Reviews

Overall, the feel is similar to the first film. If the female lead not delivering the final blow was somewhat of a puzzling move in the first installment, then this one’s certain plot choices are downright ridiculous: the killer somehow strolls faster than the heroine can run, the psychiatrist inexplicably returns to the hospital, and the heroine doesn’t even scream for help until it’s far too late. In the first film, the killer took several gunshots and still escaped—something you could chalk up to poor aim or not hitting vital spots. But here, he’s practically a superhero, surviving a hail of bullets, including two headshots. I’m not sticking around for any more sequels—at this rate, the next one might as well be a sci-fi movie.

John Carpenter's unprecedented success with Halloween once made him believe he had the say for the entire series; he quickly lost the helm. Without the guidance of a true horror maestro, the sequel ends up mediocre. There are a few bright moments in the last thirty minutes, but for the most part, the director seems lost—Michael Myers comes off not as a cold-blooded killer but rather as somewhat dimwitted. The only saving grace is Carpenter's soundtrack; without that electronic score, the film might have been even dumber. Even though Carpenter claims he's cutting ties, he still gives his creation one last heartfelt nod.

Honestly, I found Red Rocket way more compelling than Anora. Sean Baker crafts such a raw and authentic small American town – it feels rough but intensely real, full of that messy everyday life. The people living there manage to be both shrewd and somehow blind at the same time.

You watch the main character, Mikey, constantly swinging between his humanity and his more primal, animalistic instincts. The plot itself is a masterclass in balance, walking a tightrope between gritty realism and outright absurdity.

But what I appreciated most? The complete lack of moral judgment. The film presents good and evil, beauty and ugliness, side-by-side, treating them with the same impartial lens. It's like Baker directed the whole thing using a set of scales, ensuring every element was perfectly weighted. Just a really well-balanced and striking piece of filmmaking.

Set in a very specific era, this melodramatic love triangle may be cliché, but it's beautifully shot, and the twists at the end keep you guessing. “Would you share me with her?” Only someone like Harry Styles could deliver that line with such boldness. Just imagine a female director leaving everything behind for him—what a maddeningly irresistible Casanova he is!

I glanced through a few negative reviews before watching, but I ended up pleasantly surprised! The story flows smoothly, the visuals are stunning, the set design is meticulous, and the soundtrack is truly moving. The way past and present weave together, and the intimate scenes are perfectly paced, these elements together really make this a lovely film to watch.

Sometimes, the truth of life is brutally plain. Even with great success, you might lose your dearest; having a comfortable life doesn’t guarantee you can face your past. But no matter how you tread this one-way road of life, the end is always the same: death is the future. Perhaps the only thing that gives life any worth are those rare moments of genuine soul connection.

First off, the opening snowfield scene is absolutely breathtaking. As I watched the rest of the film, I kept pondering a question I still can't fully grasp: Why do we seek a deep connection with another soul? We’re born alone and will die alone, yet we spend our lives resisting solitude. Is the meaning of our existence simply to prove to someone else that we once mattered?

You don’t even have to figure out what Béla Tarr is trying to say—just let yourself be overwhelmed by the intense atmosphere and feel it all. While watching, I felt like both a philosopher and a coachman watching this film, and sometimes even that desperate horse that was being spurred on through the freezing wind. Everything is steeped in despair, and that endless gray road seems to lead to nothing but a funeral.

If you can stomach this film, you can handle life itself!

It was my first time seeing a black mother in a film who just couldn’t accept her child’s gay identity. Watching her walk away in the end left me feeling quite sad. But that’s just the way reality is, isn’t it? Many of us might end up like new recruits who drop out halfway through training, unable to stick with it.

The film is very well-crafted, and I really admire the director’s courage and honesty. However, the overly masculine atmosphere in the first half is a bit off-putting. Even though the setting is from an era when nothing was spoken of, the protagonist still faces discrimination and humiliation. When the photos of the director and his mother appear at the end, it hits me hard with sadness. After enduring all the pain, hardship, rejection, and the ravages of war, he ends up making this movie solely to earn his mother’s approval—a love that feels incredibly burdensome. Having a parent like that, and making a film tribute to her? Come on.

There are plenty of great films about out-of-body experiences, but this one adds a warm touch by cleverly weaving in a third-person perspective and flashbacks along with a lovely musical score. Chloë Grace Moretz’s performance truly stands out and brings a refreshing spark to the screen.

Chloë Grace Moretz totally lacks charisma. The emotional arc is weak and uninteresting, and the plot lacks tension. Plus, the whole out-of-body experience twist feels pointless and clumsy. Even the family elements and flashbacks don’t manage to tug at my heartstrings.

It’s a bit like the LGBTQ-themed Ghost. Unfortunately, the person you love turns out to be a coward, which is truly heartbreaking.

While watching this film, I kept wondering: what kind of culture makes people question or even fear loving someone? And what drives a man to hurt other men just to prove he’s a “real man”? There are countless ways to be a man, but inflicting hurt on the man you love only shows weakness.

Even though the plot is a bit clichéd, it’s still very watchable. Plus, the Istanbul scenery is stunning. Sure, the first half drags a bit and the resolution feels a little too simple, but overall, it’s definitely worth your time.

The script isn’t as tight as the first one, but the part where the daughter saves her dad is fantastic! However, the final antagonist is way too weak—it kind of brings the whole thing down.

It comes off as overly contrived, cramming in every possible element, and ultimately, it fails to explain anything. Plus, the moment you see the title, you're already bracing for death—and that deliberately significant way of dying feels too forced.

The film is pretty bland. I don’t get why they forced in a 9/11 subplot—it feels way too abrupt, like they were trying to avoid a typical Hollywood-style happy ending at any cost.

I used to think this was just another clichéd chick flick, but it breaks the mold of traditional love stories, revealing how fragile love can be in the real world. Andy Samberg and Rashida Jones deliver impressive performances that shatter preconceptions, sparking real chemistry on screen. Even though the latter half drags a bit, it’s still a delightful surprise overall.