Reviews

I’m a huge fan of American teen romances, but I have to say—this film is terrible. The key to a good teen romance isn’t about having a great story; even the worst plot can work if the lead couple is likable. But both leads are so annoying here, especially the female lead!
Side note: The male lead’s face reminds me of a botched reconstructive surgery, and the female lead reminds me way too much of Kristen Stewart.

Even though I’m a sucker for Mary Sue stories, this is just too much! Flirting, indulging in pleasure, living a carefree life—and somehow still getting into Harvard? American high schoolers are on another level.

Shot entirely on three iPhones, this LGBT indie film is brimming with vitality thanks to its innovative production style. Every character on screen feels incredibly vivid and real. Through this wild, hilarious, and entertaining drama, the director reminds us that these marginalized figures are just ordinary people, experiencing the full spectrum of joy and sorrow that we all do.

Surprisingly good! I’m really curious how the director came to understand this community so well. Typically, transgender sex workers are portrayed in a way to elicit sympathy, but not here —they’re brash, unapologetically messy, and full of drama, yet totally lovable.

While the combat scenes aren’t particularly long or intense, the first-person perspective does add a sense of realism. Strangely, the machine guns are set up in completely unprotected positions, and the enemy rarely lands a shot. As a military enthusiast, I couldn’t help but notice the countless ridiculous flaws riddling the camp’s location and defenses. It really makes you marvel at the strength of U.S. soldiers compared to the Taliban’s underwhelming performance.

While the poster might suggest a low-budget flop, in reality, this film ranks among the best modern war movies since The Hurt Locker. It blends the reflective take on war found in Jarhead with the thrilling action of American Sniper. Despite a very tight budget, the director achieved what many blockbusters can’t, delivering several long-take battle scenes that really stick with you.

Even though I was left with a melancholic feeling, I have to say this movie is an absolute mess. The male lead spends the entire film with an over-the-top expression, and every character’s emotional changes feel completely unmotivated, with mood swings as erratic as the weather. Maybe this is supposed to be the relationship drama of upper-class elites? I couldn’t quite follow —maybe that’s just because I’m single.

This overly melodramatic romance may seem cliché at first, but it poses a compelling question: Should we value a lasting friendship or pursue a love that might eventually fade? The film handles the love triangle with extreme ambiguity, capturing the pains and the tough choices that come with maturity. The bittersweet emotions are hard to put into words. And the passionate yet pretentious love of youth is something you no longer experience once you grow up.

I really feel heartbroken for Xavier Dolan. He clearly knows how to make a great film—the visuals are intimate, delicate, and deeply moving—but he seems endlessly trapped in exploring mother-son relationships and queer identity, which completely disconnects from the rest of the story, the setting, and the characters, in turn leaving me unsatisfied.

By the end of the film, all the secrets are revealed: the mother and son reconcile, the industry has its moment of introspection, and the new boyfriend is ridiculously handsome. After immersing in Xavier Dolan’s dazzling fantasy, it’s time to return to the misery of our own lives.

Set in a fascinating world, the film unexpectedly tells a story of teenage romance—completely different from what the trailer promised. The pacing feels off, and the plot is only moderately engaging. Hopefully, the sequel will rise above this bland mediocrity.

The premise was incredibly captivating—the first ten minutes had me hooked. But after about half an hour, the story became so awkward that I could only give it two stars overall. That said, the lead actor later on is both charming and reliable; based on his performance alone, he’d easily earn 10 stars!

This movie follows a similar pattern to A Single Man, telling the story of someone desperately longing for death and ultimately meeting their end. Unfortunately, the execution feels overly contrived. Lacking the depth of an Ingmar Bergman film, it comes across as overly commercial—even the color palette feels as predictable as IKEA

The storyline is pretty formulaic. Ove is like Carl from Up, reminiscing about his once-perfect friends while gradually softening his stubbornness through his interactions with neighbors. The understated music breathes life into this ordinary yet extraordinary character, and the final scene even gives off some Titanic vibes.

This Michael Bay film features three key elements: a lack of big-name stars, a toned-down approach to heroism, and the inevitable involvement of political factors. Based on real events, it feels like he was aiming for a Black Hawk Down vibe. Among his recent string of disappointing films, this one is a breath of fresh air. Unfortunately, it’s too long, and I couldn’t stand watching a bunch of people play CS-style battles from dusk till dawn.

This film stands out as the best military-themed movie since Black Hawk Down—definitely outshining titles like Lone Survivor and Zero Dark Thirty.

Yet again, a film where style outweighs substance—it barely gets going before it ends. While the use of a single take reduces editing, it doesn’t offer many advantages, except for making the film feel unnecessarily long and tedious. That said, it does capture the subtle shifts in light and color over 140 minutes from night to dawn, along with twists in the characters’ fates.

This film is shot in a 140-minute single take—not Béla Tarr's kind of long-shot, but rather showcasing the bold, experimental spirit of German filmmakers. The long take synchronizes on-screen time with real time, relying solely on the actors’ stellar performances. Unfortunately, in the pursuit of that single shot, the characters’ actions come off as forced, and the clumsy burglars seem to act illogically.

After watching the film, I just thought that coincidence was God’s way of remaining anonymous. Every person should ask themselves: is this a friendly universe? Your answer will shape your life, as we often manifest our desires.

The film tells the story of a woman with three children and drowning in debt, with her house falling apart—yet she’s being pursued by two successful men. Seriously? It seems the kind of plot that only happens in a movie.