Reviews

Atropia is the kind of satire that feels like it crawled out of a Pentagon Craigslist listing. It drops you into a village simulation built to train soldiers on “culture,” “de escalation,” and the choreography of domination, except the movie keeps showing the wiring underneath: the actors hustling, the soldiers rehearsing, the whole enterprise humming with procedural calm that makes the absurdity land as truth.

It is hilarious, the role play theater bits are bonkers, idiotic, razor sharp, and then suddenly sobering because this fake place is modeled on real ones.

for a fun double feature, watch Atropia first, then Warfare

Arco feels like philosophy smuggled inside a Saturday morning cartoon. It is beautiful, funny, sobering, and the ending brutal. Its modern craft wearing the skin of Scooby Doo, with a looseness that still lands as precise, intentional, and weirdly tender.

I am always down for a Dylan O'Brien resurgence, and I am equally happy to keep seeing Rachel McAdams take a script by the throat. On the craft side, this thing is tactile: extreme close ups that feel like the camera is breathing on you, a soundscape that feels intimate, practical effects that know exactly when to be nasty and when to wink, gore that is gross in the fun way, not the try hard way. There is real taste in the images, and the movie understands how to entertain without begging.

The Survivor fixation and that submission tape logic is a genuinely funny bit of world sense. But once you get past the texture, you hit the soft spot: the story wants credit for doing what Triangle of Sadness already did with more bite, more weight, and a sharper comedic intelligence. It is entertaining, it is well shot, it is a good time, but it is not bringing anything new to the table. If you are choosing one island of discomfort, pick Triangle of Sadness.

HairCog TV Series in The Best To Go On Mamay Way Series

Excelente, uno queda en querer ver más capitulos...

bien mala para cuando en hd

Back in 2024, director Brady Corbet made THE BRUTALIST, cowritten by his partner Mona Fastvold. Now, Mona is in the director chair and Brady is the cowriter for THE TESTAMENT OF ANN LEE. This is a historical musical drama and a speculative retelling of the Shaker religious movement in the 1700s. They were characterized thusly because when they openly confessed their sins, their whole body would shake and convulse. They would also break out into song, which lends itself to this being a musical. I’m not religious, but they do a great job at conveying religious euphoria and unburdening thyself. Amanda Seyfried plays the titular Ann Lee, a woman who believes she’s the 2nd reincarnation of God. Like her character, Seyfried fully commits to the role, but it feels like a missed opportunity to challenge the character a little more, maybe show some cracks. She felt assured for most of the runtime. When the role of mother was taken from her, she became a mother to all. The choreography is mesmerizing and the score is incredible. I’m not surprised, it’s from Daniel Blumberg, Oscar winner from THE BRUTALIST. It’s ridiculous that this movie’s budget is only $10 million. It spans many years and takes place in many locations. It’s extremely well-crafted. I was transported back in time. The narration from Thomasin McKenzie felt unnecessary for the most part, but I love her unique voice. Lewis Pullman plays Ann’s brother William, while Christopher Abbott plays Abraham, Ann’s husband. Overall, THE TESTAMENT OF ANN LEE is a very interesting movie with career-best performances and uniquely strange yet captivating songs that gives the audience something to look up when they get home. I recommend this ambitious piece of history.

An essential testimony of history. One group's dream of returning home became another group's nightmare of losing home.

Brazil is in the spotlight right now with two movies. First, it was I’M STILL HERE. Now, it’s the Golden Globe-winning historical neo-noir political thriller THE SECRET AGENT. While I’M STILL HERE took place in the South-East region of Rio, this one takes place in the North-East region of Recife. Both movies feature the nightmarish military dictatorship of the 1970’s, but in different ways. Corruption, disregard for truth, and indifference to suffering are common in this time and place. It shows a dark piece of Brazilian history. The opening scene is a masterclass of suspense, setting the tone for what we’re about to watch. It’s a story about Marcelo (Wagner Moura), a man who’s trying to lay low. I can’t really say too much more about him, but he ends up living with people like him. I really enjoyed Dona Sebastiana, played by Tânia Maria. She takes him in and deserves her own movie. I enjoyed this experience, but not as much as a lot of movie critics. I just think maybe some things went above my head a bit. It has intentional ambiguity, perhaps too much for me, especially because I was busy reading subtitles. There’s a subplot involving a human leg that’s found inside a shark’s mouth. There’s a theme of how a government can steer the narrative in whatever way that most benefits them. The characters are fully fleshed out. Moura is a movie star, already winning a Golden Globe for this performance. This film is multifaceted. It’s a love letter to cinema and the preservation of it. The preservation of culture itself. There was one storytelling choice I didn’t really get, but I believe I’m getting close to. Overall, THE SECRET AGENT is an unconventional slow burn thriller that takes its time getting the audience used to its dangerous environment and time period. It’s thematically rich and has amazing performances. It has been nominated for four Academy Awards: Best International Film, Best Actor for Moura, Best Casting, and Best Picture. This film is very important to Brazil and its people, as it tries to heal the country’s fractured memory of a horrible dictatorship. We don’t want history repeating itself, right?

I was tempted to give this a perfect mark, but I feel that there are no masterpieces without mistakes. This film has perfect casting, setting, and an ending that leaves it open to the viewer as to its true meaning. And as I get older, that title digs a little deeper into my soul (a bit dramatic, just like this film).
It is still the best film the Coen Brothers ever made, and I do not think that the actors ever had roles as deep and moving as the ones they found themselves with here.
A masterpiece that does not let go...even with its stillness and demands on the viewer.
See it.

I was shocked to learn that bette Davis and Victor Buono got nominations but Joan Crawford didn't. She was the show-stealer for me.

This is a pretty weird movie. It's a melodrama and quite slow, but it's worth sticking with because its subtext is horrific, and the finale is pretty spectacular from a psychological perspective and from a lighting/makeup perspective.

Zombie movies have had many iterations over the years. Movies that focus on zombies being the main obstacle of survival. Movies that focus on how humans slowly become monsters. 28 YEARS LATER: THE BONE TEMPLE is the latter. This takes place straight after last year’s 28 YEARS LATER. Spoiler warning for that movie! Spike (Alphie Williams) is now with a gang of people who resemble Jimmy Seville (I had to look him up), who follow a man calling himself Sir Lord Jimmy Crystal (Jack O’Connell). Meanwhile, Dr. Ian Kelson (Ralph Fiennes) is still doing his life’s work, trying to find a little lost humanity. He has a strange but beautiful relationship with an “Alpha” zombie he calls Samson (Chi Lewis-Parry), who he keeps drugged for his safety. Director Nia DaCosta has taken over duties from Danny Boyle. She got a raw deal back in 2023 with THE MARVELS. It was a very studio-driven movie, and she didn’t have much input. I’m happy to say that she has definitely bounced back with this one. If you didn’t like how the previous film ended, fear not! DaCosta smartly chose to go the opposite way in terms of the tone. The satanic Jimmy cult is terrifyingly savage and brutal. Their scenes are a little reminiscent of CLOCKWORK ORANGE. The leader is truly a monster, using cult tactics to have his followers (which he calls his Fingers) do his bidding. The script goes between these two plots, which might be jarring for some, until they intertwine in the most badass way possible. This film is about the nature of evil. Surprisingly, there are quite a few very funny moments amid the brutality and violence, including one scene that feels like a jaw-dropping music video. The idea that humans are the real monsters has been seen before, but it just feels deeper than that here. This sequel expands on Fiennes’ character. He turns it up to 11 and breaks the knob off. Jack O’Connell plays the perfect charismatic, sadistic monster, as he did just last year in SINNERS. This movie is extremely violent, it’s just different when it’s human on human. This is the middle chapter of a planned trilogy, and I am hotly anticipating the finale. Overall, 28 YEARS LATER: THE BONE TEMPLE delves even deeper into this well-crafted post-apocalyptic world that has some truly fascinating characters to watch. I didn’t think this franchise could get any better, yet here we are.

This is my take on season 5.UNDERWHELMING that’s just one word for it. Don’t even get me started on the acting performances and screenplay. Extremely dorky and corny. The contrast between season 1 and 5 is insane. They focused too much on the production side and VFX they lost it with the plot. So disappointing. Still in my top 5 shows but definitely not cause of this season finale.

不要看

Art is meant to be remade for future generations, whether that’s movies or music. In crisis, art brings some much-needed levity. In THE CHORAL, the crisis is World War 1, and the art is music. It’s 1916. It’s hard to go about daily life when you or your neighbours can be taken at any moment. When a choral society’s choir master leaves to go to war, they are forced to hire the controversial pariah Dr. Henry Guthrie (Ralph Fiennes). He uses unconventional tactics, expanding the choir to include people from all walks of life. Fiennes is great as always, rebellious and fun. This is a very British film, and I know there are some famous Brits in here, but they went over my head. The script mainly focuses on Guthrie and a few young men who are worried about being conscripted into the war. The few females they do focus on are framed only to their relationships to the men. I cared more about them than the guys. The movie does a great job of making you feel like you’re there. Grief-stricken women getting notices of their loved one’s deaths. Outbound trains sending young men off to war. Inbound trains bringing the wounded or dead back home. It’s a small movie with a hopeful heart. Overall, THE CHORAL has a hard time harmonizing its characters and themes, but its message has a crystal-clear sound that reverberates across generations.

The plight of the working man has been seen in many a movie, especially if the protagonist goes up against a greedy corporation. This topic would get a little tired or perhaps boring, in the wrong hands. Director Gus Van Sant has gorgeous hands, I can only imagine. His latest is a thriller based on an actual event, DEAD MAN’S WIRE. On Tuesday February 8, 1977, an Indianapolis man named Tony Kuritsis (Bill Skarsgård) walks into the Meridian Mortgage Company and takes Richard Hall (Dacre Montgomery), the son of the company president, hostage. He uses a shotgun that’s wired behind Richard’s head, threatening to go off at any moment. This is such an entertaining watch. Van Sant likes to feature his protagonists as outsiders, especially in GOOD WILL HUNTING and the highly underrated DON’T WORRY, HE WON’T GET FAR ON FOOT. His pattern continues with this. Tony is a fascinating character, and Skarsgård plays him to understated perfection. He’s dangerous but calm. Angry but funny. A sympathetic man of the people. Bill is one of the most versatile actors these days, and I wouldn’t be surprised if he gets an award for his dedicated work one of these years. You can see the inspiration from DOG DAY AFTERNOON, even having Al Pacino play Richard’s father. Both movies portray a real-life event from the ‘70s. There’s one scene I loved that was reminiscent of RESEVOIR DOGS. You’ll know it when you see it. Cary Elwes is unrecognizable here. Colman Domingo plays another cool character oozing with swagger and charisma. He plays a radio DJ that has some great needle-drops, accompanied by a strategic score from Danny Elfman. They expertly mix in archival footage of the event, which I almost didn’t even notice. This movie is tense throughout, has a great sense of humour, has controlled chaos, and the script is cleverly paced. It’s a reminder that accountability is getting rarer. A topic that’s just as relevant today as it was back then. Overall, DEAD MAN’S SWITCH should definitely be in more theaters, and I really hope you get to see it somewhere, somehow, someway!

review 1

I was not sure what to make of this one. One night, I found myself watching CNN and seeing the older and perhaps wiser Chevy Chase one-on-one with the camera...and I was not disappointed. He may still have a lot of the old asshole in him, and still be oblivious as to why his career and reputation took the turn it did, but it was absolutely fascinating to see him in his youth, at the piano, on stage pre-SNL, and melting down during interviews, in phone calls, and in front of the merciful lens.
Love him or hate him, it is hard to imagine the last fifty years of American comedy without his goofy and difficult presence.
He's Chevy Chase...and you should be happy you are not.