The Departed

 

The Departed is a 2006 Oscar winning crime drama starring Leonardo DiCaprio, Matt Damon and Jack Nicholson in a high-octane cat-and-mouse thriller set in South Boston that follows as an undercover cop and a mole in the police as they attempt to identify each other, before they themselves are found out, while infiltrating an Irish gang in.

The film did an authentic job of portraying the city's internal racism and the raw tension of law enforcement. The plot twists were top-tier and the story was surprisingly easy to follow for such a complex premise. While it’s a remake of the Hong Kong film Infernal Affairs, Martin Scorsese made it entirely his own, diving deep into themes of identity confusion and the blurred lines between loyalty and betrayal. My only criticism is looking at it today, the cinematography and action sequences didn't hold up as well as I would have liked.

Leonardo DiCaprio gave a performance with incredible range, and his chemistry with Jack Nicholson was electric; even though Nicholson was essentially playing "The Joker”, it still worked for his role of Frank Costello. Mark Wahlberg’s performance felt a bit one-note as he’s largely the same in everything. I also found myself wishing for more character development for the people of color in the story.

In the end, this film perfectly captured the grit and moral ambiguity of the Boston Police Department and the Irish mob. I can definitely see why it is a fan favorite and why it swept the Oscars two decades ago.

Hit Man

 

Hit Man is an action comedy film from Richard Linklater starring Glen Powell as a mild-mannered professor who moonlights as a fake hit man for the police, the story takes a dangerous turn when he falls for a woman, played by Adria Arjona, who tries to hire him.

Though the plot was a bit predictable, it was very easy to follow and made for a fun watch. I really appreciated the deeper themes around choosing the life you want to live. It explores the idea that we are all capable of great change if we actually put our minds to it. This was a clever, genre-blending film that sat somewhere between a romantic thriller and a dark character study. While it was marketed as a comedy, I wouldn’t necessarily call it a "comedy" per se as it didn’t have me rolling in laughter, though it certainly had its humorous moments.

Powell was fantastic here, showing off his charisma and impressive range as he jumped between various "hit man" personas. He and Arjona had great chemistry, which made the morally complex situation they found themselves in much more engaging.

In the end, this was a nice Saturday night Netflix stream, even if it won’t necessarily be something I’d feel the need to watch a second time.

Peaky Blinders: The Immortal Man

Peaky Blinders: The Immortal Man serves as a gritty continuation of the beloved series, bringing Cillian Murphy's Tommy Shelby out of exile during the chaos of the Birmingham Blitz. 

Directed and written by the same team behind the original show, Tom Harper and Steven Knight, the film doesn't miss a beat when it comes to world-building. The costumes and sets perfectly immerse you in WWII-era England, capturing that signature Peaky Blinders atmosphere.

The casting remained a high point, with original players returning alongside fantastic newcomers like Rebecca Ferguson and Barry Keoghan. Keoghan was a particular standout, bearing a striking physical resemblance to Murphy, and the two played off each other brilliantly. There was some diversity with Jay Lycurgo as Elijah and Stephen Graham returning as Hayden Stagg, but unfortunately, there were still no BIPOC women represented in significant roles.

While the plot is interesting, the film as a whole didn't land quite as well as the television show. It felt predictable and a bit slow-moving in its execution, lacking some of the urgency and tension that made the series so gripping. It also missed the dark comedy that was sprinkled throughout the TV show, those moments of levity that balanced out the heaviness and gave the characters more dimension. That said, I appreciated the deeper themes woven throughout, coming to terms with trauma and doing the right thing without expecting recognition or reward. I also genuinely appreciated seeing an evolution of Tommy Shelby's character, watching him grapple with his past and move toward something resembling redemption.

By the end, I found the movie to be just okay. It provides a satisfying conclusion to Tommy's story while leaving the door open for potential future stories centered on the Shelby family. If you're a fan of the series, it's worth watching for closure, but it doesn't quite reach the heights of the show's best moments.

Hamnet

 

Hamnet is a historical drama directed by Chloé Zhao. The film follows William Shakespeare, played by Paul Mescal, and his wife, Agnes, played by Jessie Buckley, as they navigate the devastating loss of their young son, Hamnet, a tragedy that eventually inspires the creation of Hamlet.

The cinematography was stunning and vast, yet the story remained intimate and easy to follow. It was a breathtaking exploration of the intersection between personal tragedy and timeless art.

While the chemistry between the leads was undeniable, Jessie Buckley was the star. She handled Agnes with such range and grace that you felt every ounce of her grief. Paul Mescal played a more reserved version of a father managing his pain, turning it into purpose, which was a vital and moving contrast to Buckley's raw performance.

Hamnet is a beautifully paced film that explores the enduring power of memory and pulls at the heartstrings in the best possible way. It is a well-deserving film of its massive awards sweep including Jessie Buckley’s well-earned Oscar and Golden Globe for Best Actress.

The Secret Agent

The Secret Agent is a slow-burning 70s neo-noir political thriller set in Brazil during the final years of Brazil’s U.S.-backed military dictatorship. The story follows Marcelo, played by Wagner Moura, as he attempts to escape the country with his son with the help of an underground resistance.

The film explored the heavy themes of surveillance, political paranoia, and the erasure of history through disinformation.

While it won the Golden Globe for Best Foreign Film and earned an Oscar nod, I personally didn’t find it worthy of that level of accolade. The pacing was quite sluggish until the final thirty minutes, and Wagner Moura’s performance felt a bit too safe. I didn’t see the emotional range or character development needed to fully invest in his journey.

The cinematography purposefully used a dated, grainy 70s aesthetic that added to the mood, but the story itself left a lot of questions. As one Reddit user pointed out, the film assumes the audience is "piecing together" an incomplete story from tapes and newspapers, much like the characters themselves. While that intentional vagueness was an interesting take on plot holes, it ultimately left me feeling more disconnected than invested.

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.

Tomorrow Never Dies

 

Tomorrow Never Dies (1997) serves as Pierce Brosnan’s second outing as 007. The film follows Bond as he attempts to stop a power-mad media mogul who is trying to manufacture World War III just to boost his headlines.

While the plot was entertaining and the script leaned into fun, notwithstanding some corny, 90s charm, there were several moments where the logic started to fray. For instance, the film featured Bond speaking Mandarin in the middle of Vietnam, and a scene where a man asks Bond for $5,000 USD when, as a British secret agent, he logically would have been carrying Pounds.

One of the absolute highlights of the film was seeing a young Michelle Yeoh as Wai Lin. Released just a few years before her massive breakout in Crouching Tiger, Hidden Dragon, she was a breath of fresh air as a character who was genuinely capable, independent, and Bond’s equal in the field. However, the film’s handling of other female characters was less successful; the unnecessary sexualization of a Vietnamese woman felt tacky and dated, serving as a reminder of tropes that could have easily been left on the cutting room floor.

While this film delivered the high-octane spectacle, expected from the franchise, it was a bit of a mixed bag. Despite these flaws, the movie remains a solid, fast-paced piece of entertainment that showcased Brosnan’s peak era as the world's most famous spy.

GoldenEye

 

GoldenEye is an action spy thriller that follows James Bond, played by Pierce Brosnan, as he is assigned to track down a Russian crime syndicate that has stolen a high-tech satellite weapon capable of global financial devastation.

What stands out most today is how direct and unapologetic the film is about its politics. Unlike modern spy movies that often use vague, fictionalized, or "stateless" villains to avoid controversy, GoldenEye is very direct, planting its roots firmly in the fallout of the Soviet Union. This clarity gives the stakes a weight that sometimes gets lost in the more ambiguous "shadow organizations" of today’s cinema.

Pierce Brosnan’s debut was a masterclass in style. He moved with a rhythmic, dancer-like grace that earned him his reputation as the "smooth" Bond, especially when compared to the grittier, more muscular iterations that came later. While the fight sequences might not feel as crisp or bone-crunching as the hyper-realistic choreography we see in current films, they were still incredibly clever in their execution. It felt like watching the literal blueprint for the modern action blockbuster. It was fascinating to see how much the Mission: Impossible franchise owes to this film. From the high-stakes "two-key" system used to launch the satellite, a clear ancestor to the keys in Dead Reckoning, to the flirtatious, high-speed car chases with Xenia Onatopp that felt echoed in MI-2, the DNA of GoldenEye is everywhere.

It’s a stylish, high-stakes ride that proves Brosnan’s gadget-heavy era was a foundational pillar for everything that followed. Even for a first-time viewer, the film was incredibly entertaining and easy to follow, successfully transitioning 007 out of the Cold War and into a tech-driven era of spectacle.

The Smashing Machine

 

The Smashing Machine takes us back to the late 90s to tell the story of UFC legend Mark Kerr. Starring Dwayne Johnson as Kerr and Emily Blunt as his partner, Dawn Staples, the film captures Kerr’s meteoric rise and the devastating spiral of addiction and obsession that nearly cost him his life. 

Directed with a clear eye for immersion, visually, the film's cinematography utilized an indie-documentary style with a "gloomy, cloudy" palette that perfectly evoked the grit of the early MMA era. It was paired with an unconventional, chaotic jazz score that felt dated in a way that heightened the tension. 

Despite the heavy themes of obsession and the high-stakes world of fighting, there were moments where it felt like there wasn't quite enough story to sustain the runtime, leading to some boring lulls. 

The production’s commitment to authenticity shined through the casting, featuring real-life fighters like Ryan Bader playing Mark Coleman, which added a layer of legitimacy to the cage sequences that I appreciated. The transformation of Dwayne Johnson is the film’s biggest talking point. Thanks to incredible hair and makeup, Johnson physically disappears into Kerr. His performance was at its best when he was conveying the quiet agony of addiction; the "masks" he puts on to hide his depression from those around him were genuinely well-done. However, while Johnson was solid, he lacked the transformative emotional range that usually attracts major acting awards. Emily Blunt, predictably excellent, shared great chemistry with the cast, but the depiction of their relationship was exhausting. The constant, petty arguments highlighted a toxic dynamic that was difficult to watch at times.

Ultimately, The Smashing Machine felt like it struggled with its own pacing. It aimed for the raw, emotional gut-punch like The Wrestler, but didn't land with the same impact. It was a respectable effort that succeeded in its aesthetic and authenticity, but it fell just short of the legendary status of the sports dramas it tried to emulate.

The Rip

 

Joe Carnahan's latest gritty thriller, The Rip, is more than just another cop drama, it's a fascinating experiment in modern filmmaking that reunites real-life best friends Matt Damon and Ben Affleck. The film centers on a group of Miami narcotics officers who stumble upon a secret room filled with $20 million in cash, and what follows is a tense mystery where greed, betrayal, and outside pressures turn a routine seizure into a fight for survival.

One of the most compelling reasons to watch The Rip is the story behind the camera. Produced by Damon and Affleck's company, Artists Equity, the film made headlines for its landmark deal with Netflix where back-end revenue and performance-based bonuses are shared with the entire cast and crew. Knowing that all 1,200 people who worked on the film benefit from its success adds a layer of goodwill that's hard not to appreciate while watching.

The film shined brightest in its pursuit of authenticity. Set in the heart of Miami, the attention to detail was sharp, particularly with the diverse casting and the cops' seamless use of Spanish; a necessary touch for anyone actually working on the streets of South Florida. As expected, Damon and Affleck had a lived-in, effortless dynamic, playing off each other with the ease of life long friends, which anchored the film even when the script felt a bit thin. While the cast was incredibly talented, including standouts like Steven Yeun and Teyana Taylor, most characters felt underbaked. The filmmakers make a solid attempt at depth with Damon's Lieutenant Dane Dumars, whose backstory was inspired by the real-life grief of the officer who lived the true story, but the supporting team could have used more development. The plot itself followed a fairly predictable path, and if you've seen a "dirty cop" or "heist gone wrong" movie before, you'll likely see the major beats coming.

Matt Damon recently noted in interviews that Netflix encouraged "streamer-style" storytelling for this film which included repeating the plot several times and front-loading the first act with a massive action sequence to keep people from looking at their phones. In The Rip, you can definitely feel those gears turning as the film hit the ground running and constantly reminded you of the stakes. While that made for a movie that is very easy to follow, it occasionally sacrificed nuance for clarity.

Ultimately, The Rip is a high-octane, one-time watch that succeeds thanks to the undeniable star power of its leads and its impressive production values. It's a solid Friday night choice that keeps your eyes on the screen, but don't expect a new classic for the re-watch list.

The Running Man

Set in a decaying near-future, The Running Man centers on the worlds most popular and lethal reality show. With a simple premise, survive 30 days while being hunted by professional assassins and a bloodthirsty public for a massive cash prize. Following Ben Richards, played by Glen Powell, a man pushed to the edge by a failing system. Driven by the desperate need to fund medical care for his dying daughter, Richards accepts an offer from the show’s ruthless producer to become a "Runner."

The reimagining of this film successfully pivoted away from the neon-soaked camp of the 1987 Schwarzenegger classic, opting instead for a thriller that honored Stephen King’s original novel. There were great themes around consumerism, media consumption and how it can be used to manipulate a population, all which felt quite relevant in today’s day and age. I thought it was ironic that Stephen King set his 1982 novel for the year 2025. The film exceled at world-building, and I definitely picked up on the heavy Hunger Games vibes which wasn’t surprising given that King’s source material helped birth the "deadly game" genre.

If there were any doubts about Glen Powell’s status as a powerhouse lead, this film put them to rest. Powell brought a grounded, blue-collar intensity to Ben Richards that made him instantly easy to root for. He balanced the physical demands of the role with a weary, emotional core that kept the stakes feeling personal rather than just spectacle-driven.

The film had a refreshingly diverse cast. However, while the representation was appreciated, the script left something to be desired in terms of depth for its supporting characters of color, who often felt more like plot catalysts than fully realized people.

At times, the dialogue leaned into corny territory but thankfully, the plot was so lean and easy to follow that these moments of cheese didn’t derail the momentum. I also thought that the twist toward the end was clever and helped to elevate the story beyond a simple "cat and mouse" chase.

In the end, The Running Man is a rare remake that justifies its existence by returning to its roots that Stephen King fans have long asked for. It’s a solid, high-octane thriller that proves the 1982 novel still has plenty of teeth in the 21st century. While it isn’t without its stumbles, it’s a fun ride that felt relevant in our modern media landscape.

Hedda

 

Nia DaCosta's latest film is a bold reimagining of Henrik Ibsen's 1890 play Hedda Gabler. After directing The Marvels, DaCosta has made a complete 180 and I'm here for it. Set in 1950s England, the film follows Hedda, played by Tessa Thompson, a woman caught between the ghost of a past love and the slow suffocation of her current life.

The costumes were stunning, they felt authentically 1950s but somehow contemporary at the same time. The film had a "gilded cage" vibe that reminded me of the films Passing and The Great Gatsby. Underneath all the glitz and glamour of lavish parties in grand estates, lied a tension that was bubbling up. DaCosta used this luxurious world to dig into themes of racial identity, queer desire, and what it meant to be trapped by wealth and societal expectations. She tackled big questions about how you live your life authentically in these settings where you feel you have no real control or freedom.

I appreciated the diverse casting and strong character development. The chemistry between Tessa Thompson and Nina Hoss was magnetic and their scenes had an intensity that kept me glued to the screen. Thompson's performance was worthy of the Golden Globe nomination that she received. She became a woman who was drowning in desperation and mental anguish, someone who had to manipulate everyone around her just to feel like she had any control over her own life.

In the end, you are left with some uncertainty as DaCosta doesn't give us easy answers. By playing with ambiguity and shifting how we see Hedda's story, she created something that felt both classic and new.

Tron: Ares

Tron: Ares is the third installment in the iconic franchise. It marks a significant shift for the series, following a highly sophisticated program named Ares, played by Jared Leto, as he leaves the digital world for a dangerous mission in the physical one.

While the premise was intriguing, the film unfortunately struggled to live up to the legacy of its predecessors. Despite a star-studded cast including Greta Lee, Evan Peters, Gillian Anderson and Jeff Bridges, the movie was hindered by a predictable plot and a script that felt uninspired. I liked the exploration of an AI program navigating the complexities of the human world and the moral choices that come with it, but the execution just didn't play out well.

Visually, however, the film was a triumph. The cinematography was crisp and futuristic, offering a stunning aesthetic that honored the franchise's roots. The fight choreography was creative, and the film included clever nostalgic nods, such as the iconic light trails from the motorcycles that slice through real-world traffic. The costuming was another high point, particularly for Jodie Turner-Smith, who delivered a standout performance as a ruthless, objective-driven program. Jared Leto’s naturally stoic acting style fit the one-dimensional nature of an AI, and Greta Lee entertained despite a limited range. Unfortunately, the performances couldn’t quite save the clunky narrative that relied heavily on copy-paste elements from Tron: Legacy, resulting in a film that felt like a beautiful but hollow shell.

One of the most disappointing aspects was the soundtrack. While Tron: Legacy had the legendary Daft Punk score, Ares featured music by Nine Inch Nails and incorporated tracks from Depeche Mode. While the attempt to pay homage to the 80s was clear, the industrial, dark vibe simply didn't hit the mark for a Tron film. It felt more suited for a movie like The Crow. Ultimately, Tron: Ares offered a nice visual homage to its 80s roots, but it lacked the narrative innovation and score needed to stand on its own, making it unsurprising that it struggled to find an audience at the box office.