Reviews

Director Luca Guadagnino seemingly enjoys making uncomfortable movies, such as BONES AND ALL, CALL ME BY YOUR NAME, and CHALLENGERS. His latest movie takes the cake. AFTER THE HUNT is a psychological drama about four individuals who have their perfectly curated worlds shattered when one of them makes an accusation of sexual misconduct on another. Alma (Julia Roberts) is a well-respected philosophy professor at Yale University. Frederick (Michael Stuhlbarg) is her psychiatrist husband. Maggie (Ayo Edebiri) is Alma’s favourite student. She accuses Hank (Andrew Garfield), Alma’s colleague and very good friend. This movie is a bit frustrating. Beneath the surface, this is an intellectual battle between generations. One where society internalized their feelings, and one where society externalized their feelings. The movie says a lot, but the message is muddled. Guadagnino makes many references to things and people that are no longer acceptable in today’s society, seemingly poking the audience to see how they react. The score is unique, but I found it intentionally abrasive, annoying and a distraction. Garfield shows a different side of himself as an actor, and I commend him for that. Michael Stuhlbarg comes in yet again as the unsung MVP of the movie. Unfortunately, he’s pretty much the only character I liked. I think my mind got whiplashed just trying to think about everything this movie is trying to say. This is a very messy movie, but I think that’s the point. There is a great movie somewhere in here, but it’s buried under a lot of philosophy and meaningful themes trying to fight for attention. Eventually, me and my metaphorical shovel got tired. The ending just left me confused and unsatisfied. Overall, AFTER THE HUNT is a good think-piece with great performances, with the rest just overwhelming, feeling like artistic Tourette’s. Remember, not everything in the world is supposed to make you comfortable.

buena

"In seeking life, I created death." -- Spectacular costumes, spectacular set design, spectacular music, spectacular story. Spectacular. This may be a new favourite film.

Es buena

Dou nota 7/10 para o filme, pois, apesar de ser uma bela homenagem, senti falta de algo mais épico, que realmente transmitisse a grandeza e genialidade do artista que Bob Marley foi. Ainda assim, gostei bastante da forma como o filme retrata algumas situações marcantes de sua vida, e destaco especialmente as atuações intensas e emocionantes do ator que interpreta Bob Marley (Kingsley Ben-Adir) e da atriz que dá vida a Rita Marley (Lashana Lunch — ambos conseguiram transmitir com verdade a essência e a força do casal.

To save the world, or to weaponize it? This is the source of the conflict in the legacy sequel TRON: ARES. Two big tech corporations are fighting for supremacy: ENCOM is run by Eve Kim (Greta Lee), who wants to use A.I to help the world. Dillinger Systems is led by childish nepo baby tech bro Julian Dillinger (Evan Peters), son of Elisabeth (Gillian Anderson) and grandson of Ed from the original TRON (1982). Julian has the capability to basically 3D print things from the digital world (The Grid) to the real world. His only problem is the programs only last 29 minutes before disintegrating. So the hunt is on for the Permanence Code, which would solve that problem. This is where Ares (Jared Leto) finally comes in. He is a program created by Julian that is fascinated with the real world. This movie is not as bad as people say it is. It’s a mishmash of Frankenstein, Pinocchio, and TERMINATOR 2, with the addition of the A.I element. I love the juxtaposition of having things come into the real world from the Grid. Most of the characters are flat and forgettable. It has a fine pace. The visuals are very good, but the trailer showed the best parts of the movie. There’s a great reference to the original. I was entertained enough. No offense to Nine Inch Nails, but I prefer what Daft Punk did in TRON: LEGACY, which is still my favourite in this franchise. I recommend seeing TRON: ARES for the banging music and cool visuals!

Es una de las películas que más me as mantenido en suspenso muy buena

Bob Ferguson, un peculiar exrevolucionario, debe rescatar a su hija tras el resurgimiento de su antiguo enemigo, Steve Lockjaw, tras 16 años. En su lucha por reconectarse con la red rebelde, recibe la ayuda de un misterioso sensei que lo

I would die for Krypto

good

good

good

Emma Robberts the ICON

A CLASSIC!
In Tim Curry, we stan!

I loved the script for this. And though it's nostalgic and sentimental and kind of mushy, I still really enjoyed it. A good, easy watch that everyone can enjoy.

Eee

The movie I’m reviewing here is quite a unique one. It currently has no trailer, no poster, and it’s Canadian. HONEY BUNCH is an old-school gothic horror with a great sense of humour. After waking up from a coma, Diana (Grace Glowicki) and her husband Homer (Ben Petrie) go to a trauma centre hidden in the remote wilderness to try to recover her memories. This movie is wild. It has a few jump-scares that I didn’t mind. It leans into the weirdness. The writing is a little off kilter, but I think that’s the point. It’s about devotion, doing whatever you can for the person you love. I had so much fun with this one! The score is amazing. It properly builds. It stays interesting even after you know what’s going on. There isn’t much about this movie online, but I believe HONEY BUNCH will be released on Shudder sometime in 2026. Highly recommended wherever you can find it!

Great performance by Dwayne Johnson, showing that he can be more than a charismatic blockbuster action hero. He can lead touching stories and vanish behind the character, and still shine.

​Oh man, The Naked Gun 33 1/3: The Final Insult (1994). What a ride, but let's be real, by this third movie, you kinda knew what you were getting into.
​This is the kind of comedy that just throws everything at the wall to see what sticks. And honestly, a surprising amount of it still lands, even if it feels a little... looser than the first two. It’s like they knew they were wrapping things up, so they just cranked the absurdity dial to eleven and leaned hard into the pure, goofy Frank Drebin of it all.
​Leslie Nielsen is, as always, an absolute master. He plays Frank Drebin with such a straight, deadpan face that it makes the surrounding chaos that much funnier. He’s retired this time—trying to be a househusband—and the scenes of him struggling with domestic life (and later going undercover in prison as "Nick 'The Slasher' McGurk") are gold. You’ll definitely get some big laughs from his committed lack of self-awareness.
​The plot, about a terrorist plot at the Academy Awards, is just an excuse for a non-stop barrage of sight gags, puns, and pop culture spoofs. The opening sequence, parodying The Untouchables, is genuinely brilliant and sets a high bar. The finale at the Oscars is pretty great too—classic Naked Gun chaos.
​Now, here’s the human part: You can feel the "sequelitis" a little bit. Some of the jokes feel a little worn, or maybe they just try too hard. There are a few spots where the pacing drags, and you can sense the magic touch of the original creators (Zucker, Abrahams, and Zucker) isn’t quite as strong under the new director, Peter Segal. It's a little less inspired and a little more efficient at comedy.
​But look, if you love that machine-gun style of spoof comedy, where there’s a joke hidden in the foreground, background, and everything in between, you'll still have a blast. It’s a solid, funny farewell to the trilogy, even if it’s the weakest link. It’s the kind of movie you throw on when you just need to turn your brain off and laugh.
​Evaluation in Stars:
​★★★★ 3 out of 5 Stars
​(It's good! It's very funny in chunks and a worthy ending, but it doesn't quite hit the legendary status of the original.)