Reviews

This is another action-comedy in the "troublesome duo" style influenced by Midnight Run. Unfortunately, the first half is pretty tedious and lacks tension, with most of the humor relying on clunky dialogue. The pace picks up significantly in the second half, and the finale really lifts the overall quality. Still, taken as a whole, it isn’t particularly funny.

Even when you set aside the classic duo, goofy gags, dark humor, action scenes, and conventional plot, "Central Intelligence" still manages to surprise you. On the surface, it’s light-hearted and funny, yet it's genuinely heartwarming—a rare treat in this genre. Don’t miss it!

The lead actor delivers a solid performance, especially in the first half, but the latter part of the film falters a bit. The biggest takeaway, however, is an introduction to the colorful world of Mexican wrestling, Lucha Libre. Its dazzling costumes and show-stopping moves leave a great impression.

I'm giving an extra star for the lead’s undeniable charm. This is a neat, well-crafted sports biopic. While Mexican wrestling isn’t exactly mainstream—and Saúl Cassandro is an outlier within it—the subject matter is compelling. The film delicately captures the bond between the protagonist and his mother, with standout details that highlight his struggle with identity. The ending is a bit predictable but not totally cliché. Fun fact: the director originally planned for a documentary, but after meeting Saúl Cassandro, he decided to turn it into a narrative film. Tragically, Saúl Cassandro suffered a stroke soon after filming wrapped, nearly robbing him of his ability to talk.

The movie spends two hours showing us that humans and aliens can truly care for each other and coexist in harmony.

An alien “soul” from another world comes to Earth and takes over human bodies, erasing our personalities and emotions. The premise is captivating, but the actual story is pretty conventional.

Years from now, if alien archaeologists ever try to figure out why humans vanished, this film could serve as their case study. When it comes to riots, the French sure know what they’re doing. The film vividly depicts the decline and turmoil of European society, with its bleak ending where everything burns down in despair and the puppet master never shows up.

It boasts top-notch audiovisual design and seamless long takes, but those are just the frosting on the cake. At its core, the film is a product of extreme political correctness and emotionalism.

This film can be compared to a piece like “Melancholia.” The scenes where the professor plays for Rhoda Williams and the moment she opens up to him are absolutely stellar. And Brit Marling, as the lead, is so stunning—she doesn’t have to say a word; her presence alone tells an entire story.

The main issue with this film is that it had a theme which could have been deeply explored, yet it fails to really move the audience. It also doesn't do a great job of delving into the inner worlds of its characters.

Many critics aren’t fond of the ending, and that’s totally understandable—we all want good to be rewarded and evil to be punished, with justice prevailing. But in real life, things rarely turn out that way.

Some see it as a sarcastic, anti-religious film, but to me it’s a reflection on the meaning of life and a bold display of the eternal struggle between good and evil—though its ending does break from the “good always wins” norm.

After watching this movie, all I can think is: here’s a woman who can’t bring herself to shoot a deer—and yet, in the end, she ends up turning her gun on the man she loves.

This film borrows elements from horror and thrillers to tell a story loaded with tension, using a riot as its framework and weaving in multiple myth interpretations that add real depth and intrigue to the plot.

It features a huge ensemble of extras, vibrant colors, and is highly emotional, but the story itself is rather thin. In a stage production, the puppet horse had endless room to come alive as a character. But in the movie, the horse is just an animal with limited movements and expressions. Who wants to spend two hours watching horse training?

Ten stars, highly recommended! It’s definitely one of the best films of the year in my opinion, though it’s slightly too polished. But that’s not necessarily a bad thing—remember how "The King’s Speech" had that same flair? It’s cinematography and soundtrack are absolutely breathtaking, and watching it on a small screen would be a huge loss! That sunset finale even reminds me of "Gone with the Wind."

After watching it, I felt that everyone who mentally cheats has the imagery of a lighthouse waiting in their hearts.

The beginning of love feels like a wild mix of pulsating music, dazzling lights, blurred smiles, and subtle touches. One minute, you're in a crazy nightclub—or maybe an amusement park—riding high on pure joy. Then, suddenly, time stops, the music fades, and the lights come on, revealing just how foolish and awkward that frenzy really was. But if you can't handle sitting quietly together afterward, you might never truly understand what love feels like when you're sober.

The film uses vibrant colors and a gentle approach to portray the persistence and collapse of friendship under temptation. Perhaps this is one of Xavier Dolan's works from a period of creative stagnation? It doesn’t feel as natural as Laurence Anyways—the grandiose imagery comes off as overdone, and the inserted songs feel a bit out of place. In the end, that blonde guy seems to love only himself, basking in others' admiration. It all just feels like self-indulgence.

I love the director’s honesty. He tells us, “I’m a young director—I’m not pretending to be deep or artsy. I’m just me, and I make movies for young people.” Even though there are plenty of nods to his influences, nothing feels forced. This genuine approach makes you believe that this young guy has a bright future ahead!