Reviews

While sweet and charming, the film clearly struggles with its low-budget. The show lacks energy and feels cheap, with background actors phoning it in. Although holiday movies aren’t typically judged for their realism, the characters’ motivations here are just too illogical. Still, it might work for audiences seeking festive vibes.

This movie feels like a sugar-coated pill—sweet on the outside but with a hint of bitterness underneath. It’s the kind of film perfect for sharing with family and friends on Christmas Eve, paired with good food and an easygoing atmosphere.

The film is a chaotic blend of violence, crime, and adrenaline-fueled madness. After being poisoned, the protagonist must keep his adrenaline pumping to survive, leading to a non-stop series of shocking and grotesque moments.

Honestly, the story is dull and overly cryptic, dragging its 93-minute runtime into what feels like an eternity. It’s hard to distinguish reality from fantasy in this movie, leaving viewers disoriented. The only commendable aspects are the clean cinematography and polished visuals.

From "The Thin Red Line" to "A Hidden Life," Terrence Malick continues his reflection on war. Through unique visuals and fragmented editing, he chronicles the tragic story of an Austrian farmer executed for opposing the Nazis. The film is an ode to those who stood against tyranny, a cinematic memorial to their sacrifices, and a profound reflection on humanity during dark times.

The narrative feels like a collection of loosely connected short stories, which aligns with Richard Curtis’ signature style and the structure of his original children’s books. However, the film’s brevity—restricted to about 80 minutes due to its commercial animation format—leaves characters like the charming teacher underdeveloped. Just as the story reaches its peak, it abruptly ends, making the overall experience feel somewhat incomplete.

Adapted from true events, the film carries a subdued tone that reflects the protagonist's suffocating circumstances. Jean Smart shines in her role as a kind-hearted grandmother, delivering one of the film's most memorable performances.

The "leftover interrogation material" combined with interviews with many anti-Bibi parties has created a powerful documentary that is both accusatory and helpless. It makes the audience believe that the only way to escape the penalty of $250,000 for accepting bribes is war, a war that continues to be high-pressure against Hamas and plays with the flames of the West Bank of the Gaza River, even if it will also burn itself like October 7th.

The army of real estate agents who use the Bible as a real estate certificate has arrived. Even the owner of this piece of land in the West Bank will be gradually destroyed by the legislation, preemptive action and bulldozers of the chosen ones. It is not easy to get an Israeli who firmly stands with Palestine, but it only adds a little bit of beautiful CP feeling to the tragic reality of the egg hitting the stone.

This is lit

After a bowl of lukewarm Chaozhou porridge, I realized that the ranking in the eyes of the elders is not important, what matters is who you like to be with the most. It is also this lukewarmness that makes me impatient.

The world has changed after the disappearance of humans. I like it better than "The Wild Robot". It does not over-anthropomorphize the animals, but studies the characteristics and instincts of the animals on this "Noah's Ark" and perfects it into a healing drifting story. It really played a role when I was recovering from the flu.

I was a bit dissapointed with the movie, after Joker was hoping to get something more from Lady Gaga. Joaquim amazing as always but overall i would rate 5 out of 10

This is also another past life. In the past, when I was sick, I watched such a movie and it was quite healing, but today I can't get into the play or feel relieved. In fact, the emotional foreshadowing is still sufficient, and the second-generation star Mitsuki Kimura is also attractive enough.

An Indian film that is quieter than All We Imagine as Light , so quiet that not a single voice of fairness and justice can be heard, and so oppressive that men and women of low castes have nowhere to escape. Sexual assault is followed by torture and confession, and unsolvable social problems continue to hide in the quiet dark night.

1993’s THE LION KING was the first movie I ever saw. I’m told I had to leave because the hyenas scared the s**t out of me. Now there’s a prequel for the 2019 remake out, MUFASA: THE LION KING. The story starts off very similarly to THE PRINCESS BRIDE, with Simba’s daughter Kiara being told the story of her grandfather Mufasa. This is an interesting approach, but it goes back to them too much, making the pacing go wild. I might be the only one, but I really enjoyed Timon and Pumba and their self-aware humour. Going back to Mufasa, he gets ripped away from his parents because of a flood. He meets Taka, who we know by a different name. They become brothers, but then Kiros, the leader of a white lion pride called the Outsiders, forces them to flee, in the hopes of finding the legendary land of Milele, a place we know by a different name. The story is compelling enough and the voice-acting is good. I especially loved Mads Mikkelson as the antagonist. Much like Disney’s MOANA 2, the songs here aren’t memorable or catchy, except for a couple. I expected more from Lin-Manuel Miranda, who chose to do songs for this instead of MOANA 2, which frankly needed him. It makes me wonder what it would’ve been like if there were no songs, just being reliant on a good story and writing. Disney got a major director here in the form of Barry Jenkins, which seems like a strange fit. I could tell what he brought to this, but I could also tell what the studio brought. Oh and don’t get me started on whether or not this is animated or live-action. I and many others miss the classic animated movies we grew up with, but I understand this is…a whole new world…and we need to be…part of that world…but come on Disney, if you’re planning on making more unnecessary live-action remakes in the future (we know you are), for the love of all things holy and sacred, do ATLANTIS or TREASURE PLANET. Oh, and make them great…please? MUFASA is better than 2019’s THE LION KING, but not by much.

The SONIC movie franchise had a bit of a rocky start with the whole “realistic looking Sonic face” controversy. In an all too rare occurrence, the filmmakers actually listened to the fans, fixed it, and now here we are with SONIC THE HEDGEHOG 3. I’ll just say it, this is my favourite video game movie. The team of the quick-witted Sonic (Ben Schwartz), the tech-savvy Tails (Colleen O’Shaughnessy), and the bruiser Knuckles (Idris Elba) face a new threat in the form of Shadow (Keanu Reeves), a darker, more powerful version of Sonic that has been locked away in a top-secret government lab for the past 50 years. Think John Wick if he had just one bad day- oh wait, he did. He was badass, even in this. They did a great job incorporating his backstory in this. Despite Jim Carrey saying he’ll take a break from acting, he’s back yet again, this time playing two roles: Evil mastermind Ivo “The Eggman” Robotnik, AND Gerald Robotnik, his grandfather. This might sound strange, but this might be my favourite role of his. He is gleefully unhinged, and I loved everything he does in this, yes even the dance sequence. He just has great chemistry, with himself. The main problem I’ve had with the previous movies is still here, but they’ve dialed it back properly: the human characters. Apart from Robotnik and his trusty assistant Agent Stone (Lee Majdoub), who has some good character development here, the other humans I don’t really care about. I come to a Sonic movie to see Sonic. They have a small role to play in the plot, but thankfully not as much as the other installments. Saying that, I had an amazing time with this one. It’s the perfect blend of kids movie, family movie, and nostalgic adult movie. My kind of humour too. Seeing it with an uber fan was fun because he told me a bunch of things the filmmakers snuck in, such as certain songs. It’s so rare these days to have a franchise get better as it goes. Funny enough, I can only think of JOHN WICK. Even if you don’t know the video games, I think you’ll have fun with SONIC THE HEDGEHOG 3. Oh yeah, stay until the very end of the credits! The reaction of the audience around me was palpable.

There’s a new movie out now that’s getting lots of award buzz, EMILIA PÉREZ. Loosely based on the 2018 novel Écoute by Boris Razon, this is a genre-defying experience. If I had to nail it down, it’s a Spanish-language musical melodrama that gets wrapped up in social commentary. It focuses on three women, all searching for purpose in life and their version of happiness. The first is Rita (Zoe Saldaña), an underappreciated lawyer who gets an opportunity to change her life. She meets ruthless cartel leader Manitas (Karla Sophia Gascón), who asks her for covert legal help with going through gender affirmation surgery. Four years later, Rita happens upon Emilia Pérez (also Karla Sophia Gascón), now a founder of a non-profit organization that helps people find their missing loved ones from the ramifications of cartel violence. Jessi (Selina Gomez) is the wife of Emilia, which adds a layer of complexity to the story, including her two kids. This has a personal and emotional story. It’s very ambitious, perhaps too ambitious. I was absolutely mesmerized by the first half, but the story doesn’t know what to focus on in the latter half. It tries a few ideas that are good, but don’t have time to go deeper than surface-level, so it sort of muddies the narrative. The performances are what shone the most here. They each have emotional weight to them. EMILIA PÉREZ is nominated for 10 Golden Globes, and it could very well snag a few, but I’m not as enthusiastic about it as some people clearly are. Still, it’s on Netflix, so I recommend it!

The plot is as predictable as it is conventional, with performances that fail to elevate the material. From the start, it’s easy to foresee the ending, and the narrative unfolds with a safe, uninspired adherence to genre tropes. As a heartfelt family drama, it plays it so safe that it becomes utterly forgettable.