Reviews

Baby Reindeer is one of the TV shows that came out of nowhere on Netflix, and certainly has created a buzz among the viewers. It is based on Richard Gadd's real-life experiences, and I think it could not be braver to make something like this and talk about important topics. This series is quite harrowing and deals with loads of subjects such as social anxieties, abuse, addiction, ideologies, and stalking. Jessica Cunningham is spectacular, and she deserves to get an Emmy nomination. Her chemistry with Richard Gadd is great. An off-beat aspect is often the mix-up and balance between the comedy and drama, which at times doesn't work as well considering how heavy-handed the subject is. It is hard to understand whether to laugh or cry. I guess both.

Dev Patel's directorial debut is somewhat a mixed bag for an actioner. There is nothing that we haven't seen before when it comes to our main lead's redemption arc, with the third act that just stops the film from moving forward. The brutality is there when it presses buttons, but the choreography gets lost quite often in chaotic camera shakes, making it impossible to feel the whole scale of the fight. For the hardcore action junkies, this can be either satisfying or not so much, but Dev Patel does his all to make this worthwhile. If only it wasn't muddled up particularly in the last 25 minutes or so.

I'm not a huge Monsterverse guy, but from what I've seen, Godzilla: Minus One is the film that satisfied my needs to its deepest core.

The story is set in the post-war 40s, which I've never seen when it comes to Godzilla movies. This was the right choice because it does justice to the Kaiju mythology, representing a never-ending war and atomic weapons. Even in its quite modest runtime of just a little over 2 hours, Takashi Yamazaki's film was able to convey an emotional relationship story when it comes to our main characters. There is enough action, with people getting eaten, explosions, and an amazing battle at sea, which is another point to highlight. Usually, Godzilla battles happen in the city, but not this time, allowing us viewers to never be sure if it's the best idea to fight a gigantic monster in his strongest position. In the third act before the big fight, Godzilla: Minus One loses a bit of steam and energy with too-long dialogue scenes that don't necessarily carry the same weight as in the first section of the movie. Nonetheless, this was a great experience where a Godzilla movie is done right, showing a middle finger to Hollywood.

Merry Little Batman is a perfect blend between kid and adult animated film. When it starts to pick up the pace, the movie becomes almost non-stop and a terrifically action-paced Christmas adventure. The animation style grows on you, and by the end of the movie, it is hard not to adore it because of its reminiscent older cartoons and influence from other Batman adaptations in the past. The last twenty minutes lose the energy a bit, but it's indeed a warm and cozy animation. For Batman fans like myself who understand the world and its characters, this was a joy to watch. Merry Little Christmas 🎄

It seems like a movie tailor-made for perverse, no-holds-barred minds akin to those of David Fincher. Sadly to say, I'm in that group too, but what matters is having the skillset to read between the lines, and that's typically how Fincher crafts his movies, with "The Killer" being an example of that. Preparation is key, but one can never be fully ready unless prepared to react when things take a turn for the worse. Michael Fassbender demands screentime as he embodies a narcissistic, attention-to-detail assassin. The negatives, I'd say, arise when you consider how simplistic and somewhat shallow the movie feels. There was a much bigger opportunity for storytelling to take more intriguing turns and make the objectives of the killer more exciting. The attention - grabbing voiceover and the artful, creative infiltration into different circumstances, all atrributed to David Fincher's direction, make for a captivating experience. Certainly, this may not be Fincher's top-tier work, but it marks a significant improvement after the disappointing ''Mank'', which I personally despise and wish Fincher had never done it. But, The Killer is here on Netflix, and I'm fully on board to watch it again.

We don't get many movies like Killers of the Flower Moon nowadays, and there's only one reminding us that important stories matter: Martin Scorsese. This is sort of a culmination of all his works coming together with his best working pals De Niro and DiCaprio. The heavy subject matter truly shows the colors of greed and how men are capable of making inhuman choices in order to get what they want. DiCaprio and Lily Gladstone are amazing together, sharing a charisma that makes them the best couple on screen this year. Every scene matters; therefore, the almost four-hour runtime feels like the right pace to unfold all the cards in the story. It is beautifully shot, with high-level set design.

You can feel just how much Scorsese cared about this story, delving into the deep roots of the Osage people. There's an emotional attachment to its core, with subtle traits of Scorsese showing profound respect and deep sincerity to the Osage nation. There's almost nothing negative to say about the film, but it does reach a certain point where you wish a couple of things would unfold a bit faster in the story. This film definitely ranks up with some of the best works by Scorsese, and it is certainly one of the best movies this year. Does it have a lot of rewatchability? If you want to feel miserable all the time, then yes.

This film is lively, energetic, abstract, and captures both the happiness and sadness, reflecting the various dualities and tones of one person's life in all its essence. I am a bit late to the party, but Joachim Trier's movie felt refreshing, reigniting my numb brain and reminding me what it's like to truly feel something when watching a film.

Certainly, this film deserves all the praise it has received over these few years. Renate Reinsve delivers an amazing performance, as do other members of the cast. Relatability can significantly enhance the impact of a story on the audience. It's the little snippets of our memories, the good and the bad moments, and everything in between that truly make a narrative resonate.

This high-concept film, 'Nowhere' (2023), successfully translates its premise both on paper and on the screen. The idea of being trapped in a container in the middle of the ocean is a nightmarish scenario. While the movie may seem like a survival flick you've encountered in various forms before, it remains intriguing and doesn't skimp on the adventurous vibes. Certainly, the realism in the film is questionable, and the protagonist seems to have an abundance of tools that conveniently help her navigate through danger, which can make the writing appear to take an easy way out. Anna Costillo's performance is impressive, and she undoubtedly carries a significant emotional weight throughout the film.

Celine Song's "Past Lives" (2023) is inherently a simple drama, yet it manages to capture the relatable dynamics of time, relationships, and the intricate challenge of expressing one's true emotions and inner thoughts to another person. Our past can continue to haunt us indefinitely if we don't actively seek closure, regardless of whether its conclusion will feel positive or not so much. The film's runtime flies by, and it avoids being one of those exhausting two-hour relationship dramas where everything near the finish line becomes tiresome, whether for better or worse. It is a really great and memorable film.

I put this movie on hold, and although I really like Guardians of the Galaxy, I just wanted to let the hype surrounding it settle down before watching it. This outing for the franchise is perfect and serves as a spectacular reminder of how good Marvel movies can be when there is enough clarity, subtlety, and heart put into the story. It focuses more on the characters' journey, allowing the audience to connect with them on a deeper level and find elements that make them special. This movie evokes strong emotions and can be challenging to watch at times, mainly due to the incredible Rocket story that finally reveals the depths of what this beloved character has endured. This Marvel film stands out as one of the most emotionally engaging ones that I can remember, and I will always be grateful for that. The performances from the entire cast are exactly what you would expect-dynamic and enjoyable. It has been quite some time since we had such a formidable main villain that you can't help but root for their demise. The High Evolutionary reigns supreme with his narcissistic and evil demeanor. Both James Gunn's writing and Chukwudi Iwuji's acting seamlessly come together in an impressive fashion.

Another fantastic element of this film is that you can see the group of heroes is somewhat weary and worn out, as if they have reached the end of their rope. However, it is precisely their teamwork and camaraderie that make them resilient and unparalleled when it comes to protecting the universe. Their collective strength shines through, emphasizing the power of their bond. The fact that these characters have gone through significant challenges and personal growth throughout their journeys makes them even more endearing and relatable to audiences. While there may be a few minor negatives that one can point out, ultimately, they don't significantly detract from the overall experience. Guardians of the Galaxy Volume 3 stands out as one of the best Marvel comic book movies of all time. It carries a remarkable sense of gravitas and showcases incredible filmmaking throughout. There are different perspectives regarding the future of the Guardians of the Galaxy franchise. Some might hope that this film marks the end of their journey, believing it's a fitting conclusion. Others may see it as an intriguing starting point for a new team that could embark on further dangerous adventures. However, one thing is certain: regardless of the franchise's direction, it's important to express gratitude to James Gunn and the entire crew for their efforts in creating this movie. Their contributions have played a significant role in shaping the Guardians of the Galaxy and providing audiences with memorable cinematic experiences.

IT can be quite challenging to gather one's thoughts coherently when watching a film like "Beau is Afraid." The movie takes the viewer on a rollercoaster ride, delving into unexpected and bizarre moments that could only be conceived by the twisted imagination of Ari Aster. Throughout this captivating journey, Joaquin Phoenix's performance shines, making the entire movie stand out. It's hard to envision any other actor embodying this particular role with the same level of brilliance. Joaquin Phoenix consistently brings an experimental approach to all of his characters, and his portrayal in "Beau is Afraid" is no exception. Undoubtedly, Joaquin Phoenix delivers one of the finest performances of the year.

The film encompasses a captivating blend of genres, merging dark comedy with horror elements and an artsy approach. It is a testament to the unique style often associated with A24 productions. It is evident that A24's support and belief in Aster's creative abilities allowed him to craft a film of such unique and intriguing nature. This partnership serves as a testament to the importance of studios recognizing and nurturing filmmakers who possess a distinct artistic vision. At its core, it revolves around a man's journey to reunite with his mother. However, the narrative takes a surreal turn as the world begins to crumble around him, leading to a series of adventures that serve as poignant and traumatic life lessons. The film explores themes of personal incline and the unraveling of one's reality in a captivating and thought-provoking manner.

It is a cinematic amalgamation, reminiscent of films like "The Butterfly Effect" or creations from the imaginative realm of Jordan Peele. While it is true that we may have encountered films with certain similarities to "Beau is Afraid" in the past, there is a unique quality to this movie that sets it apart. It manages to be both familiar and refreshing, offering a renewed cinematic experience. From a technical filmmaking standpoint, "Beau is Afraid" is a visual masterpiece. The cinematography is expertly executed, capturing stunning visuals that enhance the overall viewing experience. The meticulous set designs add depth and atmosphere to the storytelling, while the proficient editing ensures a seamless flow between scenes.

However, one aspect that may be seen as a drawback is the film's lengthy runtime. While the first half-hour or so provides tremendous entertainment and captivates the audience, there is a point where the film starts to lose its magic towards the end. It can feel somewhat self-indulgent in terms of Ari Aster's artistic choices, which may affect the overall impact of the narrative. Perhaps a more concise approach could have maintained the film's initial allure throughout its entirety. Certain moments tend to suffer from prolonged exposition, which can be tiring for the audience. Despite the mentioned negatives, "Beau is Afraid" remains an entertaining flick that pleasantly surprises viewers. It's intriguing how the movie manages to find its unique rhythm and work effectively, even though it may be divisive among audiences.

In Ric Roman Vaughn's Kandahar, there lies a good and enjoyable movie somewhere. However, due to a lack of great pace and rather bland direction, the film falls into the category of just another dad's flick. I would have truly loved it if there were different approaches taken in making the film. Roman Vaughn and Butler share an interesting dynamic that I will always be drawn to, but it never quite satisfies me. Despite the source material being presented in an interesting way, it fails to reach its full potential. Yet, there are cool moments with a bit of tension throughout. Travis Fimmel and Gerard Butler were good. Such a gents.

The movie swiftly highlights its strongest aspect, derived from the source material, and it does so primarily in the first act. However, as the narrative progresses, while still delivering exhilarating action sequences, it gradually finds itself descending into a slippery slope towards the end. The story is decent, although I wouldn't necessarily claim that the first Extraction executed it better. The initial film simply had fewer characters to juggle, which allowed for a more consistent narrative. I came here specifically to witness Tyler Rake' kick ass, and I must say, the movie delivers in spades with its remarkable action sequences. The long take in the prison is truly epic, and Sam Hargrave, being one of the finest action directors in the business, works wonders in crafting these thrilling moments. Chris Hemsworth proves himself as a bona fide action star, making it an enjoyable and entertaining experience overall.

The Flash is everything you want it to be: a fun, entertaining, heartfelt, adventurous comic book film with plenty of surprises and cool cameos. The energy that this movie brings is quite impeccable, and for a good reason, because it's a goddamn movie about Ezra Miller turning back the clock. No doubt, the movie may face backlash because of that name, but Ezra is ridiculously great as Barry Allen/The Flash. The emotional core and comedic wit that he brings to each character is subtle but incredibly effective, immersing the audience in the story. Another highlight is none other than Michael Keaton. Seeing him as Batman once again brought back my childhood nostalgia. He still has it, and he truly owns that character. Ben Affleck and Sasha Calle were both good in their own right, as they brought something different to the film.

Obviously, The Flash isn't without its flaws, and because my conscience is always clear, I don't have any problems highlighting some of the issues. General Zod was extremely wasted in the film. While it's understandable that the multiverse is an ongoing concept and his actions may have ongoing implications, there was still room to focus a bit more on his character so that he doesn't come across as a one-dimensional villain. The CGI throughout the film is generally good, but there are some faults, especially when it comes to the scenes involving two Barry Allens. It's hard to ignore the moments when it's clearly Ezra playing the character versus when it's a deepfake on a double. Despite the flaws, they only have a slight impact on the overall enjoyment of the film. That being said, The Flash is a great love letter to the comic book world, filled with cool Easter eggs and references.

Ray Donovan is one of the best HBO series, and one of my favorites of the last couple years. This movie is a great send-off and ties up all the loose ends. Liev Schreiber is great as Ray, and the rest of the cast holds their own and can own a scene from time to time. But, Jon Voight is a showstopper as Mickey. He is vitty and funny, with slick slapstick Irish mannerisms. His character is either in the wrong place at the wrong time or in the right place at the right time. In both situations, there's always something going wrong, even if he's in control.

This movie puts the main focus on childhood trauma and guilt, which has always been one of the main themes in the show. It is well-paced, visually good looking, and the actors haven't lost their step. I was skeptical at first, but seeing the Donovan family again and resolving or at least erasing issues that have plagued them for years is a great service for me as a fan. This is worth a watch. I enjoyed it.

It takes it time to get going, and even after that, First Cow meanders around. The plot itself is not worthy of being over two hours long. That being said, it is a decent movie filled with nice cinematography. I just wish it was thirty or forty minutes shorter, allowing the story to feel more engaging and compact.

Not for everybody and definitely not for me. The Card Counter examines serious topics with no effect. It is a bore to watch, to say the least. Paul Schrader's directing approach is very monotonous. I had the same problem with First Reformed. Both movies are very challenging to get through, and to tell you the truth, this one was even harder to finish. Oscar Isaac is a great actor, but definitely not my favorite role of his. It's just a very dry and dull film.

This year, I haven't seen many animations, but this one sticks out. The Summit of Gods is one of the best films of the year, not just in the genre of animation, but overall. The story is sincere and covers the human ambition of success and also the difficulties that can come with it. The art style is rich and attractive. I'd love to experience it on the silver screen. The Summit of Gods will undoubtedly thrill its audience while also surprising them with how mature and engaged this is in the characters. I'd love to experience it on the silver screen.

The release date for South Korea's Silent Sea is confusing since whoever thought December 24th was a great time to let this out in the public must be fired. This one is an intriguing show with an underlying mystery. There are consequences as the story unfolds with each episode. It may be slow for some, but it leaves enough room for action. Gong Yoo, Bae Donna, Lee Joon, and others are the heavy lifters and provide great depth. I'm hoping for a second season because there's still room to unpack more details and add extra flavor. I enjoyed greatly!

The Matrix franchise has always been a hit or miss, and it is one of those productions that could live without the sequels. The first film was revolutionary in its vision, style, and groundbreaking action. The Matrix Reloaded and Revolutions weren't able to live up to the heights of the first one. The Matrix Resurrections fall into the same pit. The film is nothing short of an unnecessary disappointment, which should never have been green-lit. It has nothing to say other than try to reintroduce the audience to nostalgia, which fails miserably. I gotta say, the first twenty minutes are good, but when the movie starts to expand, it becomes a shell of itself. We have a couple of old faces playing Matrix titular characters, but they never succeed due to a lack of good writing. While Jonathan Groff and Yahya Abdul-Mateen are both good actors, they weren't able to fill the shoes that Laurence Fishburne and Hugo Weaving left. These two guys in this movie could've made a difference just with their knack for understanding the characters. They were sadly absent from The Matrix Resurrections.

The Matrix Resurrections run for two hours and twenty-eight minutes. It is a long movie that never manages to pull the strings together and go with the flow. It is a nightmare to get past the last fifty minutes. Visually, the world of Matrix feels a bit larger in Resurrections as it establishes a couple of high-tech components that weren't discussed in previous entries. There is action and a lot of explosions, but the choreography and camera movement are not on the same page. Dull fist fights with too many slow-motion effects that can get on your nerves. I did not expect this movie to be a technical masterpiece, but having moments that I could remember would've made this a bit more worthwhile and watchable. I appreciate the movie trying to be a productive attempt, but I did not enjoy this in the slightest bit. This was definitely not for me.