Reviews

The plot is solid, but if I were Geeta, I’d be traumatized—what a heavy childhood burden. Very few become champions, and most lead ordinary lives. Such upbringing and pressure would be crushing. While it’s based on true events, I can’t agree with the values it promotes.

The film tells the story of a young medical student in pre-reform Poland, cleverly splitting the narrative into three distinct outcomes based on whether he catches a train. Unlike film, life is a one-way ticket—there’s no restart, and we can’t foresee the consequences of our choices. Life is unpredictable and rushes forward like a train. Perhaps all we can do is make the best choices given our present circumstances.

The film showcases inventive cinematography, it's clear the director's brimming with ideas. Unfortunately, the story feels bloated, with several scenes seeming to serve no purpose other than to pad the runtime. Some shots border on gratuitous showing off. Still, the first-person perspective remains intriguing.

"Leto" does not use politics as a selling point. Instead, it focuses on one of the most peaceful periods in Viktor Tsoi’s life, centering on personal stories rather than political conflict. Yet, the film still conveys the era’s tension, subtly revealing dissatisfaction with the status quo through interactions with censorship officials and the rigid demeanor of concertgoers.

Well, I finally saw it. After almost a year of failed wide theatrical releases, SING SING is now available to rent or buy On Demand. I was hoping to see it on the big screen, but the Academy Awards are coming up quickly, so here we are. After all of the build-up and anticipation, this movie met my high expectations. Based on an article The Sing Sing Follies by journalist John H. Richardson, it tells the story of the inmate theatre troupe of Sing Sing prison in New York, through the Rehabilitation Through the Arts (RTA) program cofounded by John “Divine G” Whitfield (Colman Domingo). After the recruitment of Clarence “Divine Eye” Maclin (as himself), the troupe is shaken up, for better or worse. They embark on preparations for a new play, a comedy this time around, guided by Brent (Paul Raci). Despite the morbid environment and each character’s individual situations, the movie has a strong message that art can transform people for the better. It allows the inmates to express their feelings in a healthy and an emotionally mature way that brings out vulnerability. Second chances and all that. I would classify this as a documentary-style drama, since it’s shot on handheld film, and almost all of the troupe played fictionalized versions of themselves: David “Dap” Giraudy, Patrick “Preme” Griffin, Mosi Eagle, James “Big E” Williams, Sean “Dino” Johnson, Dario Peña, Miguel Valentin, Jon-Adrien “JJ” Velazquez, Pedro Cotto, Camillo “Carmine” Lovacco, and finally, Cornell “Nate” Alston. John “Divine G” Whitfield himself has a cameo. I wanted to make a point in naming everybody, they all did an amazing job. I understand there’s a reason for prisons, but we as a society need to remember that we are all human. I’m so happy I finally saw this movie, and I will SING SING from the highest mountaintop that this got snubbed for a spot in the Oscar category of Best Picture. It’s even made me second-guess my pick for Best Actor. Damn you Colman Domingo for being so good, earning 2 nominations 2 years in a row!

Great caper movie!

Muy buena dirección, excelente fotografía, la historia atrapa desde el comienzo, pero al ser tan larga pierde interés. Muy recomendable, si te gustan las películas de guerra.

DeNiro en un papel extraordinario y Scorsese en la dirección de una película que termina siendo intimista por la denuncia que realiza.
Una fotografía excelsa que recalca cada fotograma de la historia que nos cuenta este prócer del cine .
DiCaprio no brinda aquí el mejor papel de su carrera, aunque no defrauda.

Luego de que un joven millonario contrae matrimonio con una prostituta, unos matones contratados por sus padres buscarán la manera de quebrar el precoz matrimonio para devolver al novio a su Rusia natal.

Entre tanta bazofia pseudo-cinematográfica, se agradece esta obra de Sean Baker; donde no todo es lo que parece, y donde el desenlace oculta una realidad para nada despreciable.

A good movie about working hard and learning New things to achieve what you want

Refleja la dinamica tan dificil que se ecuentra en la cocina de un restaurante, tambien la diferencia en el trato de las mujeres, enespecial las que se atreven a ir del lado del chef.
El hecho de estar en blanco y negro evoca una sensacion agregada de estres y de esfuerzo por seguir cada plano dd la escena

Love this series!

At its core, this is a love story in its purest form—an old-fashioned tale of love at first sight. The moment Barry and Lena meet is mesmerizing: bathed in backlight, the scene radiates an ethereal beauty, especially when the sunlight catches Lena’s hair. It’s a moment of pure cinematic magic.

Good

What lingers most isn’t the complexities of the investigation but the film’s unsettling interrogation of law enforcement ethics. A detective, guided more by instinct than evidence, fabricates proof and manipulates the system to frame a suspect. Though the ending confirms his intuition was correct, his methods—collaborating with criminals, planting evidence, torturing suspects—paint him as a man more obsessed with playing the role of justice than actually upholding it.

Mohammad Rasoulof is an Iranian independent filmmaker who has made many films that violated Iranian censorship regulations. THE SEED OF THE SACRED FIG is his boldest, most dangerous film yet. The title of this film refers to a species of fig that spreads by wrapping itself around another tree, eventually strangling it. This symbolizes the current theocratic regime in Iran. This revolves around the “Woman Life Freedom” movement that swept through Iran in 2022, through the lens of a family of 4. This is in Persian with English subtitles. The father Iman (Missagh Zareh) just got a promotion at work, now being an investigator for the Revolutionary Court of Tehran. This comes with a gun for protection. The 2 daughters Rezvan (Mahsa Rostami) and Sana (Setareh Maleki) are forward thinkers who are inclined to oppose the oppressive government, glued to social media, actual footage of the protests and violent arrests surrounding them. The mother Najmeh (Soheila Golestani) is trying her best to be a dutiful wife and keep the peace in the home. One day, Iman’s gun goes missing, changing everything. This movie was filmed mostly in secret over a stressful 70 days. When it was finished, Mohammad literally had 2 hours to decide to surrender and serve his sentence or flee his home and country. He fled on foot across the Iranian border to a German consulate, who helped him get to Germany. This is why the movie was submitted in the Academy Awards as “from Germany”. This type of guerrilla filmmaking is a rarity and deserves your attention. THE SEED OF THE SACRED FIG is a long movie with an amazing family dynamic, a great build in high stakes tension, and a great finale that is worth talking about. Both this and I’M STILL HERE are nominated for Best International Film, and I’d be happy if either got the recognition they deserve.

It’s rare to see such a dynamic use of cinematic language in a Hollywood A-lister production. Visually and editorially, it echoes the energy of the American New Wave. The film’s approach is unconventional—breaking the fourth wall, employing rapid-fire montages, and even enlisting Margot Robbie to directly explain financial jargon to the audience. Structurally, it rejects both the conventional hero narrative and traditional climactic payoffs, which might just be the perfect way to tell this story of economic collapse.