F1: The Movie

 

Directed by Joseph Kosinski and starring Brad Pitt, Damson Idris, and Javier Bardem, F1: The Movie is a high-octane motorsport drama that follows a legendary Formula One driver who comes out of retirement to mentor a rising young star. Together, they navigate fierce rivalries, personal stakes, and the intense world of racing.

The movie gave Days of Thunder vibes, but sleeker, smarter, and with a modern edge, thanks in part to producers Jerry Bruckheimer who worked on both projects and the authentic touch of Lewis Hamilton’s involvement. The film tapped into themes of mentorship, legacy, and the idea that rivals often have more in common than they think. While parts of the story were a bit predictable, its crisp cinematic style still helped to deliver suspense, a few welcome surprises, and plenty of heart.

I appreciated the diverse casting with women and people of color in important positions that had the potential to influence the success this team and this film. Leading the charge was Pitt and Idris who had great chemistry. There was enough character development to make you care about more than just who crossed the finish line first. There were also quite a few familiar faces throughout who made cameos, which reflected the real-world glamor and global appeal of the F1 universe.

Even if you go in knowing nothing about F1, the film brings you into that world without overwhelming you. Whether you're a racing fan or just in it for a stylish, character-driven ride, F1: The Movie is a solid win.

Heads of State

 

Heads of State is an action-comedy starring John Cena and Idris Elba as rival world leaders, U.S. President Will Derringer and British Prime Minister Sam Clarke, who are forced to put their egos aside when Air Force One is shot down over enemy territory and they are reluctantly forced to team-up to stop a global conspiracy.

The plot was fairly predictable, with a few head-scratching moments and noticeable plot holes. It didn’t reinvent the genre or offer much suspense, but it leaned hard into its buddy-comedy energy, which worked in its favor.

What kept the movie enjoyable was the dynamic cast and snappy, often hilarious dialogue. The fight choreography was solid, and while the story felt familiar, the cast kept things fresh, especially with a diverse lineup that placed smart, formidable characters of color at the forefront.

The film subtly promoted themes around teamwork, mutual respect, and valuing each other’s strengths, giving it just enough depth to elevate it beyond surface-level entertainment.

While Heads of State wasn’t necessarily big-screen worthy, it was a fun enough ride for a night in. It was the kind of film you could throw on for laughs and action. Definitely not a cinematic game-changer, but one that knew its lane and stayed in it.

Materialists

 

Materialists, written and directed by Celine Song, tells the story of a successful NYC matchmaker torn between her seemingly perfect match and her flawed ex. Set against the backdrop of a fast-paced, emotionally disconnected world, the film explored the fragile nature of relationships, love, and self-worth with quiet precision.

Dakota Johnson led with a subtle yet commanding performance, sharing powerful chemistry with Chris Evans and Pedro Pascal. Their emotional triangle felt grounded and real; never overly dramatic, but rich with tension and intimacy.

The film posed quietly devastating questions: What defines your worth as a partner? Is love enough? Or is marriage just a business deal? It didn’t offer easy answers and left much unresolved, which may frustrate some, but that ambiguity felt true to life.

In the end, Materialists was a beautifully made, emotionally intelligent film. While I wouldn’t put it in a typical rom-com category I still appreciated its Past Lives vibes as another Celine Song entry into this new wave of intimate, character-driven cinema that invites reflection more than resolution.

Straw

Straw is a Netflix produced psychological drama featuring a powerful cast led by Taraji P. Henson and Sherri Shepherd, the film dives deep into the quiet, everyday struggles of Black women who are often overlooked, unheard, and pushed to their limits.

The story follows a single mother navigating a cascade of misfortunes that gradually pull her into a situation she never could have imagined. One where she finds herself under suspicion, trapped in a society that is indifferent to her pain. What Perry captured so effectively here was the emotional weight of “Nobody cares, nobody sees us”, a theme that speaks to the systemic erasure of Black women’s voices and experiences.

Henson and Shepherd were absolutely electric together, playing off each other with natural chemistry and raw emotional depth. Henson’s portrayal of quiet desperation turning into something far more dangerous was one of her strongest performances in recent years, while Shepherd surprised with a nuanced, grounded turn that added levity and heartbreak in equal measure.

At its core, Straw was a cautionary tale about how lack of empathy and societal neglect can push anyone to the edge. It’s not just a personal story, it’s a reflection of what happens when people are systematically ignored. Perry’s unique storytelling approach here gave new life to familiar themes, and he was not afraid to let the narrative simmer in tension rather than rely on his more typical melodramatic beats.

This film was well made and marked a bold and refreshing step for Tyler Perry, This psychological crime drama was as intense as it was thought-provoking. The film built beautifully toward a brilliant twist ending that re-contextualizes much of what came before without feeling cheap or forced. It was the kind of twist that felt earned and left you sitting with the weight of what you’ve just witnessed.

Jennifer’s Body

 

Jennifer's Body, directed by Karyn Kusama and written by Diablo Cody, hit theaters in 2009. The film tells the story of Jennifer Check, played by Megan Fox, a high school student who becomes demonically possessed. To sustain herself, she begins murdering her male classmates.

While this role is often considered Fox's signature and one of her favorites, as it allowed her to break free from her "sex symbol" image, Amanda Seyfried's performance as Needy was the true standout. Seyfried brought incredible nuance, vulnerability, and strength to the role, anchoring the story's emotional core. The dynamic between Needy and Jennifer, layered with intimate friendship, jealousy, and queer undertones, gives the film its lasting emotional resonance.

The film's creative plot, sharp dialogue, and unapologetically feminine perspective still feel fresh today. Jennifer's Body remarkably flipped the expected horror script. Instead of portraying women as victims, it showed Jennifer seizing control, even if her power was monstrous. Beneath the gore and black comedy, the film offered a biting critique of patriarchal violence, objectification, and the sexual commodification of women. It was a horror movie that dared to center girlhood, female rage, female friendship, female agency, trauma, and survival which was a rarity for the genre at the time.

Sixteen years later, Jennifer's Body stands as a feminist cult classic. It was a film well ahead of its time in its bold subversion of horror and teen movie tropes.

Risky Business

Risky Business is a teen comedy, crime drama directed by Paul Brickman and starring Tom Cruise alongside Rebecca De Mornay. The film follows high school senior Joel Goodsen as he navigates a wild, risk-filled week home alone that spirals into unexpected territory after meeting Lana, a call girl.

The film is laced with coming-of-age themes including sexual awakening. Like The Graduate before it, and The Girl Next Door after it, Risky Business tapped into that same formula: the sheltered young man lured into an adult world he’s unprepared for.

There’s no denying that the movie captured the vibe of the '80s perfectly. The soundtrack was signature for its era, echoing the synth-heavy scores that defined so many teen films of the time. In its day, it must have felt edgy, cool, and even provocative—but by today’s standards, the script came off a little corny and unrealistic. Additionally, some of the tension and humor don’t quite land the way they probably did for audiences in 1983.

That said, the acting held up decently. Cruise brought an awkward charm to Joel, and Rebecca De Mornay’s Lana was smart and effortlessly cool, with a slightly detached air that made her all the more intriguing. Their chemistry was solid, but the performances weren’t enough to fully modernize the movie’s dated sensibilities.

Overall, Risky Business is a classic snapshot of '80s teen rebellion and fantasy, but it's more of a nostalgic relic now than a film that resonates on the same level today. Often hailed as Tom Cruise’s breakout role, and while the film certainly helped cement his place in Hollywood, watching it today reveals a movie that hasn’t aged as gracefully as some of its peers. If you’re a fan of the era or curious about Cruise’s early work, it’s worth a watch but keep your expectations low.

The Last Showgirl

 

The Last Showgirl, directed by Gia Coppola and starring Pamela Anderson, Dave Bautista, Jamie Lee Curtis, Billie Lourd, Brenda Song, and Kiernan Shipka, is a raw, intimate drama that peels back the glittering surface of Las Vegas to explore the emotional cost of aging in an industry that worships youth and novelty.

The plot unfolded as a unique slow burn, and directed with a gritty indie sensibility. Coppola did a great job capturing a looming sense of sadness and desperation, offering a thoughtful meditation on what happens when the spotlight fades.

I appreciated that the cast was female led with a wide variety of ages and ethnicities. The supporting cast, including Jamie Lee Curtis, Billie Lourd, Brenda Song, and Kiernan Shipka, all contributed to the layered depiction of a fading era and the people caught in its wake. The relationships in the film felt lived-in, complicated, and often unresolved, which added to the story’s emotional weight. At the heart of the story was Pamela Anderson’s incredible performance as Shelly Gardner, a seasoned showgirl whose entire identity is tethered to a revue that’s about to close after three decades. Anderson fully inhabited the role of a woman who is stuck in her ways, clinging to the world she knows as everything around her changes. Shelly’s stubbornness and judgment of modern life created emotional distance from those who she cared about her most, and it’s this fractured humanity that made the character so compelling. Anderson’s Golden Globe nomination felt absolutely earned. The portrayal of this character was some of her most vulnerable, career-defining work to date. Dave Bautista also shined as Eddie, the kind-hearted producer who brought surprising nuance to a role that could have easily been one-note. His quiet compassion balanced the more jagged edges of Shelly’s world, grounding the film in emotional honesty.

What really stood out was the film’s thoughtful exploration of aging in the entertainment industry, a topic rarely given this level of sensitivity. Much like The Wrestler (2008), The Last Showgirl understood the deep ache of a performer who no longer knows who they are when the curtain falls.

This isn’t a glitzy, feel-good Vegas movie. It’s raw, unflinching, and doesn’t rush to redemption, nor does it glamorize its setting. It shows the cost of staying in a role too long and the courage it takes to figure out who you are beyond the stage.