Reviews

"Daredevil: Born Again" (2025)
The Price of Rising Again
Some comebacks aren’t celebrated. They’re survived.
And Daredevil: Born Again doesn’t begin with fireworks—it begins with a loss that tears the soul in two.

From the very first episode, the series makes it clear: this is not just another superhero story. It’s an open funeral, a rebirth that hurts, that scrapes, that draws tears with its bare hands.
Foggy Nelson is dead.
And with him, something irreplaceable dies in Matt Murdock.

🖤 A Death That Hurts Like a Thousand Bullets
The rooftop scene is a poem of tragedy.
Matt, standing there, blood still fresh on his knuckles, soul shattered. In front of him, the void. All around, the echo of a laugh that will never return.

Foggy wasn’t just a friend. He was his brother. His anchor. His home. And when he falls, the last place where Matt could just be a man falls with him.
Not a vigilante.
Not a lawyer.
Just Matt.

Charlie Cox delivers a raw, painfully human performance. His crying isn’t loud. It’s the tremble in his lips, the shallow breath. It’s a silence that screams louder than any yell.

🔥 The Man Without Fear... and Without Rest
But even with a broken heart, Matt stands back up. Because if he doesn’t fight—who will?

Born Again isn’t just about Daredevil’s return. It’s about rebuilding a soul after losing everything. Matt isn’t chasing revenge. He’s chasing meaning.
And that road is paved with pain, violence, betrayal... and love.

💔 Karen Page: The Love That Won’t Die, Even When It Hurts
Despite mistakes, unspoken words, and lost time, Karen is still there, in his mind, in his memories, in the way he loves.

Matt tries to move on. There are other women. Other glances. But none of them are her.
Karen is both his burden and his salvation.
She is his light in the night.
And even if the world pulls them apart, there’s an invisible thread tying them together. Because true love doesn’t vanish... it just hides behind the pain.

⚔️ A Hero Made of Flesh and Bone
This new phase of Daredevil isn’t easy to watch. It’s dark, yes. Brutal. But also profoundly human.

Because in every punch he takes, every wound that bleeds, Matt Murdock reminds us that real power isn’t in never falling, but in choosing to rise when there’s nothing left.

He doesn’t wear a cape. He doesn’t flash a perfect smile. He has faith, scars, and a promise that keeps him going:
Never give up. Never stop loving. Never stop fighting.

🩸 Conclusion: Reborn Through Ruin
Daredevil: Born Again isn’t just a show you watch. It’s a story you feel in your chest.
It’s the tale of a man who, even when everything is against him, keeps loving.
Keeps believing.
Keeps fighting.

Because even in the deepest darkness…
the Devil of Hell’s Kitchen still has a heart.

Since 2013’s FRUITVALE STATION, director Ryan Coogler has made hit after hit. He’s also made CREED and both BLACK PANTHER movies. SINNERS is his latest, and his best one yet. Still working with actor Michael B. Jordan, this is the story of Smoke and Stack (both played by Jordan), twins who come back home to Mississippi from making it big in Chicago. Side note: It always blows my mind how they’re able to film one actor interacting with himself as twins. It’s just wild. It’s 1932, not the most ideal time for Black people in America. Smoke is the more grounded of the two, while Stack is more of a wildcard. Both have love interests who they reconnect with, Mary (Hailee Steinfeld) and Annie (Wunmi Mosaku). They come back to town to open up a juke joint, a place to be themselves and feel free from the oppressive society they’re engulfed in. An amazing ensemble cast is gathered, including actor Miles Caton. He is the heart and soul of this film. I can’t believe this is his first acting gig! Dude has a bright future ahead of him. There’s an aspect to this movie that I don’t want to tell you about, even though the second trailer already has (don’t watch it!). I’m going to expertly dance around it from here on out. If I do get close to saying something, the codeword is “pineapple”. So, this movie has “pineapples” in it. The marketing team have focused on this aspect because it simply gets people in the theater seats. But little do they know, this movie is so much more than just “pineapples”. The smart script has so many different layers of commentary that come together in a cohesive way. The first half of the film is a slow burn, but it successfully establishes a sense of community and genuine friendships that make the world feel lived in. I sufficiently cared about the characters by the time things got crazy. I can’t go on until I talk about the music. This has a banger of a score from composer Ludwig Göransson, blending genres and different cultures, transcending space and time. This movie has everything: It’s a period piece, thriller, horror, crime drama, comedy, and even some surprisingly sexy scenes. This is the kind of big swing that famous directors should be making. It’s had the biggest box office weekend for an original movie since 2017’s GET OUT. Hollywood should take notes. Great visuals, I highly recommend a visit to your local theater! Oh, when the movie’s over, don’t move! There’s a bunch more during and after the credits! Go support original movies so Hollywood can make more of them. Remember, if you keep dancing with the Devil, one day he’s gonna follow you home.

In old age, even dull classrooms and frustrating family moments are colored with the sweetness of nostalgia. Fellini plays both a detached narrator and a participant, reliving childhood through the eyes of a boy. Dreams and fantasies intertwine, shaping early notions of love and desire. With his mother’s death and "Malèna's" wedding serving as turning points, the journey towards adulthood takes shape. The town itself becomes a living tapestry, and as the film draws to a close, it feels like a poignant farewell to childhood.

Not able to see

Almost all of us can only imagine the horrors of war. Last year, director Alex Garland showed us war from the perspective of journalists in CIVIL WAR, which was great. Now, he is back again, this time codirecting and cowriting with Iraq war veteran Ray Mendoza, who was his military supervisor last year. WARFARE features a platoon of soldiers in an incident of war in Iraq in 2006, namely, Mendoza’s own platoon. They have extremely talented actors including D’Pharaoh Woon-A-Tai as Ray, Will Poulter as Erik, Joseph Quinn as Sam, Charles Melton as Jake, Cosmo Jarvis as Elliot, and Michael Gandolfini as McDonald. All give top-tier performances. This is definitely one of those A24 movies that might not do well in the box office but is a one-of-a-kind experience. This is the most intense anxiety-inducing movie I’ve ever seen. It’s visceral, dirty, disorientating, and just feels real. Having no music, it relies on some of the best sound design I’ve ever heard. The gunfire is loud and everywhere. The explosions rock you to the core. This and the smooth handheld camera work makes for complete immersion. My boots were on the ground. This was made to be seen in the theaters. The filmmakers aren’t interested in the typical Hollywood format. It has no character development, no background as to what these soldiers are doing there. You get as much context as they do, relying on their radio communications and what’s going on around them. It expects you to pick up on details like the military terminologies and equipment they use. It goes through each character’s reactions as it unfolds, whether it’s becoming shellshocked, being in unimaginable pain, or just being reckless. You can be the most prepared person in the world, you still won’t know how you’ll react in a warzone. The first half has a slow build, but it’s just establishing where you are and who’ll you’re with. This is the kind of movie A24 should be supporting. No other studio would’ve touched this one. It doesn’t shy away from anything. From a narrative perspective, it could’ve been better, but I’m going to forgive them this time because this is literally based on their recollection of what happened. Garland had said he stepped back a little directorially to give Mendoza the chance to tell his story, while Mendoza successfully resisted the temptation to make himself the hero. No politics, just survival. I understand this could be triggering for some people, but I still would implore you to go support this unique experience on a big screen with big sound. Remember, there are no winners in WARFARE.

Es una película muy interesante que habla del rompimiento de los sellos y de los últimos tiempos, es buena y confronta bastante.

Imo this film sometimes sins of falling more into the cheesy and conventional, forgetting in part to explore the social conflict they presented.

A definitive blueprint for music festival documentaries, "Woodstock" doesn’t just chronicle the performances; it also captures the audience, the logistics, the local villagers, the police, and the conflicting interests at play. It avoids sensationalism and remains strikingly objective. While about 60% of the film is devoted to the music itself, the editing reflects an intuitive understanding of the subject, making it a standout achievement.

Using the decline of a family as its narrative core, the film serves as a piercing critique of postwar Japan. As the patriarchal system crumbles, Nagisa Oshima reconstructs a rebellion against tradition, linking a sequence of rituals—memorials, weddings, funerals—beneath which lies a suppressed, forbidden desire and a love steeped in despair.

A 1971 film shot in black and white, it stands apart from the prevailing trends of the New Hollywood movement. The film’s aesthetic style and editing techniques often feel like a throwback to the silent era—for instance, in a confrontation scene, the abrupt jump from medium to close-up, cutting rapidly between the two characters, creates a jarring tension reminiscent of expressionist cinema.

Altman’s audio choices and visual style work together very well. From beginning to end, he constructs an atmosphere of alienation through layered sound design, distinct lighting, fluid long takes, and meticulous editing, emphasizing the tension between individual and environment. The early tracking shots, seamlessly woven together, blur the lines of McCabe’s arrival, capturing the character’s disoriented presence amid the misty, rain-drenched wilderness.

Every spark of chemistry in what is arguably John Cassavetes’ most riotous and romantic film stems from the odd yet magnetic pairing of two neurotic opposites. A reckless, impulsive man and a fiercely disillusioned woman—brought to life by two extraordinary actors—collide in a way that is both chaotic and electrifying.

The pacing isn’t as taut as in "The Red Circle" or "The Army of Shadows," but it is still serviceable. The film weaves together two narrative threads, yet given the opening statement, Alain Delon's character should be the central focus. However, the criminals receive an unusual amount of screen time, making the primary focus of the story feel muddled. That said, the overall storyline remains clear.

Rohmer crafts his film with minimalist character developments and a simple plot, yet his meticulous attention to dialogue lays bare the essence of his characters. The protagonist never explicitly states, "I'm conflicted." Instead, as he gently runs his hand along Chloé's bare back and murmurs, "I love my wife," we understand his inner turmoil.

Godard successfully shatters the fourth wall, using Brechtian distancing techniques to narrate multiple stories, including police brutality, personal relationships, factory strikes, and supermarket riots. The tracking shot in the supermarket is visually stunning, though I personally prefer the cross-sectional tracking shot of the factory, with its intricate spatial design and impeccable production design.

I’d advise against reading Chandler’s novel beforehand, as the film significantly alters key aspects, including character dynamics and the ending. As a Robert Altman work, it’s far from disappointing, but by classic noir standards, it lacks depth. The novel’s intricate relationships and brilliant set pieces are largely absent, making it feel less layered than its source material.

The house serves as a microcosm of society, and the invasion signals the gradual erosion of traditional stability. Death becomes not just an end but also a symbolic demise of hope. The shot-reverse shot sequences and camera movements are skillfully executed, as is the composition. The film’s set design exudes a striking aesthetic beauty.

Shot in 1974, around the time of Alice Doesn’t Live Here Anymore, Scorsese brought his crew into his parents’ home, where Charles and Catherine Scorsese vividly recounted their journey from Italy to America. Italians are natural storytellers, and the film is a testament to that—simple, charming, and above all, real. There’s a warmth in these moments that makes it unforgettable.

Three years after his last special, Burr is still as brash as ever, but his material feels noticeably tamer. As the title Drop Dead Years suggests, he seems to be grappling with mortality, reflecting on the loss of close friends, his future at 56, and the state of his marriage. There are moments where his struggle with alcohol, temper, and self-discipline subtly seeps into the set, making for a more introspective performance than his usual routine.

A low-budget production with a solid premise and a serviceable narrative, but the limited funding is painfully evident. The script and direction lack polish, making the film feel more like a slow-paced, documentary-style retelling. The male lead's illogical actions further test the audience’s patience. That said, those who stick around until the end will at least walk away with a full understanding of the plot.