained, making the film feel bloated and confusing. Character motivations often lack logic, and sudden shifts in behavior go unearned. While the cast gives it their all, several roles are underwritten and serve only to propel the plot rather than enrich it.

The film’s humor is as biting as it is absurd. In this surreal world, political satire meets dark comedy with precision. The constant squabbling and theatrical behavior of the leaders—especially the French President philosophizing in crisis and the Italian Prime Minister’s flamboyant antics—highlight the emptiness of modern diplomacy. These comedic interludes don’t just offer relief but deepen the film’s satirical edge.

The film attempts to explore patriarchy within the domestic space—a familiar theme that remains relevant in East and Southeast Asia. However, pairing it with a zombie apocalypse setting feels mismatched. The central conflict stems from internal family tensions rather than any external threat, making the presence of zombies feel unnecessary and out of place.

At first, it feels like a heartfelt drama about a struggling father earning his daughter’s love. But midway, it turns into a comedy, and by the end, it leans into suspense. Overall, it’s a fantastic ride—rich in detail, with a tightly written script that rewards close attention.

If the novel is as dull as this adaptation, then it’s no surprise the movie feels like a generic product of streaming-era mediocrity. Despite a polished look, it lacks substance. The only redeeming element is the stunning Mediterranean scenery of Greece, which offers fleeting visual treats in an otherwise forgettable film.

This is meant to be a revenge thriller, but the storytelling is chaotic and incoherent. Dim lighting, constant perspective changes, and a plot that refuses to clarify itself quickly wear thin. I'd give it a 2 out of 5—one of those points is for Margot Robbie's committed performance.