Reviews

It obviously suffered from budget constraints, and considering the script it had to work with, the final product is surprisingly watchable. The plot is riddled with clichés and inconsistencies, but they can be overlooked. One can’t help but wonder—how do lawless mercenaries even spend their ransom money? How does it circulate?

The film’s dialogue is noticeably clunky. For instance, a voice-activated light switch requires a character to shout "Clap on!" before actually clapping, as if the audience wouldn’t grasp the connection otherwise. Similarly, when the protagonist finds a package in the backseat, she reads its contents aloud in full—an obvious exposition dump that serves the audience rather than the character’s natural behavior.

The film delves into deep-sea rescue, using survival as a lens to examine human fragility and resilience in extreme conditions. The countdown-driven narrative structure effectively heightens tension, with the looming timer serving as a constant reminder of the protagonists’ race against time. From the moment the diving mission takes a disastrous turn, the film sustains a gripping sense of urgency.

The film is highly whimsical and creative, featuring a human-dog hybrid, talking animals, and a slew of quirky inventions that craft a delightfully absurd world. It caters to children’s boundless creativity while also incorporating humor aimed at adults, with playful nods to classic films and pop culture references. This dual-layered comedy ensures entertainment for all ages.

Visually, the film meticulously recreates ancient Judea, from the serene landscapes of the Sea of Galilee to the grandeur of Jerusalem’s temples. The cinematography and composition are artful, utilizing natural lighting and close-ups to capture the depth of human emotion. The costumes and props align well with the historical setting, enhancing authenticity. The sound design also excels, with soft melodies enriching quiet moments and dramatic orchestration heightening intense scenes, while ambient soundscapes immerse viewers further.

The film employs a multi-threaded narrative, weaving together dinner party conversations, George’s investigation, and the tangled relationships between various characters. This intricate storytelling structure heightens the film’s complexity and intrigue, keeping viewers engaged as they piece together the full picture.

Director Burke and Olsen reuse the hyper-stylized violence from the "Creepshow" series, centering the film around a protagonist with congenital insensitivity to pain. In Nathan’s kitchen counterattack, the film employs rapid 0.5-second cuts to showcase him wielding everyday household items—scalding frying pans, rusted knives, and flaming olive oil—to dispatch his attackers. This approach to weaponizing the mundane recalls Quentin Tarantino’s "Pulp Fiction," yet it carries a more existential undertone: when pain ceases to exist, violence becomes nothing more than a mechanical reaction.

The plot lacks logic, with too many characters forced into contrived deaths, making it feel like a low-intelligence imitation of "Final Destination." The storyline is baffling, yet the creativity in the death sequences is undeniable. Strangely, the protagonist shows little to no reaction when witnessing others die, which feels oddly detached.

Muy buena película, te muestra la otra cara del cónclave y te das cuenta que todo es política, algo que siempre se ha sabido, pero como en todo hay ambiciones de grupos que no quieren soltar el poder por nada del mundo

When I tell you about a movie where Jason Statham takes on human traffickers, you know exactly what you’re getting yourself into. The movie is A WORKING MAN, reuniting Statham and director David Ayers just one year after working together on THE BEEKEEPER, which I loved. Based on the book Levon’s Trade by Chuck Dixon, this tells the simple story of Levon Cade (Jason Statham), a former Royal Marine Commando who’s now a foreman of a construction company. He works for Joe Garcia (Michael Peña) and his wife Carla (Noemi Gonzalez) and daughter Jenny (Arianna Rivas). Jenny gets……taken……and you know the rest. This movie tries to have a JOHN WICK approach to world-building, where there’s an underground network of baddies pulling the strings, but they cram way too many of them in. The further up the bad guy chain we go, the more cartoony they get. One guy literally looked like the Penguin with his top hat and sculpted cane. When the movie was leaning in on the silly fun pow bang boom that Statham is now known for, I was having lots of fun. Statham has this thing down to a science by now, but this one just feels more repetitive and generic than usual. For me, the sillier and more outlandish the better. Don’t take yourself too seriously. This is why I loved THE BEEKEEPER. This action movie might not be unique enough for me these days, but I still had myself a good time and I think you will too if you turn your brain off. There are more books that A WORKING MAN is based on, so I wouldn’t be surprised if we see Statham’s Levon Cade again.

When you think about unicorns, as one does, they’re these white, possibly fluffy, majestic creatures that give us a feeling that everything will be okay. The new A24 movie DEATH OF A UNICORN takes that and twists it into a fun, over-the-top but clever satire. Elliot (Paul Rudd) is a widowed father of Ridley (Jenna Ortega). They drive down to Elliot’s boss’ house Odell, who is dying and needs a proxy to run his company after he’s gone. Other characters include Odell’s wife Belinda (Téa Leoni), their spoiled son Shephard (Will Poulter), and their butler Griff (Anthony Carrigan). On the drive up, Elliot and Ridley hit what looks like a small horse with a girthsome protrusion coming out of its head. Disturbed, they put it in the trunk and carry on. When the others find out, well, they “horse around and find out”. I really enjoyed most of this movie. The amazing cast ensemble knows what kind of movie this is, and has fun with it, especially Poulter and Carrigan. I guess you can think of this as a more humorous JURASSIC PARK. Greedy narcissistic people playing around with something they don’t understand, you know the deal. It gets more violent as the movie goes on. I enjoyed the great but unlikeable characters, each having their moments to shine. The moments of CGI weren’t the greatest, but on a budget of only $15 million, I can’t blame them. My only problem with this movie is how they end up showing us a few different paths the story could go, but it doesn’t really go down any of them. They’re all good ideas, but it would’ve been better if it stuck to one and delved deeper. Other than that, the humor is funny and the violence is violent. Whether DEATH OF A UNICORN works for you or not, original movies are always a welcome and refreshing sight.

Director Osgood Perkins’ personal history—having lost his mother in the 9/11 attacks—likely influenced the film’s underlying themes. The toy monkey becomes a symbol of life's unpredictable tragedies, a force that arbitrarily determines who lives and dies, much like real-world catastrophes. This deeply personal subtext adds emotional weight to the horror elements, prompting viewers to reflect on mortality even as they experience the film’s eerie tension.

That said, this is peak action cinema and Michael Bay’s best work. I’ve lost count of how many times I’ve rewatched it, yet it never gets old. The pacing, suspense, character dynamics, and sheer entertainment value are all top-tier. The score is iconic—its soaring interludes are genuinely moving.

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This year, a little-known movie called NICKEL BOYS landed in the Best Picture category, and I need to talk about it. It had an extremely limited theatrical release last year, technically making it a box office failure. Based on the groundbreaking novel written by Colson Whitehead, it tells the story of Elwood (Ethan Herrise), a young black man with a promising future. When he makes one wrong decision, he ends up at Nickel Academy, an abusive reformation school. There he meets Turner (Brandon Wilson). They become fast friends in this hell on Earth. The movie uses archival footage and jumps forward and back in time, expertly weaving through the narrative and showing what these boys are feeling. As with last year’s ZONE OF INTEREST, this movie uses a completely unique filmmaking technique to tell a story based on a dark moment of history. While that movie used sound to immerse the audience, NICKEL BOYS uses a first-person point-of-view, literally putting us in these boys’ shoes. Taking on the perspective of somebody else is always hard, and this movie doesn’t shy away from the violence. Quite a few scenes are beautiful, with an underlying haunting feeling to them. Scenes of openness, yet claustrophobic. The first-person point of view is a good way of creating empathy, but it’s also possible to get motion sickness from it. I love it when filmmakers take big swings. Director and cowriter RaMell Ross has created an unconventional but gripping experience. Shout out to cinematographer Jomo Fray for having some one-of-a-kind shots. If you’re interested, the actual school this is based on is the Dozier School for Boys. NICKEL BOYS has a grim story from a horrible moment of history, but it’s also a beautifully hopeful film about finding meaningful connection in this world. It’s free on Amazon Prime now, go see it.

By the fourth film, it’s obvious there’s little fresh material left to mine. The jokes feel a bit overused, leading to some franchise fatigue. That said, the "Lethal Weapon" series remains one of the most successful action-comedy franchises, and this entry certainly ups the ante in terms of action. The finale’s feel-good resolution is a fitting conclusion.

The entire film was shot with natural light and features open compositions, lending it a subtle, almost ethereal quality. Malick’s focus is clearly on the relationship between war and humanity, war and the world, and war and nature. His preference for shooting with natural light and disregarding conventional continuity in lighting is a stylistic choice that hints at his deeper vision—only through harmony with nature can humanity avoid self-destruction. The film suggests that only by reconnecting with nature can we transcend the cycle of violence and, ultimately, bridge the divide between man and the divine.

The CGI is impressively rendered, enhancing both realism and emotional depth. It's rich in detail, from the small-town streets of Williams’ youth to the grandeur of his concert stages, evoking a strong sense of time and place. Music, naturally, is a highlight, as his iconic songs are seamlessly woven into the narrative.