Reviews

Over two hours without a single dull moment—no cheesy CGI，just pure, rugged thrills like the first film. That scene where Tom Cruise clings to the side of a plane without a stunt double alone is a five-star moment.

At first, I thought the ending was just a clumsy attempt by the director to push a feminist agenda. But on second thought, there’s a deeper message: no matter how much you read or how much great music you listen to, you might still never truly understand what it’s like to live on the fringes and rebel against the norm.

After watching the first part, I actually wished I could be the lead. But after the second part, forget it—I just don’t want to be in her shoes anymore.

I should have never read Robert Anson Heinlein’s short story All You Zombies a few days ago. The Spierig Brothers did a decent job adapting it and stayed true to the source, but it felt like they underestimated the audience by laying down way too many obvious clues—killing the element of surprise. Thankfully, the original story is so incredible, easily one of the best ever, which still makes the movie a compelling watch.

Interstellar is the only sci-fi film that really resonated with me, but this one feels more like a modern Greek tragedy. The entire movie revolves around the concept of fate, as if we're all just characters in the script of destiny with our struggles seen from above. Like the line says, “The path you're on will take you to your destination”. It left me feeling melancholic and on the verge of tears. The kicker is that while it seems like the male protagonist’s making his own choices, did he ever really have a choice at all?

Godard has always been the most avant-garde and daring director. This film’s form recalls his earlier Breathless, but with a more modern twist. At its core, it’s a clash between the classical and the modern. Is language real? Which medium—words, sound, or images—is the most authentic? Through this film, he explores these questions and shares his thoughts on them.

The handheld 3D shots are hard to describe. It’s disorienting when two different images are shown in different perspectives at once. You find yourself alternating between closing your left and right eyes just to keep up with Jean-Luc Godard’s thinking—his mind is always one step ahead. And he’s still as rebellious as he was in his youth. Isn’t that enough?

This is a film told through sound. Amid the monotonous, low voices, a woman’s voice occasionally breaks through, only to fade away after the passion. In the end, both Lisa Hesselman and the Japanese doll possess female voices, symbolizing that happiness is fleeting, while loneliness is eternal.

While watching, I've to keep imagining the lead actor as George Clooney. Otherwise, I wouldn’t have been able to sit through it!

Without Hollywood-level special effects, it’s hard to see Gods of Egypt as anything more than a long, mediocre movie. The poorly structured plot, based on Egyptian mythology, makes the themes of love and revenge feel hollow, and the political struggle for the throne only dulls the otherwise stunning golden visuals.

The special effects flood the screen with dazzling gold, making it hard to keep up at times. Unfortunately, I’m not too familiar with Egyptian mythology, so I was a little lost. Brenton Thwaites, though, does show some potential.

As an adaptation of a play, Xavier Dolan successfully brought it to the screen and added layers of meaning. While there are occasional close-ups, the intense scenes between Tom and Francis, along with the final suspenseful atmosphere, are the real highlights. The attention to detail adds depth to the film.

To sum up this story: you want his kiss, but he wants your life.

The whole movie feels like a washed-up singer trying to keep a concert going—no dancing, just lip-syncing, and barely holding the mic. This series should definitely end here. Both the production and the actors seem exhausted. Watching it just feels draining.

The opening is really impressive—it has more of a Bourne series vibe than the typical “saving family members” action. Even though the twist at the end isn’t particularly clever, it still manages to be quite charming. Seeing Liam Neeson, in his 60s, still throwing himself into the action and facing the tragic fate of a kidnapped daughter and a killed wife really moved me. This film definitely deserves a positive review.

I loved the first fifty minutes—they were pure magic. But the following hour and a half felt too ordinary and conservative. Still, the gentle mix of sadness and tenderness in that opening part was incredibly moving. Rei Ayanami's tragic journey blends joy and pain in a way that ultimately highlights her beauty and resilience.

I was crushed after watching it! Why do we still have to go back to work in the end?! Maybe it’s time for us to grow up—people and the world won’t wait for us.

Charlize Theron’s image and onscreen presence are spot-on. The Western landscapes perfectly complement her character, creating a romantic and visually striking atmosphere. Some of the crude jokes push the boundaries of political correctness—Hollywood really is slipping—but as a popcorn comedy, it’s still enjoyable.

The humor is decent, but the plot is just too boring and disconnected. It feels like a string of the director’s personal, weird ideas (especially with all the absurd fantasy scenes—he must’ve had fun with those). Seth MacFarlane’s acting isn’t great, and Charlize Theron’s talent and beauty are wasted in this mediocre movie.

There’s nothing about it that feels awkward. The mockumentary style is done really well. In the unrecorded moments, the documentary maker becomes the subject, and the unexpected twists in the plot make it deeply immersive.