Reviews

While the plot is somewhat familiar, the visuals are stunning, and the narrative’s tight logic elevates it above typical horror fare. The cast’s performances enhance the tension. Unfortunately, the pacing drags, and the editing feels disjointed.

Osgood Perkins has quickly become one of the most interesting and confident horror directors in the past year, with LONGLEGS last year. He already has another movie that just released, THE MONKEY. Don’t be fooled, these two are very different movies, the first was a creepy mystery, while the second is a very silly and gory horror comedy. Based on a short story by Stephen King and produced by James Wan, this is about an evil toy monkey that has the power to kill people in some wild ways. The great opening scene perfectly sets the tone. Christian Convery does a great job at playing teenage twins Hal and Bill. Hal is the nerdy main character while Bill is just a little sh**. They find the monkey in with their absent father’s old things, and things get crazy. The writing here is over the top, which might feel weird to some. There’s a great family dynamic here. Death has a sense of humour in this movie. From the first scene to the last, there are silly and creative deaths very much like the FINAL DESTINATION franchise, of which I haven’t seen any. The first half is better than the second, but I still had a lot of fun throughout. The toy monkey itself is proper creepy. When the director first read the script, he thought it was way too serious. I’m so happy he had the power to change it. He knew what this movie could become. As Stephen King himself said “the movie is bats*** insane”. This is the kind of movie that can be interpreted in many ways. Perkins’ parents both died in traumatic ways. He uses this movie to address the craziness and randomness of life. Death is inevitable. All we can do is laugh in the face of it, and THE MONKEY.

The film paints a stark portrait of existential loneliness. The protagonist sees theft as an art, unconstrained by morality or law. Once imprisoned, love becomes his final hope and devotion. Ultimately, all these served as an escape from loneliness.

The director’s use of visual language frequently elicits unexpected chuckles, giving the film a quirky, offbeat charm. For example, a tender duet scene is suddenly interrupted by the girl’s father, who has been present all along. Likewise, Ricky’s poetic reading to Hec ends with a casual goodnight to "Sam," who is also a quiet presence nearby. The director seems like a stoic softie, using humor to mask vulnerability.

I appreciate the film’s rough art style and bizarre world-building. Its cityscape showcases Japan’s architectural nuances with precision. The framing is top-tier and meaningful. However, the story’s pacing is uneven, and the flat sound design is disappointing.

As a staunch realist, De Sica’s camera consistently focuses on post-war Italy’s struggling cities and streets. He captures the hardships of the unemployed working class and the helplessness of individuals amidst societal upheaval. His compassion for ordinary people extends across all age groups.

Based on a true story, the film chronicles an American POW’s harrowing escape from a prison camp. Unlike "Apocalypse Now," "Platoon," or "The Deer Hunter," which emphasize the psychological and physical toll of war, this film focuses on the power of faith and perseverance.

Hy y en marko lee

Primer largometraje de Molly Manning Walker que pone el foco en una triste realidad a la que ya nos hemos acostumbrado en las dos últimas décadas: el turismo de borrachera que muchos jóvenes emprenden en un momento de su vida, normalmente en ese paso del instituto a la universidad, como si fuera una especie de ridículo rito de iniciación a la vida adulta. En este caso, la película nos muestra, con un estilo a veces casi documental, ese viaje que hacen tres adolescentes a Miali, Creta (podría ser perfectamente a Magaluf) como fin de etapa del instituto, mientras esperan las calificaciones para poder entrar a la universidad (su EvAU, o su selectividad, para los que somos más boomers).

Durante media hora larga asistimos (con cierto aburrimiento y bastante desapego por mi parte, tengo que reconocerlo) a los desfases diarios y, sobre todo, nocturnos, de estas tres muchachas que se comportan como auténticas chonis descerebradas. Conocen a otro grupo de mamarrachos y su rutina consiste básicamente en levantarse tarde con resaca, emperifollarse de nuevo para acudir a fiestas sexuales en piscinas y beber hasta perder el conocimiento. Las tres chavalas tienen perfiles diferentes: está la lista (parece la más centrada de las tres), la virgen (a la postre, nuestra protagonista) y la mala (que se cree la más atractiva y parece disfrutar humillando a su amiga virgen e incitándola a que dé el paso de acostarse por fin con cualquier memo borracho en alguna de esas fiestas de Sodoma y Gomera, que diría el Fiti).

La primera parte de la película, como digo, parece más un reportaje de ‘Equipo de investigación’ sobre ese tipo de turismo de desfase, sexo y alcohol para adolescentes. Lo veo con desagrado y cierto rechazo hacia los personajes, he de reconocerlo. Solo falta algún idiota haciendo balconing para completar ese triste y cotidiano retrato. Es el pack completo que parecen vender en muchas agencias de viaje: playa, alcohol, drogas, sexo y balconing. Abstenerse interesados en visitas culturales a la zona.

Afortunadamente, tras 45 minutos de escenas de desmesura alcohólica y comportamientos neandertales, la película centra el foco por fin en el personaje de Mia McKenna-Bruce (la chica virgen) y su primera experiencia sexual. Es a partir de ahí cuando la película se vuelve realmente interesante, tierna y dura también. La actriz hace un trabajo espectacular y la expresividad de su rostro empieza a comerse la pantalla, ofreciendo por fin un relato dramático y reflexivo. Una pena que Molly Manning Walker haya desperdiciado tantos minutos de película mostrando las orgías alcohólicas y no haya centrado más su película en las relaciones de los personajes y en el drama. Aunque entiendo que, quizás, también la intención de la directora era retratar esa especie de distopía alcohólica y el daño que puede llegar a producir.

Me gustó esa segunda parte de la película y la sutileza con la que trata los temas delicados Manning Walker. Es una sutileza algo fría, pero lo suficientemente impactante para sacudir al espectador y ofrecerle por fin una historia potente, una realidad tan amarga como desgraciadamente habitual. La película gana muchos enteros en esa segunda mitad en la que Mia McKenna-Bruce, con sus gestos, con su mirada, nos lo cuenta todo y te sacude por dentro, ciertamente.

Salgo del cine con la sensación de haber visto una película algo irregular en su construcción narrativa, pero necesaria desde el punto de vista pedagógico y social. Es una película de contrastes, de miedos, de vergüenzas y de heridas. Me voy cabreado de la sala, pensando que, a pesar de todo, queda tanto por hacer todavía…

The documentary, composed of law enforcement footage, is very objective and neutral, showing both the shootings caused by rough and impulsive law enforcement and the common human nature of people trying to shirk responsibility in a panic immediately after the incident. But it also proves more clearly that even with almost no blind spots in surveillance, it is difficult to present a true truth.

The story’s fragmented structure, with frequent narration and flashbacks, weakens the film’s cohesion. The limited screen time for Miller’s French friend is a missed opportunity. Yet, Winslet’s nuanced performance is captivating, elevating the film.

The music is lovely, but it took nearly an hour to settle into the film. The character-driven script felt thin at first, making it hard to place the key figures. Despite its steady pace and lack of dramatic twists, the film’s rhythm and performances by the young cast are commendable, especially the nostalgic montage near the end.

This is a murder mystery with a foregone conclusion. By stripping away suspense, Lynch intensifies the inevitability of Laura’s fate, making her struggles more poignant. The musical interludes are haunting, and the sound design is masterful.

I honestly had hope for the newest installment from the Marvel Cinematic Universe, CAPTAIN AMERICA: BRAVE NEW WORLD. I didn’t actually see it until over a week past release, which says a lot about the state of Marvel movies right now. The bar has dropped so low that a “good enough” is actually the hope, not including DEADPOOL&WOLVERINE. I miss the days when I was expecting “really good” but got “great” or “holy s***” from Marvel. This movie though, has a litany of problems that I truly feel bad pointing out, but here we power through. This movie is the “Frankenstein’s monster” of the MCU, stitching together things and characters from other movies in the universe, not having the chance to be its own thing. I could tell there were massive reshoots, even including Giancarlo Esposito’s character, who kicks ass, with what little screen time he has. He honestly should’ve been the main antagonist. This honestly felt like a second season of THE FALCON AND THE WINTER SOLDIER, which did a great job showcasing Sam Wilson coming to terms with being the new Captain America. Oh, and you should watch ETERNALS. You also should see 2008’s THE INCREDIBLE HULK, because there are quite a few characters from that who pop up here. If the marketing team had kept their mouth shut about the Red Hulk and trusted the power of word-of-mouth, it would’ve been a great reveal. The plot is paper-thin. The writing is super expositional. Don’t get me wrong, I did enjoy some things in the chaos. I really enjoyed a certain cameo. Good chemistry between the Captain and the new Falcon Joaquin Torres. The inevitable climactic fight was cool. Anthony Mackie is a great Captain America. Harrison Ford is a great Thadeus Ross. They just needed a better put together movie to showcase their talents. There are great ideas and characters here, especially Isaiah Bradley, but all are under-utilized. Captain America himself doesn’t really even have a character arc. Red Hulk has more of an arc. Anthony Mackie deserves better. CAPTAIN AMERICA: BRAVE NEW WORLD is a world away from anything brave or new. See? Marvel has gone and made me jaded, nice job. Call me naïve or optimistic, but I still have hope for THUNDERBOLTS* and FANTASTIC FOUR: BABY STEPS.

After leaving the concentration camp, Robert Bresson was commissioned by a bishop to film this story set in a convent, marking his debut feature. Though his minimalist style had yet to develop, this story of two nuns with opposing motives explores spiritual themes, laying the groundwork for his later philosophical and Catholic-themed films.

James Gray has used cinema to explore themes of family, love, friendship, fate, and society through New Hollywood techniques ever since his debut. Though rougher in production than his later works, this film shows his early brilliance through ritualistic scenes like the “kneeling in the snow” sequence and its brooding, decadent cinematography.

A simple yet thought-provoking story infused with humor, made all the more special by New Zealand’s breathtaking scenery. Many children who feel neglected or abandoned might relate to this childhood experience—using their imagination to cope with harsh realities, until adulthood strips those illusions away.

The film’s colors are symbolic. The female protagonist wears green, contrasting sharply with the male lead’s dominant red tones. While red reflects his rebellious nature, the green symbolizes her constraints—those imposed on her by her boss, her job, and societal pressures. After the male lead’s death, she collapses upon returning to her old life, revealing a green ring on her finger, representing the binding nature of societal contracts.

The 133-minute film feels like a summary of China’s news over the years. Only the first and last stories stand out. Perhaps I lack the insight to grasp the film's essence and deeper meaning.

In Robert Bresson’s films, actors are mere instruments—expressionless, robotic, and devoid of emotion. Yet despite this stripped-down approach, his films remain complete and capable of emotional resonance. Viewers are encouraged to examine the characters with a critical, rational lens.