The Odyssey

 

The Odyssey is Christopher Nolan's epic action-adventure adaptation of Homer's legendary poem, starring Matt Damon as Odysseus alongside a stellar ensemble that includes Tom Holland, Anne Hathaway, Robert Pattinson, and Zendaya. Shot entirely on IMAX film, the story follows Odysseus on his grueling ten-year journey to return to his kingdom after the Trojan War, battling mythic monsters and god-driven forces along the way.

Nolan has often been criticized for a lack of diversity in his casting, so seeing such a well-renowned, award-winning, diverse cast here was a very welcome change. Matt Damon brought strong leadership to Odysseus, carrying a heavy burden of guilt that felt surprisingly similar to Oppenheimer. Some might argue Damon played it a bit one-note or that Anne Hathaway leaned too hard into her performance, but I thought their chemistry worked really well. John Leguizamo was a standout in his performance as Eumaeus, someone that was loyal and easy to root for right away. Zendaya served as a grounding moral compass, quietly commanding the screen as Athena, while Lupita Nyong'o pulled double duty and really impressed me with her limited screen time. I actually wanted to see more of her story. Robert Pattinson was wonderfully sly, conniving, and convincing in his role. But the most impressive performance of the whole film belonged to Samantha Morton, who played Circe brilliantly. She was cold, calculated, brutal, and genuinely dangerous.

The movie delivered a massive sense of scale, filling the screen with incredible sets, endless extras, and another pulse-pounding, unforgettable score from Ludwig Göransson. It brought up themes of loyalty and the struggle to return home, while offering a sharp critique of the personal damage caused by unchecked patriarchal arrogance.

Even with its massive runtime, the film kept me completely hooked from start to finish. This is a massive movie that is absolutely worth seeing on the biggest screen possible.

Die My Love

Die My Love is a psychological drama from director Lynne Ramsay, starring Jennifer Lawrence and Robert Pattinson. The story centers on a writer and new mother, Grace, living in rural Montana whose world begins to fracture as she falls deeper into severe postpartum psychosis and intense isolation.

As an audience member, you can see Grace’s spiral starting early on, and Lawrence did a phenomenal job bringing subtlety to a breakdown that slowly escalated into something far more extreme and dangerous. The cinematography did a lot of heavy lifting to mirror that loneliness, using quiet, empty compositions and deep blue tones that physically radiated depression and isolation.

Robert Pattinson, who played Jackson, surprisingly had a solid New York accent, as he sometimes struggles with accents. He also had remarkably grounded chemistry with Lawrence. He gave an empathetic performance, showing the painful reality of what it looks like to deeply love someone who is losing their grip on sanity.

The movie purposely blurred the line between reality and hallucination. It leaned into symbolic elements like a wandering horse and a mysterious motorcyclist that left me deciphering what actually happened.

Die My Love was undoubtedly a clever, visceral film, though the pacing did drag a bit in the middle. I found myself checking the time about an hour in, but by the time the credits rolled, I still really appreciated what it pulled off.

The Drama

The Drama is a dark romantic comedy from A24, directed by Kristoffer Borgli, starring Zendaya and Robert Pattinson. The story centers on a couple preparing to tie the knot, only for a sudden, unexpected confession during their wedding week to throw their entire future into complete chaos.

Talking about the worst thing you have ever done is probably never a good idea, especially around a partner's friend group where you are still the outsider. I honestly thought what some of the other friends admitted to was far worse, but because of group loyalty, everyone laughed it off while holding Zendaya's character, Emma, to a completely different standard.

The film dug into the massive risks of building a relationship on a lie and how fast those secrets compound. It tackled fascinating themes of trauma, who actually deserves empathy and forgiveness, and what you are genuinely willing to tolerate from a partner, wrapping it all in a sharp satire that exposed human hypocrisy. 

Zendaya showed incredible range here, capturing raw sadness, anxiety, and fear, while maintaining strong chemistry with Pattinson. Pattinson was equally brilliant, bringing layers of confusion and stress that culminate in an epic, unhinged crash out. Rachel, played by Alana Haim, exhibited some of the most frustratingly passive-aggressive and toxic behavior in the whole movie. The cringe-inducing, chaotic moments highlighted the flawed humanity of these characters perfectly.

Overall, I thought that this movie was unique and kept me on my toes throughout. My only real critique was that while Emma received rich, compelling character development, it would have been nice to see that same level of depth given to the rest of the group.

Supergirl

 

Supergirl follows the titular hero, reprised by Milly Alcock, as she reluctantly teams up with an unlikely companion for an interstellar journey of vengeance and justice, after a ruthless adversary strikes a little too close to home.

Alcock is a phenomenal actress (I absolutely loved her in House of the Dragon), and she showed real range here, it's genuinely a disservice to her talent that the material around her didn’t rise to meet it.

The plot was easy to follow and bravely tried to tackle some serious themes around sex trafficking. The film almost tapped into some great meta-commentary about why she's still labeled a "girl" as a hero while her male counterpart gets called Superman, but it never fully committed to the idea.

Unfortunately, the villains just didn’t have the presence to feel genuinely dangerous. Jason Momoa played Lobo like a kid-friendly caricature, channeling a cartoonish, Jack Nicholson-style Joker, and at this point you have to wonder if every character he plays is contractually obligated to ride a motorcycle.

The fight choreography came off as largely chaotic, lacking the crisp, creative execution you see in top-tier action films. The one major exception was a fantastic slow-motion sequence near the end that mirrored the style James Gunn. I actually assumed Gunn directed this going in, and finding out he didn't explained why it ultimately lacked the spark of Superman.

The narrative explored some touching, grounded themes around loss, grief, and finding your purpose without needing to be perfect, but the movie as a whole was just okay. It was missing that vital piece needed to really lock you in and make you care.

Unfortunately because the film is bombing this could end up costing Alcock the chance to keep playing this character, which would be a real loss as the film did have potential.

Office Romance

 

Office Romance is a Netflix romantic comedy starring Jennifer Lopez as Jackie Cruz, a formidable airline CEO who sparks a relationship with a new company lawyer, Daniel Blanchflower, played by Brett Goldstein. The two must navigate their connection despite a strict corporate policy against dating, leading to a roller-coaster of drama and hilarity.

Jennifer Lopez remains, for me, the reigning queen of romantic comedies; she can do no wrong, and this film was no exception. Her character was a fully formed, brilliant leader, yet deeply guarded underneath it all. What struck me most was the way she fell into a clear fawn response with her gaslighting father, constantly appeasing him even as she fought to balance her relentless professional drive with a personal life she kept tightly locked away. And her chemistry with Goldstein was strong enough that I was rooting for them from the very first scene.

The film was co-written by Goldstein, who previously brought his signature wit to Ted Lasso. His talent as a writer shined through here, delivering strong character development alongside an easy-to-follow and highly enjoyable script. While the narrative arcs were predictable, the film handled it well. Some viewers labeled the humor as absurd, but I didn’t mind the raunchy bits and thought it was genuinely funny throughout. Beyond the laughs, the movie explored strong, uplifting themes around standing up for yourself, choosing your own happiness over the expectations of others, and standing firm in your convictions.

In the end, Office Romance was a great one-time watch. It's not necessarily a replay movie, but it is perfect for unwinding on the couch with some low-stakes entertainment.

Apex

 

Apex is a psychological survival thriller starring Charlize Theron, Taron Egerton, and Eric Bana. The plot centers on a traumatized mountain climber who, haunted by a fatal decision in Norway, retreats to the Australian wilderness. Her isolation quickly shatters when a deceptive local targets her as ritualistic prey.

Visually, the film was stunning; the Australian scenery was beautiful, and the cinematography captured the vastness of the outback perfectly. Unfortunately, the writing completely failed to match the visuals. The dialogue was terrible, the plot was utterly predictable from the start, and the script was riddled with logical holes. In fact, the entire "hunting humans in the wilderness" setup paired with Egerton's bizarre energy unexpectedly channeled major The Pest vibes, though completely missing that movie's intentional comedy. While the movie attempted to tackle heavy themes like grief, psychological endurance, and facing your fears, it never built real suspense. You never genuinely worried about the protagonist's survival because the stakes lacked tension.

The performances were equally mixed. Even in the worst of projects, Charlize Theron still managed to keep my attention with her star power presence. This film was no different, as she was undeniably impressive here, executing almost all of her own high-intensity stunts. She trained for over two months with professional climber Beth Rodden to scale real, jagged cliffs in the Outback and repeatedly leaped off a cliff into a pool below without a stunt double. Meanwhile, Taron Egerton’s performance struggled; his forced Australian accent was incredibly distracting, and his villainous character registered more as weirdly awkward than genuinely sinister or threatening.

I would be remiss if I didn’t mention that it seemed like Theron is becoming heavily typecast in these physically demanding, survival-driven roles. This Netflix-released project was put out by her own production company, Denver and Delilah, the same team behind The Old Guard, and it is unfortunate that her produced films continue to miss the mark. Ultimately, Apex stands as another highly-produced Netflix movie with great actors that simply isn't worth the watch.

Jack Ryan: Ghost War (Tom Clancy's Jack Ryan: Ghost War)

 

Jack Ryan: Ghost War is a political action thriller that serves as a feature-length continuation of the Amazon Prime Video series, bringing John Krasinski back as the iconic CIA operative. The plot follows Ryan as he reunites with his old agency allies to untangle a treacherous web of betrayal against an enemy who seemingly anticipates their every move.

On paper, the setup was highly reminiscent of Skyfall, but the execution was far less sharp. What stood out as truly odd was that the creative team behind the successful television series returned for this film, yet the final product lacked the clever scriptwriting and high-stakes suspense that made the show so addictive.

The story moved at a fast pace, but it compromised the character development, so I was left without a strong connection to anyone on screen. Additionally, major plot points were predictable, which took away from the overall tension. While the narrative elements fell short, the action sequences clearly drew inspiration from over-the-top blockbusters like True Lies, offering some fun, explosive set pieces.

Underneath the chaos, the film attempted to touch on deeper themes around trust and confronting a forgotten past, but everything was ultimately pushed aside to keep the brisk pace moving. In the end, it made for an okay popcorn flick if you already love the characters, but it doesn't quite live up to the standard the franchise previously established.

Wolfs

 

Wolfs is an action-comedy starring Brad Pitt and George Clooney as two rival fixers forced to team up over one explosive night to cover up a prominent New York official's misstep.

Six minutes into the film, the dialogue lands as terrible, though it thankfully improved as the story progresses. Unfortunately, the trailers give a lot of the plot away, leading to some highly predictable moments. The soundtrack remains mostly unremarkable, though the inclusion of Sade’s "Smooth Operator" was a great touch.

The story itself keeps you interested, and the chemistry between Clooney and Pitt is as sharp as ever. They shared a lot of great unspoken dialogue that reflected their shared understanding of their work. Underneath the action, the film explored themes around trust and learning from one another as these two characters are forced to set aside their egos.

Ultimately, it served as an entertaining ride, but it lacks the depth or originality to be something I would watch again.

The Devil Wears Prada 2

The Devil Wears Prada 2 is a comedy-drama sequel that reunites Andy Sachs and Miranda Priestly, twenty years later, as they navigate a modern media landscape defined by scandals and the decline of print magazines.

While it was wonderful to see the original cast back together, the film often came across as nostalgia bait. Having Anne Hathaway, Meryl Streep, Stanley Tucci, and an especially great Emily Blunt reprising their roles was a treat, and the additions of Simone Ashley, Lucy Liu, and Kenneth Branagh brought some fresh energy.

The plot was easy to follow, but ultimately landed as predictable and a bit lazy, relying on a nearly identical narrative structure and several deliberate callbacks to the original. The core conflict shifted from Andy's personal discovery to a focus on institutional survival, and some of the themes around "loving to work" bordered on toxic. The film effectively praised working late hours and neglecting self-care or family time as if those were virtues, even though that lifestyle is completely unsustainable. It also struck me as pretentious, attempting to preach about the vital importance of journalism while exclusively focusing on the elite world of haute couture. There was an attempt to push for body positivity, but it seemed like a hollow gesture since it didn't really go beyond a brief cameo from Ashley Graham.

There were some funny moments and very obvious digs at Jeff Bezos and Lauren Sanchez that landed well, but the fashion and soundtrack just weren't as iconic as the first film. Even with a few recycled lines and repurposed outfits, the movie lacked the spark that made the original a classic.

I also had mixed feelings regarding the casting. While it was great to see Tracie Thoms return as Lily and Simone Ashley join the cast as Amari, they appeared a bit underutilized. Both actresses were incredibly capable in their roles, but they served more as plot devices than fully realized people; it would have been nice to see them have lives and goals outside of just supporting the leads. My main issue, however, stemmed from the representation of the other Asian American characters, most of whom fell into one-dimensional, tired stereotypes.

In the end, this film isn’t one I’d recommend one rush to see. It was a decent watch for the fans, but it leaned too heavily on the past rather than carving out a new future.

Cherry

Cherry is a crime drama directed by the Russo brothers, based on Nico Walker’s semi-autobiographical novel. It stars Tom Holland as an army medic who returns from Iraq with PTSD and spirals into addiction and crime.

While the lead performances from Holland and Ciara Bravo, as Emily, were strong, there just wasn't enough diversity or character development to make me truly care about the outcome. While some might see the relationship between Cherry and Emily as toxic, to me, it felt more like two people with low self-esteem being easily influenced by their circumstances.

The storytelling felt a bit thin, and the plot definitely started to lose me about two-thirds of the way through. I found myself checking the time frequently. The film relied heavily on a soft-lighting look early on that felt almost fake, and the quick, Marvel-esque cuts made the war sequences feel crisp but lacked the true heaviness you would expect from a war movie. It felt like a very anti-military film, highlighting a toxic environment where rank is valued over ideas, and it critiques a failing healthcare system that treats deep trauma with temporary fixes.

Even though the movie spans twenty years, some of the aging choices, like giving Holland a mustache, felt a bit silly. It also struggled with that common Hollywood obsession with portraying prison as the only path for rehabilitation for people with PTSD.

Overall, the story wasn't particularly unique, and the directing felt like a bit of a nepotism project where the Russo brothers and Holland just wanted to work together again post-Avengers without a fully fleshed-out idea. It really lacked the grit needed for such a serious subject.

El Camino: A Breaking Bad Movie

 

El Camino: A Breaking Bad Movie is a 2019 crime thriller that serves as a sequel and conclusion to the original series, picking up right where Jesse Pinkman left off; on the run from the law and his past.

For the most part, the film was pretty boring and relied way too much on cameos to keep people interested. While it was great to see Aaron Paul reprise his role alongside familiar faces like Jesse Plemons and Bryan Cranston, the movie honestly felt a bit like album filler. It felt more like a trap for fans to spend time and money on nostalgia bait rather than a necessary addition to the story. 

The six year gap between the show ending and this movie filming was really obvious too, as many of the actors looked significantly older or heavier than they did in 2013, which made the timeline feel a bit out of place. I’m not even sure the flashbacks were necessary to add context since these characters were already so well developed over five seasons.

That being said, I did appreciate seeing the evolution of Jesse’s character. After years of watching him struggle as the underdog, it was satisfying to see him finally take control of his own narrative. It provides a sense of closure that fans of the series might appreciate, but as a standalone movie, it still felt a little unnecessary.

Project Hail Mary

 

Project Hail Mary is a science fiction film based on the novel of the same name by Andy Weir. It follows Ryland Grace, played by Ryan Gosling, a school teacher and former biologist who wakes up on a spacecraft with amnesia.

I’ll be the first to admit that I’m not typically a fan of space movies. I usually find them boring, like Gravity, but this felt different. Andy Weir has a very specific writing style that connects you to the character immediately, similar to his other work in The Martian.

The movie was definitely long, but once the stakes were upped, I didn’t feel the runtime. Ryan Gosling produced the film and carried almost the entire thing, which can be hard to do when you have 90% of the dialogue, but he was so likable as Grace that he made the journey feel painless. I really appreciated the diverse supporting cast as well. It was great to see Lionel Boyce in something outside of his role in The Bear, and Ken Leung played a character that was such a 180 from his role in Industry. I do wish the film had dug a little deeper into those supporting characters though. While I thought the alien was a little corny at first, I ended up really liking the connection between it and Grace.

In the end, Project Hail Mary is a total win even for people who usually find space movies a bit dry. It’s a cute, funny, and heartfelt story about bravery and sacrifice that actually pulls at the heartstrings.

Half-Baked

 

Half-Baked is a ’90s stoner comedy about three slackers trying to raise bail for their arrested friend, written by and starring Dave Chappelle alongside Guillermo Diaz and Jim Breuer.

The script leans heavily on simple, slapstick humor that often felt lazy, like the writers weren’t really pushing themselves. I also wasn’t a fan of the set design. It oddly leaned into a stereotypical ’60s aesthetic. I understood the connection to the so called “golden age” of marijuana culture, but it felt out of place in a movie clearly set in the ’90s.

The acting was where the film really fell apart. There was a lot of overacting, especially from Jim Breuer and even Chappelle, which led to several cringe worthy moments and unnecessary voiceovers. Rachel True was the only one who came out of this relatively unscathed, bringing some actual poise to the on the nose role of Mary Jane.

The movie also leaned hard on nostalgia bait cameos, including Snoop Dogg, Tommy Chong, Willie Nelson, plus Bob Saget and Janeane Garofalo, but none of them do much to elevate the material.

I now understand why the film was poorly received. The title ends up being unintentionally accurate. It really does feel like a half-baked idea that never fully comes together. While it wasn’t a good movie, it was interesting to see where so many well-known quotes and GIFs originated. There are a few funny moments, but overall it feels sloppy and doesn’t quite earn its cult status. In the end, it plays less like a polished film and more like a group of Dave Chappelle’s friends rallying around his first major writing and starring project.

Sentimental Value

 

Sentimental Value is a Norwegian drama that explores the fragile dynamics of family through Nora, played by Renate Reinsve and Agnes, played Inga Ibsdotter Lilleaas, as they reunite with their estranged father, Gustav, played by Stellan Skarsgård.

I appreciated that the film was primarily in Norwegian, which added a layer of authenticity to the performances. While it took home the Oscar for Best International Feature Film, I’ll be honest, it didn’t quite give me "Oscar winner vibes." The storytelling was incredibly nuanced and unique, but the pacing was quite slow and required me to pay close attention.

Skarsgård was brilliant as Gustav, portraying a morally reckless artist who prioritizes his work over his family. The contrast between the sisters was well-defined with Nora as the resentful, guarded older child struggling with intimacy, while Agnes was the more responsible and forgiving sister with a stable home life.

Despite the complex characters and strong acting, I found it hard to connect with the story emotionally. It’s a thoughtful look at sadness and forgiveness, but it ultimately felt a bit too detached to truly pull me in.

You, Me & Tuscany

 

In the romantic comedy You, Me & Tuscany, Halle Bailey stars as Anna, a young woman who ends up "squatting" in a stunning Tuscan villa after a brief encounter with its handsome owner. The situation spirals when the owner’s family discovers her and mistakenly assumes she’s his fiancée, a lie made even more complicated as she begins to fall for his skeptical brother, Michael played by Regé-Jean Page.

The film is a delightfully frothy drink that feels like a warm Italian summer captured on film. It delivers a predictable but super cute story that is incredibly easy to follow. Beneath the sunny surface, the film touched on deeper themes of grief, loss, and the importance of taking a leap of faith to live a life that is truly yours.

What really impressed me with this film were the landscapes and the food presentation. The vibrant, bright colors of the dishes and the sweeping vineyard views made me want to book a flight immediately. Additionally, Halle Bailey's wardrobe; as Anna, was super cute, effortless, and perfectly breezy for the summery setting.

While the chemistry between Bailey and Page was undeniable, some supporting characters felt a bit one-dimensional, leaning heavily into tropes like the "no-filter" inappropriate aunt and the "tough-on-the-outside" grandma.

With that being said, I still felt like this film was a perfect Saturday afternoon watch if you're looking for something light, sweet, and visually stunning.

Crime 101

Crime 101 is a crime thriller starring Chris Hemsworth as a meticulous jewel thief and Mark Ruffalo as the detective obsessed with catching him.

I got some vibes of The Departed but what it really felt like was the ultimate intersection of Heat and The Thomas Crown Affair. It’s a sleek, high-stakes film that is heavy on style, fast cars, and elaborate heists. The plot hit some familiar beats, including the "one good cop vs. a corrupt station" trope, which felt a bit overplayed, but overall it was easy to follow and kept me engaged.

Hemsworth played well off of his cast mates and shined as a guarded and careful man with a complicated past. I really appreciated the diverse, star-studded supporting cast that included Halle Berry and Corey Hawkins. Berry’s arch in particular was interesting because the writers tapped into aging in an industry that doesn’t want you there and what you would do about it. With that being said, I did find myself wishing for more character development for the rest of supporting players like Nick Nolte, Monica Barbaro, and Barry Keoghan. There was also some questionable accent work from Hemsworth and Keoghan, whose American voices tended to fade in and out, making some of dialogue a bit distracting. Keoghan also seems to be settling into an "unhinged villain" typecast, though his energy was undeniably effective.

Despite an unrealistic ending, the film had a lot of heart, exploring themes of finding connection through loneliness and the drive to reinvent oneself. Thus providing a satisfying sense of closure.

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.