Train Dreams

 

Train Dreams is a sprawling, meditative period drama that feels like a quiet, yet heavy, transition from the old world into the new. Directed by Clint Bentley and based on the Denis Johnson novella, the film follows Robert Grainier, played by Joel Edgerton, as he navigates a life of labor and loss in the turn-of-the-century Pacific Northwest.

While the slow-paced narrative could easily be interpreted as boring by some, the sheer scale of the cinematography created a profound sense of isolation, making you feel lonely even when characters are on screen.

The writing was incredibly strong, particularly in the heartbreaking scenes between Robert and Claire, played brilliantly by Kerry Condon, which actually moved me to tears. The chemistry between Edgerton and Felicity Jones, who played Gladys, was also so palpable it made you truly root for them. While, I wasn’t a huge fan of the choice to include narration from Will Patton, I suppose it fit the era’s oral storytelling tradition.

I deeply appreciated the film’s commitment to historical honesty and diversity. It took a hard look at the Chinese Exclusion Act, showing the systemic mistreatment faced by Chinese railroad workers. Beyond that, the inclusion of Indigenous actors like Nathaniel Arcand, who played Robert's friend and storekeeper, Ignatius Jack, added a layer of authenticity to the setting that many period pieces miss.

Even though I wouldn't have personally voted for Train Dreams to be nominated for Best Picture, I can still appreciate the strong writing and inclusive casting that will make it a significant piece of cinema.

My Oxford Year

 

My Oxford Year is a Netflix-produced romantic comedy drama based on the novel by Julia Whelan. The story follows an ambitious American student whose life plan gets a major shake-up when she meets a man at Oxford.

While the plot hit all the familiar beats of the genre, the chemistry between Netflix alums Corey Mylchreest (Queen Charlotte) and Sofia Carson (Purple Hearts) was decent enough to keep me invested.

I did find myself wishing for a bit more character development and a more diverse cast to really round out the world, but the film still managed to pull at the heartstrings. It was a sweet reminder to take life one moment at a time and not to be so devoted to a plan that you miss out on love.

At its core, it delivered exactly what it promised: a charming, predictable escape to the English countryside. It’s a perfectly cute at-home movie for a rainy Sunday, even if it’s not necessarily one I’d go back and watch a second time.

Rental Family

 

Rental Family is a comedy-drama directed by Hikari and starring Brendan Fraser. The film follows an American actor in Tokyo who joins a "rental family" agency; a real-life Japanese service where people hire actors to play family members.

What could have easily fallen into "white savior" tropes was thankfully avoided as Fraser’s character wasn’t there to "fix" Japan, but rather to participate as a flawed soul with few social connections, in a broken society. It was incredibly refreshing to see an American character who actually tried to assimilate, speak the language, and respected the culture instead of pushing Americanism on everyone. It explored themes of loneliness, empathy and found family.

I appreciated the authenticity with the costuming, sets and usage of the Japanese language. The casting was superb with Fraser continuing his streak of choosing deep, thoughtful, and "good" characters who feel fully formed, and the entire ensemble played off him with impressive chemistry. I was especially impressed by Takehiro Hira who was the owner of the rental family agency with his own secrets and Mari Yamamoto who played Fraser's capable and intelligent peer.

This film was a pleasant surprise that was poignant and beautifully crafted. It managed to be a real tearjerker in the most heart-wrenching yet hopeful way that it effectively stuck with me long after the credits rolled.

Wuthering Heights (2011)

 

Wuthering Heights is the 2011 adaptation of Emily Brontë’s classic novel follows a boy of unknown origins who is rescued from poverty by the Earnshaw family, only to develop an intense, boundary-blurring relationship with his foster sister, Cathy.

This visceral, period drama that strips away the polished veneer often found in Brontë adaptations to focus on a raw, atmospheric experience. It also veers from the novel in that it only centers intensely on the childhood and young adulthood of Heathcliff and Catherine.

One of the film's greatest strengths was its casting, which felt significantly more accurate to the source material than previous versions. The relatively unknown lead actors delivered powerhouse performances, capturing the themes of racism, revenge, obsession, and mental health with a chemistry that felt both magnetic and deeply unsettling.

Directorially, the film is a very "artsy" endeavor, it was not dialogue-heavy, choosing instead to lean into heavy symbolism, the bleakness of the moors, and intense psychological intimacy. By completely omitting the second generation of characters found in the novel, the film narrowed its lens entirely onto the central pair's destructive bond. I noticed a poignant layer to Heathcliff’s characterization here; he was portrayed as someone permanently cast aside, forced to witness the worst in people from the shadows specifically because of his race. This added a grounded, painful reality to his descent into bitterness and vengeance.

Ultimately, while I could see the connection of the main characters, the way they expressed their love felt fundamentally unhealthy coming from a modern day lens. When I think of "romance" today, I usually envision mutual respect and happy endings, but Brontë was writing a Gothic Romance, which is a genre defined by high emotion that transcends social norms and a sense of doom where two people are "meant to be" even if it destroys them both. 

Ultimately, I’m glad I watched this version since it is widely considered the closest adaptation to the source material. Combining the film with a deep dive into the 'CliffNotes' of the novel finally helped me understand what all the hoopla is about regarding this classic. However, even with that context and the film's strong performances and atmospheric beauty, I still can’t get on board with the fervor for this story. It was simply too dramatic for my taste.

The Wrecking Crew

 

The Wrecking Crew brings estranged half-brothers Jonny and James together following their father’s mysterious death, sparking a search for truth that unearths a family-shattering conspiracy.

This project was the direct result of a pitch Jason Momoa made two years ago to star alongside Dave Bautista, and that real-world chemistry shined through. While the comedy leaned toward the childish side, it remained consistently enjoyable, especially with the inspired choice to play soft ballads during high-intensity fight scenes.

Momoa continued his trend of weaving his personal brand into his roles, bringing along his signature hair ties, motorcycle obsession, and even his favorite Guinness beer. He even populated the world with familiar faces from his past projects, including Temuera Morrison and his cousin, Mainei Kinimaka.

Beyond the gags, the film exceled in its representation, featuring authentic Pacific Islander and Filipino casting. One of the most refreshing elements was the character dynamics; the women in the film were portrayed as the most intelligent, capable, and mature members of the cast, grounding the chaos created by the lead duo.

The action sequences were larger-than-life, at times pushing the boundaries of believability, but they remained fun thanks to clever choreography. I noticed one scene in particular that paid homage to an iconic hallway fight sequence from a famous Korean action movie, Oldboy (2003), which was fun to watch.

Ultimately, for a direct-to-video release, it was a solid, entertaining ride that didn’t take itself too seriously.

Die Another Day

In Pierce Brosnan’s final outing as 007, he faces off against the dangerous, betrayal-driven assassin Zao and the cunning diamond merchant Gustav Graves, all while dodging a massive, destructive satellite laser.

Revisiting Die Another Day over twenty years after its theatrical release felt like opening a high-tech time capsule from the early 2000s. The film served as a flashy farewell that balanced over-the-top villainy with significant franchise milestones, most notably the introduction of Halle Berry’s Jinx. As the first Black Bond girl, she was a true game-changer; portrayed not as a damsel in distress, but as a female mirror image of Bond himself, which remained a refreshing highlight of the film.

The movie also served as a love letter to Bond history, featuring clever homages to classic gadgets and marking the end of the BMW era. Seeing Bond return to the Aston Martin, a legacy car that first appeared in 1964’s Goldfinger, felt like a homecoming for the character. Interestingly, the high-octane car sequences here seemed to have left a lasting mark on cinema, arguably influencing the style of later films like The Fast and the Furious: Tokyo Drift. However, the film isn't without its flaws; rewatching it today revealed that the CGI in the larger action sequences looked incredibly fake by modern standards, which could be a bit distracting.

Reflecting on Brosnan’s quartet of films, a clear pattern emerged where each installment seemed to follow a repetitive ending formula. Now that I’ve seen his entire run, I can definitively say that while Brosnan was undeniably the most attractive Bond, he occupied a different space than his successor. Die Another Day was an enjoyable, nostalgic ride, but it highlights why the franchise eventually shifted gears. While Brosnan had the charm and grace, Daniel Craig brought the physicality and grounded strength that ultimately, for me, felt more believable for the role.

The World Is Not Enough

 

In Pierce Brosnan’s third outing as 007, The World is Not Enough, the stakes are high as Bond races to defuse an international power struggle over the global oil supply.

While the premise was intriguing, the plot felt predictable at times. For me, this was the film where the franchise finally jumped the shark. Many of the action sequences, particularly the opening boat chase, came across as silly and unrealistic. Additionally, the villain lacked the necessary presence to feel truly dangerous, and Bond’s ability to bed every woman he meets reached a point of being distractingly unbelievable.

One of the strongest highlights was that the female characters, played by Sophie Marceau and Denise Richards, were written as fully formed and intelligent professionals. This depth helped balance out the more painful puns and corny dialogue that plagued the script.

While it may not be the strongest entry in the Brosnan era, its brisk pace and capable cast make it worth a view.