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.

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.

Rustin

 

Netflix’s docudrama Rustin focuses on Bayard Rustin, a key yet often overlooked leader of the American Civil Rights Movement. With standout performances from Colman Domingo, Chris Rock, and Glynn Turman, the film tells the story of Rustin’s steadfast fight for racial equality, human rights, and democracy. Despite his critical role, Rustin’s identity as an openly gay Black man led to his near erasure from the movement he helped shape.

 

I truly appreciated seeing Rustin’s story told so powerfully. This film did a great job giving him the spotlight he deserved. It was well-made and easy to follow, allowing the emotional and inspiring narrative to shine. A deeply moving film, especially in today’s political climate.

 

The film did an excellent job developing Rustin’s character, though I would have liked to see more development for the supporting cast. With that being said, Colman Domingo gave a fantastic performance, bringing Rustin to life with depth and authenticity. I was especially moved by how Rustin lived authentically, even when facing tremendous challenges and a lack of support from his own community. His perseverance and achievements left a lasting impact on history.

 

Rustin is a powerful film that feels especially meaningful during Pride Month. It serves as an essential reminder of resistance and resilience, offering valuable insights for everyone.

Blue Crush

Released in 2002, John Stockwell's Blue Crush dove into the world of professional surfing in Oahu, Hawaii, following three friends, Anne Marie, Eden, and Lena, who worked at a hotel resort and chased waves in their free time. Based on Susan Orlean's "Life's Swell," the film attempted to capture the thrill of the sport and the lives of those dedicated to it. The film stars Kate Bosworth, Michelle Rodriguez and Sanoe Lake, respectively.

The plot was genuinely engaging, offering an interesting narrative that kept me engaged throughout. However, the acting was often painful to watch. I feel like this is a common risk when filmmakers cast athletes to act, and unfortunately, it showed here. While Kate Bosworth's Anne Marie saw decent character development, the rest of the cast's characters felt underdeveloped, leaving me wanting more depth from their stories.

Visually, the film aged in some areas. The CGI, likely impressive for 2002, appeared somewhat dated on high-resolution televisions, revealing where improvements could be made. Another visual drawback was the cinematography choices. The film repeatedly cut to the same scene, as an attempt to emphasize a character's recurring thoughts. While the intent was clear, it became quite annoying and repetitive as there could have been more creative ways to convey internal struggles.

Despite being over two decades old, Blue Crush held up surprisingly well from a theme and messaging perspective. The film also featured a decent amount of diversity. However, one notable misstep was the portrayal of native Hawaiians as problematic or antagonistic figures, which was a disappointing and unnecessary creative choice.

Ultimately, Blue Crush offered a unique story with a strong central performance from Kate Bosworth. While it stumbled with some of its acting, aging CGI, and repetitive visual motifs, it still provided a fun, if flawed, look into the world of surfing, maintaining its cult classic relevance.

Sinners

 

Set in the 1930s American South, Ryan Coogler's Sinners is a gothic horror that follows twin brothers, played in dual roles by Michael B. Jordan, who return to their hometown seeking peace but instead uncover a sinister evil. 

The film unfolded methodically, prioritizing character development before its haunting plot fully emerged. Coogler masterfully employed symbolism, using blues music and the Southern gothic backdrop as potent metaphors for resistance. The score was intentionally evocative, underscoring the pain, beauty, and resilience of Black communities facing historical oppression. 

Filmed for IMAX, the vastness and depth of the land that sharecroppers toiled under during Jim Crow was strikingly apparent, adding another layer to the film's historical context. Deeply woven themes of racism, assimilation, cultural erasure through colonization, and spiritual resistance permeated the narrative, prompting viewers to confront the real-world horrors underlying the supernatural elements. Ultimately, the film's most profound terrors stemmed from the lived experiences of marginalized communities.

What truly elevated Sinners was Coogler’s continued commitment to representing the diversity of the Black experience. Black women were portrayed as complex, smart, strong, and sensual. There was also a deeply thoughtful depiction of cross-racial solidarity with Chinese characters, underscoring the shared resistance against white supremacy and systemic violence. It was a quiet but powerful narrative thread that added richness and relevance to the film's historical setting.

The casting was strong with a mixture of iconic veteran actors like Delroy Lindo and some newer to the scene actors. Jordan delivered one of his most nuanced performances to date. He was able to portray two distinctly different brothers who were the anchor to the film’s emotional core. His chemistry with Wunmi Mosaku added warmth to an otherwise ominous atmosphere, while newcomer Miles Caton stood out both as an actor and musician. His performance was soulful, adding a musical heartbeat to the film that tied beautifully into storytelling.

That said, I wasn’t a huge fan of how the villains were portrayed visually. Given the film’s heavy themes and emotional weight, I was hoping for a more frightening depiction of evil. While the concept behind them was strong, the execution lacked compared to what I’ve seen in other supernatural villain portrayals like Interview with the Vampire (TV series) or the Underworld film franchise. Those comparisons show just how terrifying and visually arresting supernatural antagonists can be when fully realized.

In the end, Sinners was a visually rich, emotionally powerful period horror with layered themes and standout performances. While the villains fell short of their potential visually, the film remained a unique and compelling entry in the genre.

Thunderbolts*

 

Set after Captain America: Brave New World, Thunderbolts* assembles a team of morally ambiguous individuals from the MCU. As they are thrust into a perilous mission they are forced to work together and confront their dark pasts.

Despite lacking big stars, the ensemble cast's surprising chemistry fueled the film's depth. The movie cleverly used their dysfunction for both tension and relatable comedy, which enhanced the action without diminishing the stakes.

The action sequences were sharp with standout moments that remind you why Marvel’s fight choreography can still shine when done right. And while the villain drew some criticism for their more abstract, psychological power set, it fit thematically. The idea of confronting your past and choosing growth over repression gave the film an emotional core that hit harder than many recent Marvel entries.

Thunderbolts*, unburdened by Avenger legacy or fan-favorite team-ups, refreshingly focused on marginalized characters thrust into a fight for redemption. Its smaller scale, personal stakes, and surprising heart offered a welcome change in the superhero landscape, potentially providing the tonal and narrative reset Marvel needs.

Will & Harper

 

Will & Harper is a documentary that follows comedian Will Ferrell and his longtime friend Harper as they embark on a cross-country road trip shortly after Harper comes out as a trans woman.

I found the storytelling to be a raw, emotional journey through decades of friendship, transition, and the often painful realities of living authentically in today’s world. It was heartfelt and unflinching

For many viewers, seeing Will Ferrell as a grounded, vulnerable person will be a welcome surprise. Known for his outrageous comedic characters, Ferrell steps back here, allowing us to see a quieter, more empathetic side. His support for Harper wasn't performative; it was rooted in deep love and a genuine desire to understand. Watching him listen, stumble through tough conversations, and grow in real time was powerful.

Harper's candid and courageous sharing of her experiences with mental health, identity, and social stigma formed the powerful and educational core of this documentary. The film didn’t shy away from showing the ugliness many trans people endure from subtle biases to outright hostility. It also balanced quiet moments of beauty, resilience, and the healing power of friendship. It didn’t try to paint a picture of a perfect world; instead, it showed how meaningful it can be to have someone stand by you, even when they don’t have all the answers.

Will & Harper was more than a story about transition. It was a reminder of what real allyship looks like; learning, showing up, and loving someone through change. It is an essential film for our moment, and one that deserves to be widely seen.

Exterritorial

 

In the 2025 German action thriller Exterritorial, a former soldier's desperate search for her missing son, who vanished at a U.S. consulate, leads her to uncover a dangerous conspiracy. The film is directed and written by Christian Zübert and stars Jeanne Goursaud, Dougray Scott, and Lera Abova.

The plot itself was undeniably unique, weaving in twists and moments of tension that kept me engaged. Unfortunately, the film often failed to land its more dramatic beats. The believability of key moments wavered, and the acting was mostly flat, weakening the emotional core of the story.

A major drawback lied in the dubbed version, which was jarringly bad. The awkward dialogue and mismatched tone made it hard to take certain scenes seriously. Watching it in its original German likely would have improved the experience considerably, preserving both the actors’ intended performances and the film’s atmospheric tension.

While Exterritorial may not hold up on the big screen, it fit the mold of a passable Netflix thriller — something to throw on when you're in the mood for light suspense without high expectations. It's watchable, but not memorable, and unlikely to warrant a second viewing.

G20

G20 is an action thriller for Amazon Prime that centers on President Sutton, played by Viola Davis, as she leverages her deep governing knowledge and military background in a desperate fight to protect her family, her country, and the global community from the escalating danger within the summit's confines.

The narrative itself didn't break much new ground. The "terrorists take over" plotline felt well-worn, lacking significant originality. However, what elevated the film is the commanding presence of Viola Davis. Stepping into the shoes of President Sutton, Davis brought a gravitas and intensity that anchored the entire production. She was well rounded with her political acumen and military background that felt authentic and compelling. It was particularly refreshing to witness Davis in a physically demanding, action-oriented role where she was unequivocally the driving force.

The supporting cast delivered decent performances. Antony Starr effectively embodied the complicated villain, staying within his established wheelhouse of portraying morally ambiguous and unsettling characters. For fans of the sitcom Black-ish, the reunion of Anthony Anderson and Marsai Martin provided a touch of familiar warmth amidst the tension.

While the plot beats may feel predictable at times, G20 does manage to inject moments of genuine unpredictability, keeping the audience somewhat engaged. However, the action choreography, particularly during flight sequences, occasionally felt sluggish and lacked the crispness expected in a modern action thriller.

Ultimately, G20 was a film carried by the sheer force of Viola Davis's performance. While the plot may not be groundbreaking and some action sequences falter, seeing her take charge in a physically demanding role, showcasing her leadership and resilience, was undeniably the film's strongest asset. It's a solid action thriller that, despite its familiar framework, offered a satisfying experience thanks to its powerful lead and moments of unexpected twists.

A Real Pain

 

A Real Pain is a buddy comedy-drama that follows mismatched cousins, David (Jesse Eisenberg) and Benji (Kieran Culkin), as they reunite for a tour through Poland to honor their grandmother. As they confront their family history, old tensions resurface.

Jesse Eisenberg impressed in his triple role as writer, director, and star. Kieran Culkin, the recent Best Supporting Actor Oscar winner, delivered a nuanced performance as Benji, effectively showcasing both manic and depressive traits. While Culkin was typecast in his portrayal of Benji, a character often lacking tact and appearing selfish despite ultimately good intentions, it was intentionally awkward and sometimes difficult to watch. Eisenberg, also often cast as an anxious character, played well opposite Culkin, and both characters demonstrated significant development. The film also thoughtfully incorporated the music of Polish pianist Frédéric Chopin.

The plot was creative, exploring themes of family, forgiveness, and grief. However, a deeper exploration of the cousins' individual relationships with each other and their grandmother would have been beneficial.

While the film was well-crafted, it didn’t quite live up to the hype surrounding the acting accolades. It was a solid film, but it lacked a certain spark. Additionally, the ending felt somewhat open, leaving the cousins' relationship without a satisfying sense of closure.

I'm Still Here

I'm Still Here is a Golden Globe-winning, Oscar-nominated political biography drama that chronicles Eunice Paiva's determined quest to uncover the truth behind her husband's disappearance.

While the story unfolded at a slow pace, it effectively portrayed the oppressive atmosphere of the era. The performances were believable, with the cast working well together to convey the emotional weight of the situation. The attention to detail in the costumes and props further immersed me in the historical setting.

Eunice's resilience in the face of danger was a central theme, and the film highlighted her remarkable accomplishments in the aftermath of her husband's disappearance. Her story served as a powerful reminder of the importance of remembering history, particularly given the current political climate in some countries. The film's timely message about the need to acknowledge and learn from the past, even in the face of resistance, resonated strongly.

The film suffered from a lack of in-depth character development, particularly for the children and even the main characters. This made it difficult to fully invest in their emotional journeys.

Despite these issues I'm Still Here’s recognition was understandable, as it shed light on a crucial historical moment and the enduring strength of the human spirit.

Emilia Pérez

 

Emilia Pérez is a Spanish musical crime drama directed by French filmmaker Jacques Audiard, starring Zoe Saldaña, Karla Sofía Gascón and Selena Gomez. The story centers on Manitas Del Monte, a formidable Mexican drug cartel leader who fakes his death to undergo gender-affirming surgery.

The film's attempt to blend melodrama, musical theater, and social commentary resulted in a tonally inconsistent experience. The musical numbers felt uninspired and poorly integrated, with noticeable vocal struggles and awkward transitions from dialogue to song. While the plot offered moments of unpredictability, it lacked substantial depth, and the superficial exploration of serious issues like Mexico’s disappeared victims undermined their potential impact. Additionally, the depiction of gender-affirming surgery lacked the necessary sensitivity and nuance, understandably drawing criticism from LGBTQ+ communities

Cultural misrepresentation was another significant flaw; despite being set in Mexico, the main cast is not predominantly Mexican. Native Spanish speakers also criticized the dialogue saying it was disconnected from its cultural context. Audiard’s lack of direct ties to Mexico exacerbated this issue, which resulted in a perspective that lacked an authentic portrayal.​

Zoe Saldaña and Karla Sofía Gascón delivered commendable performances, bringing emotional depth to their roles despite the script's limited character development. Saldaña, portrayal of Rita, a lawyer entangled in Emilia's transformation, offered a grounded intensity that added complexity to the narrative. Gascón's portrayal of Emilia captured the internal conflict of a character seeking redemption while haunted by past transgressions.

Despite the off-screen controversies that plagued its awards season, Emilia Pérez, ultimately faltered due to its own cinematic shortcomings. The musical numbers detracted from the overall experience, and its handling of sensitive topics like gender identity and Mexico’s social issues felt superficial. Though celebrated at Cannes and recognized with numerous awards, including Oscars for Best Supporting Actress (Saldaña) and Best Original Song ("El Mal"), Emilia Pérez fell short of being a truly Oscar-worthy film in my opinion. Despite its ambitious premise, the film's execution was inconsistent, leaving much to be desired.​

Captain America: Brave New World

 

Captain America: Brave New World continues the journey of Sam Wilson, played by Anthony Mackie, as he embraces his role as the new Captain America. Following the events of The Falcon and the Winter Soldier miniseries. The film delves into Wilson's efforts to navigate an international crisis, uncovering a complex domestic conspiracy.

One of the film's strengths lied in its diverse cast and the commendable character development. Anthony Mackie delivered a solid performance, capturing Wilson's internal struggle to live up to the legacy of his predecessor. Harrison Ford's portrayal of President Thaddeus Ross stood out, as he brought range and depth to a character with a complicated past.

However, the film fell into familiar territory with a plot that mirrored previous Avengers movies, leading to a sense of predictability. The action sequences, while well-choreographed, lacked the enthusiasm expected in a superhero blockbuster, resulting in moments that felt sluggish.

Thematically, the movie touched on profound concepts such as resilience, looking beyond external appearances, and recognizing one's intrinsic worth. These messages were woven throughout the narrative, offering viewers moments of reflection amidst the action.

The title, Brave New World, seemed to be a nod toward Aldous Huxley's renowned novel, hinting at themes of control and conformity. However, the film didn’t explicitly explore these dystopian elements, leaving the significance of the title somewhat ambiguous.

In the end, while Captain America: Brave New World was filled with strong performances and meaningful themes, it struggled with pacing and originality. For viewers who appreciated The Falcon and the Winter Soldier, this film offers a continuation of Sam Wilson's story, though it may not fully satisfy those seeking a fresh take on the superhero genre.

The Apprentice

 

The Apprentice is a biographical drama directed by Ali Abbasi that explores the formative years of Donald Trump in 1970s and '80s New York. The film focuses on Trump's rise power and the toxic relationship between him and infamous lawyer Roy Cohn.

The screenplay by Gabriel Sherman offered a stark portrayal of ambition, manipulation, and the ruthless pursuit of power. The film's use of a Scarface-like score amplified its villainous undertones, underscoring the morally bankrupt world inhabited by Trump and Cohn.

Sebastian Stan delivered an eerily accurate portrayal of Trump, capturing his voice, mannerisms, and underlying volatility. Jeremy Strong's performance as Roy Cohn was equally impressive, embodying the cutthroat lawyer with chilling precision. Both actors received Best Actor and Supporting Actor nominations, respectively, at the Academy Awards, Golden Globes and BAFTAs, along with Strong also earning a SAG nomination.

The film's cinematography deliberately evoked the gritty aesthetic of 1980s cinema, which added authenticity to the narrative. While the film offered a compelling exploration of its subject matter, it is worth noting that it didn’t necessarily provide new insights into Trump's psyche but instead helped folks understand the root cause behind his bad behavior.

In the end, The Apprentice offered a thought-provoking exploration of how power can corrupt and how unbridled ambition can lead to devastating outcomes. This film is essential viewing for anyone seeking to understand the origins of Donald Trump, a figure who continues to polarize public opinion. Despite facing attempts to suppress its release, the film persevered, which is a testament to the bravery and dedication of its cast and crew. By pushing forward in the face of adversity, they ensured that this important narrative reached audiences, providing a critical examination of the darker aspects of ambition and power.

Notting Hill

 

Notting Hill is director Roger Michell's 1999 romantic comedy starring Julia Roberts and Hugh Grant. It tells the story of a London bookstore owner who unexpectedly falls for a world-famous American actress.

The film, written by Richard Curtis, was easy to follow and enjoyable to watch. It was full of witty dialogue and relatable characters. Surprisingly, almost 30 years later, this film has managed to hold up exceptionally well, maintaining its warmth and humor decades later.

The strong performances and undeniable chemistry between its leads, made it a genuinely enjoyable experience. Hugh Grant's bumbling charm as William Thacker and Julia Roberts' radiant presence with great range, as Anna Scott, created a captivating on-screen dynamic. However, the film's glaring flaw was its lack of diversity. The near-total absence of people of color, with the sole exception being a character reduced to a stereotypical and offensive portrayal, was a significant oversight. This lack of representation definitely detracted from the film's overall appeal and reflected a dated perspective. On a positive note, the inclusion of a disabled character, Emma Chambers' Honey Thacker, was handled with sensitivity. She was portrayed as a fully developed individual, with a vibrant personality, rather than simply being defined by her wheelchair, which was a welcome and refreshing addition.

Despite its flaws, Notting Hill still managed to deliver a heartwarming and entertaining story. The strength of its performances and storytelling prove why it remains a charming and enduring classic.

A Complete Unknown

 

James Mangold's A Complete Unknown is a period drama that offers a glimpse into Bob Dylan's transformative years in the early 1960s. The movie chronicles Dylan's arrival in New York at 19, his ascent in the folk music scene, and his bold transition to electric instruments—a move that sent shockwaves through the music world.

The film's pacing was a bit long but mostly engaging, thanks to Mangold's skillful intertwining of Dylan's personal journey with significant U.S. historical events of the era. This provided valuable context to his artistic evolution, highlighting how Dylan's music became intertwined with the social and political shifts of the time. The Guardian noted a commanding theme of how, in the right hands, music can become a powerful weapon, with its galvanizing force. This theme is well-explored through Dylan's journey, as his music evolves, reflecting and influencing the changing landscape of American society.

The costumes authentically reflected the period, immersing viewers in the early '60s era. However, despite being set in the multicultural backdrop of New York City, the film's lack of diversity was noticeable. Characters of color received minimal development and dialogue, which was a missed opportunity to fully capture the era's rich cultural tapestry. This oversight detracted from the film's otherwise immersive portrayal of the time.

Regarding the performances, Timothée Chalamet delivered a compelling portrayal of Bob Dylan, capturing the young artist's rebellious, sometimes immature and bratty spirit, as well as his musical genius. His embodiment of Dylan's mannerisms and voice, combined with his live singing and guitar playing during filming, showcased his dedication to the role. His character was both relatable and intriguing. Additionally, Chalamet played well off of the supporting cast, which helped to enhance the narrative's depth. Edward Norton portrayed Pete Seeger as a benevolent figure, highlighting Seeger's efforts to promote emerging artists, including people of color, while also illustrating his resistance to the evolution of music. Elle Fanning played Sylvie Russo, a character inspired by Suze Rotolo, Dylan's girlfriend at the time. Russo was portrayed as self-sufficient, intelligent and influential in Dylan's activism, yet still easily influenced when it came to her relationship with Dylan.

While A Complete Unknown is not a film I would watch repeatedly, it was certainly worth viewing once for its historical significance and the performances of Elle Fanning and Timothée Chalamet. The movie provided a valuable insight into Bob Dylan's formative years and the cultural shifts of the 1960s, making it a worthwhile watch for anyone interested in musical history.

The Wild Robot

 

The Wild Robot is an animated comedy drama featuring the voices of Lupita Nyong'o, Pedro Pascal, Kit Connor, Bill Nighy, Stephanie Hsu, Matt Berry, Ving Rhames, Mark Hamill, and Catherine O'Hara. After a shipwreck leaves the intelligent robot Roz stranded on a remote island, she must adapt to survive.

The engaging story, which carried echoes of the animated film WALL-E, was a compelling exploration of collaboration and the interconnectedness of life. The film explored themes of growing up, independence, finding one's place, and the profound bonds of motherhood, all woven into a beautifully animated story. This gem tugged at the heartstrings while delivering a thought-provoking narrative.

Roz's journey to connect with the island's animal inhabitants, and her unexpected role as a caregiver to an orphaned baby goose, was both touching and inspiring. The film was a definite tearjerker, filled with genuinely heartfelt moments that will resonate with audiences of all ages.

The diverse voice cast brought the characters to life with warmth and authenticity, adding to the film's overall charm.

The Wild Robot is more than just a children's film. It's a poignant and beautifully crafted story that explores universal themes of belonging and the power of connection. It's sure to leave a lasting impression.

One of them Days

 

One of Them Days, starring Keke Palmer and SZA, centers on best friends and roommates Dreux and Alyssa as they scramble to recoup their rent money after a boyfriend's betrayal. What follows is a chaotic race against time, testing their friendship and pushing them to hilarious extremes.

The plot delivered a breezy, comedic ride reminiscent of the Friday franchise. It treaded on familiar territory, offering few surprises. Its strength shined with its vibrant energy and undeniable "Black Girl Magic." From the leads to writer Syreeta Singleton, and the infectious soundtrack, the film celebrates Black female talent.

SZA, in her first major acting role, proved to be a natural comedian and actor. Her lines were delivered in a believable and funny. She was likable and possesses excellent comedic timing, displaying a surprising aptitude for physical comedy. Keke Palmer, as always, demonstrated her impressive range and comedic prowess in a consistently entertaining performance. Maude Apatow also added to the film's charm, continuing her streak of likeable roles.

One of Them Days is an easy-to-follow, feel-good comedy. While its predictability may be a drawback for some, the film's undeniable chemistry, humor, and celebration of Black female talent make it a worthwhile watch. It's a fun, lighthearted experience that will leave you smiling.

The Substance

 

Coralie Fargeat's The Substance is body horror satire starring Demi Moore as Elisabeth Sparkle, a fading aerobics star who, after being unceremoniously dumped by her chauvinistic boss, played by Dennis Quaid, resorts to a mysterious serum promising a younger, "better" version of herself.

The plot was uniquely visceral and unsettling as it dove deep into the dark heart of Hollywood's obsession with youth and the double standards faced by aging women. Initially I wasn’t sure how deep into the genera of body horror this would go but what ensued was a descent into grotesque, hyper realistic imagery that will certainly challenge any viewer's comfort zone.

For me, the film's strength lied in its unflinching portrayal of female anxieties surrounding aging, juxtaposed with the enduring privilege of men. Fargeat masterfully used the film's extreme visuals – including the reported 5,500 gallons of fake blood – to amplify the film's thematic core. The prosthetics were disturbingly effective, culminating in a final sequence that was as shocking as it was unforgettable. I was left wondering, "Who even dreams up something like this?"

The movie, while lacking diverse casting and featuring a mostly forgettable supporting characters, was notable for its strong female leadership in writing, directing and casting. Moore's performance was career-defining. She navigated a complex emotional landscape with raw vulnerability, showcasing a range I had not previously seen in her career. Margaret Qualley also delivered a phenomenal performance, further solidifying her status as a powerhouse actress deserving of more recognition.

While The Substance was undeniably unique and captivating, its extreme nature may not appeal to all audiences. It was a bold swing, and Demi Moore certainly deserved the praise for her commitment. Whether it's "Oscar-worthy" is debatable, but it was an undoubtedly memorable and thought-provoking piece of cinema. While I personally lean towards Cynthia Erivo's potential EGOT win for "Wicked," Moore's work here was undeniably impactful.

In the end I was left feeling like The Substance was a cautionary tale about the perils of chasing unattainable perfection. This film was an utterly bizarre experience that left me a bit confused and disturbed but also a bit impressed.

Juror #2

 

Juror #2, directed by Clint Eastwood, is a legal thriller that delves into the moral complexities faced by a juror during a high-profile murder trial. The film features a strong ensemble cast, including Nicholas Hoult, Toni Collette, J.K. Simmons, and Kiefer Sutherland.

Hoult delivers a compelling performance as Justin Kemp, effectively portraying a man torn between his conscience and the desire to protect his future. His on-screen chemistry with Zoey Deutch, who plays his wife Allison, adds depth to his character's personal stakes. Toni Collette brings nuance to the role of prosecutor Faith Killebrew, embodying a determined legal professional with her own complexities. Despite the limited character development, the cast elevates the material, making the most of their roles.

However, the film's character development is somewhat lacking, leaving the supporting cast underexplored. This shortcoming makes it challenging for the audience to fully connect with the characters' motivations and backstories. Additionally, the inclusion of people of color in stereotypical, one-dimensional roles within the jury feels like a missed opportunity for more meaningful representation.

The film doesn't venture beyond familiar territory. While it addresses themes of justice and personal responsibility it doesn't delve deeply enough to offer new insights into the genre. Additionally, the narrative builds tension effectively, but the cliffhanger ending may leave some viewers dissatisfied, as it offers ambiguity rather than resolution. While this open-ended conclusion aligns with the film's exploration of moral ambiguity, it might not appeal to those seeking closure.

In the end, Juror #2 is a solid legal thriller bolstered by strong performances, particularly from Hoult and Collette. However, it falls short in character development and offers an ending that may not satisfy all audiences. While it doesn't break new ground, the film provides a thought-provoking look at the complexities of guilt and morality within the justice system.

Babygirl

 

Babygirl is an erotic thriller that delves into the intricate interplay of power, desire, and vulnerability within the high-stakes world of corporate America. Directed by Halina Reijn, the film stars Nicole Kidman as Romy Mathis, a formidable CEO of a Manhattan robotics company, and Harris Dickinson as Samuel, her ambitious young intern. Their affair challenges societal norms and personal boundaries, offering a provocative exploration of control and submission.

Nicole Kidman's portrayal of Romy was both fearless and multifaceted, revealing the complexities of a woman torn between her authoritative public persona and her concealed desires. Her performance was one of her most daring with her ability to convey a character grappling with deep-seated vulnerabilities. Harris Dickinson complemented Kidman with a magnetic presence, embodying Samuel's blend of youthful audacity and mysterious nature. Antonio Banderas delivered a steady performance as Jacob Mathis, Romy's husband, providing a grounded counterpoint to the film's escalating tensions. However, supporting characters, including Sophie Wilde as Esme Smith, Romy's assistant, received limited development, leaving potential subplots underexplored.

The film ambitiously tackled themes of power dynamics, addiction, and infidelity, set against the backdrop of Romy's traumatic past and her engagement in EMDR therapy. While these therapy sessions were depicted with artistic flair, I initially found them confusing as I was unfamiliar with the technique. Additionally, the film hinted at Romy's cult background but stops short of a thorough examination, missing an opportunity to delve deeper into the psychological forces that shaped her identity.

Despite being marketed as a thriller, Babygirl leaned more towards a psychological drama, with tension simmering beneath the surface rather than manifesting as overt suspense. The narrative focused on the internal conflicts and evolving dynamics between Romy and Samuel, offering a nuanced look at their entangled relationship. While the film did not evoke traditional thrills, its strength lied in its character-driven storytelling and the provocative questions it raised about desire and control.

The film bared a resemblance to Eyes Wide Shut, yet under Reijn's direction, it offered a more authentic experience from the female perspective, feeling less exploitative. Not surprisingly, Reijn has described Babygirl as her answer to Eyes Wide Shut, exploring what might have happened if Kidman's character had acted on her fantasies.

In the end, Babygirl is a bold cinematic endeavor that showcases Nicole Kidman's willingness to embrace complex and risqué roles. The film's exploration of taboo subjects and its subversion of conventional power structures make it a compelling watch, even if it doesn't fit neatly into the thriller genre. However, while thought-provoking and provocative, it may not be a film that invites repeated viewings.

Venom: The Last Dance

 

Venom: The Last Dance, the concluding chapter of the Venom trilogy, directed by Kelly Marcel, reunites audiences with Tom Hardy's Eddie Brock and his symbiotic partner, Venom, as they navigate a perilous journey, evading threats from both Earth and Venom's home world.

The plot, while straightforward and easy to follow, didn’t venture into new territory. This simplicity allowed for a focus on the dynamic between Eddie and Venom, with the latter providing much of the film's humor through witty one-liners and banter. Hardy's portrayal continued to be a highlight, capturing the chaotic yet endearing relationship between man and symbiote.

Familiar faces from previous installments made welcome returns, offering a sense of continuity and closure to the trilogy. However, the film fell short in developing its supporting characters, making it challenging for me to form meaningful connections with them.

The climax featured a montage that, while intended to be poignant, came across as somewhat corny. On a positive note, the film benefited from a diverse cast and the unique perspective of having Kelly Marcel, a female director and co-writer, at the helm, adding depth to the storytelling.

As the trilogy concludes, one can't help but wonder about the potential for future crossovers, particularly with Tom Holland's Spider-Man, which could inject fresh energy into the franchise. Overall, Venom: The Last Dance delivered a familiar yet entertaining experience for fans of the series. It served as a fitting end, balancing humor and action, though it left room for improvement in character development and narrative innovation.

La Dolce Villa

 

La Dolce Villa, is a romantic comedy directed by Mark Waters and starring Scott Foley, Violante Placido, Maia Reficco, and Giuseppe Futia. The film follows a successful businessman who travels to Italy with a mission that unexpectedly leads him into a romantic journey amidst the picturesque Italian countryside. 

The movie's greatest strength was in its cast, with Foley and Reficco who were able to deliver a compelling father-daughter dynamic that formed the emotional core of the story. Their chemistry was undeniable, making their journey of healing and growth genuinely enjoyable to watch. The romance that blossomed amongst some members of the cast added a sweet yet predictable layer to the narrative.

The movie's themes of grief, new beginnings, and rediscovering one's passions by taking leaps of faith are well-integrated and inspiring. These elements make it a pleasant addition to the romantic comedy genre. While the film excels in its light-hearted tone and uplifting messages, it falls short in its predictability and developing its secondary characters. Although the inclusion of diversity is a welcome touch, these characters remained somewhat one-dimensional, missing an opportunity for deeper exploration.

Despite its predictability, La Dolce Villa remained an enjoyable watch, especially for those seeking a feel-good experience. It is a cute, family-friendly film that will appeal to fans of light-hearted rom-coms. While it may not stand out as a groundbreaking work, it's a satisfying choice with its beautiful Italian setting that will leave viewers yearning for a trip to the countryside.

Mother of the Bride

Mother of the Bride is a Netflix romantic comedy featuring an ensemble cast, including Brooke Shields, Miranda Cosgrove, Benjamin Bratt, Chad Michael Murray, and Rachael Harris. The story follows Lana played by Shields, who is shocked when her daughter Emma, played by Cosgrove, announces a sudden wedding in Thailand. The situation becomes even more complicated when Lana discovers that the groom's father is Will, played by Bratt, her former love who once broke her heart.

The film was lighthearted and amusing, making it easy to follow, though it ultimately fell into predictability. The chemistry between Shields and Bratt was decent, but their relationship lacked the depth needed to fully engage me. Additionally Shields tended to overact at times, which detracted from the believability of her character's emotional journey. Meanwhile, Rachael Harris and Chad Michael Murray were typecast in their roles but still managed to deliver enjoyable performances.

One of the film's significant shortcomings was its lack of character development. The central characters, Emma and RJ played by Sean Teale, failed to resonate with me due to their limited backstory and weak chemistry. Their rushed wedding, one month after getting engaged, with no legitimate reason why felt unconvincing.

While Mother of the Bride offers some comedic moments and a picturesque setting in Phuket, it struggled with depth and originality. The overall experience may entertain viewers looking for a light rom-com but likely won't leave a lasting impression. As it stands, the film serves as a forgettable addition to the genre rather than a standout feature.

New Jack City

 

New Jack City is a crime drama that attempts to capture the crack epidemic’s impact on New York City, following the rise of drug kingpin Nino Brown, played by Wesley Snipes, and the determined detective Scotty Appleton, played by Ice-T, who vows to take him down. Directed by Mario Van Peebles, who also plays Stone, the film blends action, drama, and even elements of dark comedy.

One of the most glaring issues with New Jack City was the acting. While Wesley Snipes delivered a charismatic performance as the ruthless Nino Brown, Ice-T struggled in his role as a tough NYPD detective. His stiff line delivery and awkward handling of a gun made his portrayal feel unconvincing. Chris Rock, in a more dramatic turn as a recovering addict, offered one of the more memorable performances, but overall, the cast lacked chemistry and character development.

Visually, the film did not aged well. The cinematography was uninspired, and the scene transitions felt clunky, making the film appear more like a made-for-TV movie rather than a polished theatrical release. However, one area where New Jack City did shine was in its authenticity when it came to 90s fashion. The hairstyles, outfits, and overall aesthetic screamed early 90s, which added a nostalgic charm for those who lived through the era.

The film also featured several musician cameos, including Keith Sweat, Troop, and Flavor Flav, which must have been a huge selling point at the time. These appearances added to the film’s pop culture relevance, even if they didn’t contribute much to the story.

What New Jack City got right was its plot. The story was unique and engaging without falling into excessive predictability. It attempted to touch on the themes of the infiltration of guns and drugs into poor communities and how these factors create a vicious cycle of crime and violence. However, while the film touched on these themes, it never fully explored them in a way that would have made a more profound statement. Expanding on the systemic issues at play could have elevated New Jack City from just another crime film to a more thought-provoking social commentary.

In the end, New Jack City was a mixed bag. It was a film with a stylish aesthetic and a compelling central conflict, but it’s weighed down by weak acting, poor cinematography, and an overall lack of depth. While it remains a cult classic for its era, it doesn’t hold up as well today in terms of quality or execution.

Kinda Pregnant

Netflix’s romantic comedy Kinda Pregnant brings together Amy Schumer, Will Forte, and Jillian Bell in a lighthearted yet slightly offbeat story about love, deception, and unexpected connections. Co-written by Schumer, the film follows Lainy (Schumer), whose carefully laid-out plan to settle down and start a family goes awry. In a desperate move, she fakes a pregnancy, leading to a web of lies—and ultimately, an accidental romance with her dream guy.

The movie delivered plenty of laughs, though some of the humor leant into awkward and unrealistic territory. The plot, while entertaining, did tread a predictable path at times. That said, Schumer and Forte’s on-screen chemistry kept things engaging. Lainy’s character development was well-executed, making her a likable and relatable protagonist. However, the supporting cast could have used more depth—I found myself less connected to their characters, which was a missed opportunity for the film to feel more well-rounded. 

Despite its flaws, Kinda Pregnant was an enjoyable rom-com with enough humor and heart to make it worth watching. If you’re looking for an easygoing, funny film with a solid lead performance, this one is a fun pick.

Lee

 

Ellen Kuras’ directorial debut Lee, is a biographical drama chronicling the life of Elizabeth ‘Lee’ Miller, a fashion model turned fearless war correspondent for British Vogue magazine during World War II, starring Kate Winslet in the titular role.

Winslet delivers a powerhouse performance, effortlessly capturing Lee’s determination, resilience, and vulnerability. Her chemistry with the supporting cast—Marion Cotillard, Andrea Riseborough, Andy Samberg, Noémie Merlant, Josh O’Connor, and Alexander Skarsgård—added depth to the film. However, while Winslet’s character development was strong, the rest of the ensemble was less fortunate. Many supporting characters felt underdeveloped, making it difficult to connect with their journeys in a meaningful way. One of the film’s surprises was Andy Samberg, stepping into his first serious role with ease. His character was engaging and likable, showcasing a different side of the actor beyond his usual comedic persona. In contrast, Alexander Skarsgård’s performance suffered due to a distractingly inconsistent British accent that faded in and out, making it difficult to take him seriously. His character’s lack of depth further compounded the issue.

Despite these minor flaws, Lee exceled in its storytelling and thematic depth. The screenplay was well-written, balancing historical accuracy with emotional weight. The film powerfully conveyed themes of perseverance in the face of trauma and the moral imperative to act against injustice. Kuras’ direction, coupled with beautifully shot cinematography, makes Lee a poignant and compelling watch.

In the end, Lee was an admirable biographical drama that shined thanks to Winslet’s exceptional performance and a moving, well-crafted narrative. Kuras’ did a fantastic job in her directorial debut of a film that was both a visually stunning and emotionally resonant exploration of a woman who refused to stand idly by in the face of injustice and horror.