Superman

 

James Gunn’s Superman stars David Corenswet as the titular hero reconciling his Kryptonian heritage with his human upbringing as Clark Kent. Embodying "truth, justice, and the human way," Superman faces a world questioning these principles. With Rachel Brosnahan as Lois Lane and Nicholas Hoult as Lex Luthor, the film follows Clark as he navigates public suspicion, sensationalized narratives, and his profound search for belonging.

The direction and plot injected a new energy into DC's iconic hero. This film stood as one of Gunn's most impressive DC projects, finally capturing the spark seen in his Marvel Guardians of the Galaxy franchise.

A major strength was the film's exploration of propaganda and media manipulation. Superman becomes both a symbol of hope and a scapegoat, depending on who controls the narrative. This timely critique mirrored global political tensions, including real-world parallels to the Israel invasion and genocide of Palestine. The script smartly interrogated truth as a battleground, adding complexity often missing in the genre.

The debate over Superman’s "illegal alien" status served as a powerful metaphor. It connected to both his extraterrestrial origins and contemporary anxieties about immigration and belonging. The ongoing dialogue between Superman and humanity probes the responsibilities and rights of an outsider striving to help.

The diverse cast was a significant asset, bringing authenticity and fresh perspectives. Brosnahan's Lois Lane was smart and independent. I appreciated that she wasn’t playing the typical damsel in distress. The ensemble's chemistry kept both comedic and dramatic moments fresh.

Technically, the movie was stunning. Sharp visuals and vibrant cinematography by Henry Braham made action sequences thrilling and visually inventive. Fight sequences and set pieces were creative and well-staged, often paired with catchy musical beats reminiscent of the Guardians style.

Gunn didn’t shy from levity. Well-timed comedic notes broke tension and endeared characters without undercutting stakes.

Character development was another highlight. Corenswet’s Superman brought emotional depth as he grappled with his dual identity. Hoult’s Lex Luthor emerged as a villain with true psychological complexity. While some supporting arcs felt slightly rushed, the overall ensemble shined.

In the end, Superman was more than just another superhero film. It's a timely, thoughtful examination of identity, propaganda, and belonging, all wrapped in an exciting, visually splendid blockbuster. Gunn crafted a Superman for our times. It was an exhilarating, thoughtful ride, signaling that DC’s future is finally looking up.

The Fantastic Four: First Steps

Directed by Matt Shakman, known for WandaVision, Game of Thrones, and The Great, The Fantastic Four: First Steps gives a fresh spin on the superhero franchise, with Pedro Pascal, Vanessa Kirby, Joseph Quinn and Ebon Moss-Bachrach as the titular characters. The story centers on the team trying to balance saving the world with their family life, as a formidable villain threatens everything.

I liked that the film introduced new versions of these characters who hadn’t appeared in earlier movies as it made the story feel somewhat new. However, the movie started off slow, and I didn’t feel fully invested as things unfolded.

The cast worked well together and shared some entertaining moments, but overall character development was limited. This made it hard to really care about the team or what they were going through.

Some creative choices didn’t work for me, for example, the actor who played Jonny Storm didn’t really suit the blond look; I think he would’ve looked better as a brunette. Additionally, the film tried to include some diversity, but it felt more like an afterthought, and the supporting cast didn’t reflect the richness you’d expect from a fictional big city.

On the positive side, the movie looked great: the costumes and sets managed a stylish mix of futuristic and retro, almost like something out of The Jetsons. The action scenes were fine but not especially memorable, and for a Marvel movie, I expected more excitement.

In the end, The Fantastic Four: First Steps was not particularly engaging compared to all the other superhero movies out there. Honestly, it was just okay. The kind of movie you could easily skip in theaters and just catch later on streaming.

The Old Guard 2

 

The Old Guard 2 follows Andy once again leading her group of immortal warriors against a powerful new enemy with the fate of their secretive group at stake. This time, their mission became even more complicated by the return of a long-lost immortal, adding tension and intrigue to the story.

While the film introduced several new diverse characters, I felt the development for these additions was lacking; their backstories and motivations never quite came into focus. The action, a hallmark of the series, didn’t stand out as much this time around, with several sequences feeling repetitive. One particular battle scene felt like it had been lifted straight from Dune, lacking the original energy that made the first film so fun to watch.

There was an interesting plot twist toward the end, offering at least some fresh narrative energy. However, the script often veered into corny territory with lines that felt painfully written and unconvincing. Visually, though, the movie delivered: it was clear that substantial resources had been spent on both the cinematography and the costuming.

I was hoping for a conclusive ending, but instead the film opted to tee up yet another sequel, leaving major plot lines unresolved. Although The Old Guard films are loosely based on the acclaimed graphic novels, this installment, like the last, just didn’t translate the source material’s depth or excitement.

Looking back, I should have listened to my instinct after the first movie. Despite the visual appeal, The Old Guard 2 ultimately falls flat, relying too heavily on familiar formulas and leaving its most interesting ideas underdeveloped.

The Accountant 2

 

The Accountant 2 is the continuation of the story of forensic accountant Christian Wolff, who teams up with his estranged, highly skilled brother to track down mysterious assassins.

Unlike the first film's mystery focus, this sequel shifted to a quicker, more action-oriented pace with added comedy. While I did enjoy the plot I felt like some of the action sequences were unbelievable. The leads were able to dispatch countless adversaries with near-superhuman accuracy. At times, it reminded me of old Power Rangers episodes, where the heroes effortlessly defeated endless waves of Putties.

The film featured a diverse cast, though most supporting characters lacked strong development. While the director stated all children in the film were on the spectrum, the movie's portrayal of autism, despite aiming for nuance, still drew criticism. It perpetuated stereotypes like savantism or "superpowers," and I agreed with critics that it failed to fully explore the complexities of life with autism.

Overall, The Accountant 2 felt more suited for a straight-to-video release. While entertaining in parts, it didn't quite live up to my expectations.

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.