Avatar: Fire and Ash

 

In the third installment of the Avatar franchise, Avatar: Fire and Ash, the conflict on Pandora reaches a boiling point as Jake and Neytiri’s family encounter the "Ash People," a new and aggressive Na'vi tribe. Starring, Sam Worthington, Zoe Saldaña, Sigourney Weaver, Stephen Lang, and Kate Winslet who all reprised their roles.

The cast delivered strong performances in a sequel that maintained the franchise's reputation for stunning visual effects and high-octane action. While the film struggled to move past the long-standing "white savior" trope and followed a plot structure very similar to The Way of Water, the overall experience was emotionally resonant, successfully pulling at the heartstrings and making its lengthy runtime feel much shorter than it was.

Beyond the spectacle, the film offered sharp political commentary that felt incredibly relevant today, exploring the dark history of colonialism and drawing parallels to real-world instances of superpowers invading nations and installing dictators through weapon sales. These heavy concepts were paired with intimate themes of grief, racism, and the universal struggle of parents learning to trust their children with more responsibility as they grow. Central to the narrative was the question of how one responds to injustice, whether by sinking deeper into anger or rising above it to become a better person. However, despite these depths, a significant point of contention remains the cast’s lack of diversity; the principal Na'vi roles are still predominantly played by white actors, a "blueface" casting choice that many feel is problematic when telling stories so clearly coded in indigenous struggle.

To his credit, James Cameron has publicly acknowledged the real-world inspirations behind his tribes, citing the Lakota Sioux for the first film, Polynesian and Māori cultures for the second, and his 2012 trip to Papua New Guinea as the blueprint for the Ash People and their fire-dancing rituals. While Cameron employs cultural and linguistic consultants, many indigenous creators argue that borrowing these aesthetics without casting indigenous leads or involving them in the writers' room remains a form of cultural appropriation.

In the end, while Fire and Ash may lacked plot variety, it remained a visually breathtaking journey that proved there is still plenty of depth and complex social commentary to be found in the world of Pandora.

A Very Vintage Christmas

 

A Very Vintage Christmas is a charming Lifetime original movie that delivers a quintessential holiday experience, following an antique shop owner named Dodie who discovers a hidden box of eclectic mementos. Taking it upon herself to deliver the items to their rightful owner, Dodie embarks on a heartwarming mission that defines the spirit of the season. Stars Tia Mowry-Hardrict as Dodie and Jesse Hutch as Edward.

I appreciated the diverse casting and thought Tia as Dodie and Jesse as Edward shared great on-screen chemistry as they navigated their differing worldviews; Dodie as a lover of all things vintage and Edward as a devotee of modern technology. Supported by the talented Patricia Richardson, the cast brought a lot of heart to this family-friendly romantic comedy.

Visually and tonally, the film leaned into classic Hallmark and Lifetime aesthetics, featuring vibrant colors, festive costumes, and a cozy score that enhanced the holiday atmosphere. While the plot was predictable, it remained a very cute and enjoyable watch that managed to weave in meaningful themes. The story highlighted that "easy isn’t always better" and emphasized the importance of following through on your commitments and never giving up on love.

Ultimately, this was a sweet, feel-good movie that is perfect for anyone looking for a relaxing and wholesome Christmas treat.

One Battle After Another

 

Directed by Paul Thomas Anderson and inspired by Thomas Pynchon’s Vineland, One Battle After Another is a sprawling black comedy action thriller that feels like a story 30 years in the making yet remains depressingly relevant. Set in a retro-futuristic 2041, the film blends modern elements with analog 90s technology to create a disorienting, murky timeline. The plot follows "Ghetto" Pat Calhoun played by Leonardo DiCaprio, a paranoid, forgetful, and disorderly former explosives expert who is forced back into his combative lifestyle when he and his daughter, Willa, are pursued by a corrupt military officer.

The film is a dense work of sociopolitical satire, using absurdist humor to tackle political polarization and extremism. However, the film walks a thin line, occasionally relying on "edgy" humor and the hyper-sexualization of Black women that some may find problematic. While the script feels unrealistic at times, the themes of postpartum depression, shame, and the weight of consequences provide a grounded emotional layer. The experience is heightened by Jonny Greenwood’s score, filled with chaotic piano tracks that perfectly mirror the tension on screen.

I particularly appreciated the diversity of the cast, which brought various perspectives to this fictional revolutionary conflict in Baktan Cross. The performances are the film’s strongest asset. Leonardo DiCaprio is excellent as the washed-up, confused, and paranoid Pat, capturing the frantic energy of a man living on the edge. Benicio del Toro provides a cool, calm, and collected contrast as Sergio St. Carlos, serving as the steady leader and father figure that Pat likely wishes he could be. Chase Infiniti shines as Willa, playing her as a smart, independent, and highly capable young woman. Sean Penn is chillingly effective as Colonel Steven J. Lockjaw. His portrayal of a "lizard-like," socially awkward racist serves as a biting anti-racist satire, positioning him as a buffoon to highlight the absurdity of white supremacy.

Ultimately, One Battle After Another feels like a series of disheartening missed opportunities throughout its runtime, yet it manages to pull everything together for a really satisfying conclusion. It is a messy, stylized, and unapologetic political critique that forces you to look at state violence and individual prejudice through a very strange lens.

Violet Night

 

Violent Night is a dark holiday comedy that follows a world-weary Santa as he accidently encounters an elite team of mercenaries that have broken into a wealthy family compound on Christmas Eve, taking everyone hostage. Santa must tap into his old ways to do what must be done to save both the hostages and his holiday.

The film featured a highly creative plot that was easy to follow and successfully blended holiday cheer with brutal, action-packed sequences. While the script was admittedly pretty juvenile, the humor landed well, and the fast-paced action made it easy to overlook the simpler dialogue.

The movie was anchored by an enjoyable lead performance from David Harbour as a jaded, hammer-swinging Santa. He was supported by a talented, diverse cast including John Leguizamo, Alex Hassell, and Beverly D'Angelo. Their performances brought a lot of heart and fun to what could have been a standard home-invasion thriller.

Ultimately, Violent Night was a funny, high-energy ride that reimagined holiday folklore in a way that was both refreshing and thoroughly entertaining.

Frankenstein

 

Guillermo del Toro’s Frankenstein is a breathtaking Gothic science fiction masterpiece starring Oscar Isaac as the egotistical Victor Frankenstein whose obsession with mortality leads to his undoing with the creation of the Creature, played by Jacob Elordi.

The film was a visual marvel that felt like a natural evolution of his work on The Shape of Water. Defined by a dark Gothic setting, eccentric costumes, and a striking use of color, particularly deep reds that punctuate the gloom. Del Toro’s distinct directorial hand was evident in every frame, creating a world where pain and pleasure exist on a razor's edge.

The performances elevated the source material to new emotional heights. Jacob Elordi’s physicality was profound; he moved with the grace of a ballet dancer, conveying a deep, soulful sadness and agonizing pain with very little dialogue. Mia Goth provided a beautiful contrast as a quirky, innocent character who saw the good in others, hauntingly asking, "Of all the parts that make that man, which one holds its soul?" Meanwhile, Oscar Isaac perfectly captured the dangerous obsession of a scientist whose ego leads to catastrophic consequences.

Thematically, the film was rich and challenging, exploring the meaning of life and death, loneliness, and the cycle of defiance and forgiveness. It forced the audience to grapple with the "slave vs. master" dynamic and the uncomfortable reality that bullied people often become bullies themselves.

Ultimately, the film left me questioning the nature of humanity, reminding the audience that "only monsters play god" and making us wonder who the real monster truly is in this tragic tale of companionship and obsession.

Wicked: For Good

As the second part of this sweeping cinematic adaptation, Wicked: For Good follows the deepening relationship between Elphaba, the future Wicked Witch of the West, and Glinda the Good. 

This installment leaned heavily into mature themes regarding the power of propaganda and misinformation, expertly illustrating how "the truth is what everyone agrees on." The film masterfully explored how perception becomes reality, particularly as Elphaba’s genuine attempts to help are twisted into perceived hindrances by those in power.

The central cast was truly the heart of the film; Jonathan Bailey, Cynthia Erivo, and Ariana Grande played off one another with incredible chemistry and delivered superb vocal performances throughout. I particularly enjoyed watching the personal evolution of Glinda which provided a touching anchor to a film that challenged us to look at the world "another way." Jeff Goldblum was also a standout, perfectly capturing the manipulative essence of the Wizard in his role as the ultimate puppet master. While Michelle Yeoh’s singing may not reach the same vocal heights as her co-stars, her acting remained top-tier and commanding, adding a necessary gravity to the story's complex political landscape.

Visually, the film was stunningly beautiful and colorful, maintaining a sense of wonder even when the world of Oz became chaotic. While the songs in this second half didn't feel quite as catchy to me as those in the first, the emotional weight of the story made up for it. The narrative successfully balanced the clear presence of a villain with a cast of complex characters whose well-meaning actions were often misunderstood. 

In the end, while not as impactful as the first film, it still managed to tug at the heartstrings and remained an enjoyable conclusion to the story.

Mission Impossible: Final Reckoning

 

In the final film of the Mission Impossible franchise, Final Reckoning, Ethan Hunt is caught in a high-stakes race against time with only 72 hours to find and kill "The Entity," a threat that could end the world if not stopped. Starring Tom Cruise, Hayley Atwell and Ving Rhames.

This installment pushed the tension to its limit, as it truly felt like any of the legacy cast members could die this time around. Central to the story were the powerful themes that "our lives are the sums of our choices" and that "we are masters of our fate, nothing is written." These ideas manifested in Ethan’s refusal to sacrifice those he held close, choosing instead to do the right thing at all costs.

While the plot followed the familiar franchise formula of things ticking down to the final second, it cleverly tied back to previous films, reinforcing the team’s bond and their iconic confidence that they "will figure it out."

The film exceled in its technical execution, offering action-packed fight choreography and suspenseful, at times claustrophobic, sequences.

I enjoyed the cast and thought the director did a decent job in hiring diverse folks. Everyone played well off of one another. I particularly enjoyed that they had Angela Bassett’s character in a strong leadership driven position. However, the character development, especially for the women, could have been deeper.

Despite being marketed as the final film, it felt like the door was left slightly open for future stories. Ultimately, it was a thrilling, high-stakes conclusion that successfully honored the long-running themes of the series.