Reviews

This movie is something else. The director basically shoots the whole thing with fixed camera angles, showing different families living in the same house over the years. In the final scene, the main character, who has Alzheimer’s, goes back to this house she hated and starts remembering all the good times. It’s only then that the camera finally gives us the full view of the house. That scene really hit me hard.

Anyone else feel like Almodóvar’s movies have this tv-like aesthetics? No matter how I look at it, it just doesn’t have that cinematic feel.

This film is a mess. After hearing the director’s Q&A after the movie, I don't think he knew what he had filmed.

I’m guessing the director was trying to say that society is beyond saving and that we need a new way of thinking about love; one that breaks down the boundaries between the physical and the psychological. But honestly, the director doesn’t respect the basic rules of filmmaking at all. It doesn’t feel innovative—it just feels like the director is rambling to himself and getting lost in his own ego.

The film is so boring. Lately, Almodóvar seems obsessed with fancy interiors and Piet Mondrian-style color blocking, which just feels stiff and repetitive. The director has gone from wild gender-focused comedies to quiet bedtime storytelling. It’s like he has finally turned into the kind of person he once criticized.

The story’s pretty weak and underwhelming. Not sure where they thought the thrills were.The film almost put me to sleep.

Almodóvar is stuck in his comfort zone. It feels like ever since Parallel Mothers, he’s been exploring this idea of “women retelling men’s stories.” In Parallel Mothers, it’s a daughter searching for her father; here, it’s a more straightforward take, with men falling silent, leaving women to tell or retell the story of war. On the bright side, there are plenty of references and homages woven in, showing that Almodóvar is still holding down the last bit of European art cinema pride.

If you think this is just a sports movie with noir vibes, think again. The director went all in, with Almodóvar-style gender flips, wild sex scenes, over-the-top characters, trendy music, and even some random dance scenes. In the end, it came off more like a giant, trippy music video. Honestly, I was just left super confused.

It was supposed to be a horror movie, but honestly, I just ended up finding it super funny, and the lead actress is distractingly gorgeous.

This is India’s Diwali action blockbuster. Even at 55, the lead is back in action against an old foe. Honestly, it’s better than expected. Tiger Shroff and Deepika Padukone are awesome enough to be leads on their own, but they shine as supporting characters.

This film gives a realistic glimpse of what can happen in a marriage—the struggles, the frustration, the letdowns that the couple has to face while trying to make things work and raise a family. You can easily see yourself in those situations and connect with the characters on a personal level, almost like you're living it with them.

Even though I wasn't really into the twist at the end, I have to say the set design and cinematography were absolutely stunning. Plus, the soundtrack was super gripping, and the performances really pulled me in.

The film has good pacing, and it nails that tense, ritualistic vibe of religious themes. The ending was kind of a letdown, though. But overall, it was solid enough for a recommendation.

The century-old mystery of the Zodiac Killer is finally solved! Honestly, I expected the crime to be some of the most intricate, but it turns out the killer's motives and methods were quite simple! And that cryptograms? It was just out of the killer’s hobby. The guy was already the top suspect at the time, even making appearances on TV. The police searched his house three times but couldn’t find any solid proof, so they couldn’t really arrest him.

Surprisingly, this exceeded my expectations. While the story is predictable and the performances aren’t particularly moving, it’s still quite heartwarming overall, and the scenic beauty of North Carolina is simply captivating.

I admire Taylor Sheridan’s screenwriting style. He uses small, specific moments toecho a larger, tragic backdrop. It’s rare to see Indigenous struggles so deeply explored within a crime narrative. The cinematography and character-driven storytelling don’t feel like the work of a newcomer—Sheridan’s maturity and unique voice shine through.

As a cinephile, I’m disappointed in myself for not being familiar with Sean Baker’s work. He has created independent movies like THE FLORIDA PROJECT and RED ROCKET. I currently have not seen these, but I will as soon as I can. His most recent is also his most mainstream, ANORA. Winner of the Palme d’Or, this is about Anora (Mikey Madison), who likes to go by “Ani”, a sex worker in Brooklyn who gets in a relationship with a Russian son of an oligarch, Ivan “Vanya” Zakharov (Mark Eydelshteyn). If the first act is CINDERELLA, the rest of the movie is UNCUT GEMS. I really don’t want to tell you too much, but this is an unconventional love story with very real, well-developed characters, especially Anora herself. Sean Baker did pretty much everything with this: He co-produced, edited, wrote, and directed this wild ride. At a certain point during the movie, it switches gears, which might be jarring for some people. There is a beautiful blend of comedic moments within a tragedy. What’s the quote? Tragedy is just comedy plus time? Anyway, everything worked for me in this movie. It’s unpredictable and it looks gorgeous. Because Ani is a sex worker, there’s obviously a lot of sex in the movie. What the director intended to do is destigmatize sex work and show all aspects of that lifestyle. He shows the glamour and the danger. I loved how I viewed certain characters differently as the movie went along. I believe ANORA will be on a lot of “Top 10” lists this year, probably mine too. Oh and Mikey Madison deserves all the praise for her performance. This is yet another small-budget movie ($6 million) seemingly coming out of nowhere with a powerful left hook.

Ok

Why did the monster just let her go? Honestly, the director doesn't explain that very well. The whole movie feels like one big fever dream, and the storytelling is way too minimalistic.

The villain tries to mess with Stallone and stir up drama in every episode, but all he ends up doing is making everyone like Stallone more. He probably never expected that all his plans basically show off how cool Stallone is.