nERDbOX_Dave

Jay Roach's The Roses is a sharp, stylish, and often brutally honest look at the slow-motion implosion of a marriage. On paper, it has all the makings of a wild, darkly funny ride a modern update of The War of the Roses, with a razor-sharp Tony McNamara script and a powerhouse pairing in Benedict Cumberbatch and Olivia Colman. And while the film is undeniably entertaining, it's also a bit of a bait and switch that leaves you wishing it had trusted its chaos sooner.

The film charts the rise and implosion of Theo and Ivy Rose, a seemingly flawless couple whose marriage begins to fray as Theo's career skyrockets. What starts as subtle emotional distance soon becomes an emotional minefield, with small resentments snowballing into a quiet war of neglect, envy, and pride. The early sections of the film, watching them fall in love and build their lives together, are tender and grounded, anchored by the nuanced performances of Cumberbatch and Colman.

And here's where my frustration begins, the marketing for The Roses promises a balls-to-the-wall black comedy where a couple goes to war with each other in increasingly absurd ways. The trailer sells carnage, slapstick, and chaos. But in reality, that level of over-the-top madness doesn't hit until the last 20 minutes and by then, we've already seen most of those "wow" moments in the trailer. The slow build works narratively, adding emotional depth, but it also makes the movie feel like two different films competing for your attention, an incisive marital drama for most of its runtime, and a bonkers satire at the very end.

I can't help but feel a little cheated. If you walked into the theater expecting The Roses to be a wall-to-wall dark comedy, you're likely to leave a little underwhelmed. And that's a shame, because beneath the mismarketing is a smart, well-acted, and deeply cynical look at how success, ambition, and love can combust when left unattended.

The Roses is worth watching for Cumberbatch and Colman alone they elevate the material, turning what could have been a hollow satire into something genuinely compelling. But go in with the right expectations: this isn't the chaotic laugh riot the trailer sold you. It's a slow-burn dissection of a marriage in decay, with just a dash of chaos sprinkled on top.

There's nothing quite like the rush of a gritty, unapologetic crime thriller, and Darren Aronofsky's Caught Stealing delivers that adrenaline shot straight to the heart. Based on Charlie Huston's razor-sharp novel, this adaptation is a fever dream of violence, dark humor, and relentless tension that somehow balances chaos with a surprising amount of heart. It's the best crime thriller I've seen since Running Scared (2006) and just like that cult classic, once this thing takes off, it never lets up.

The film follows Hank Thompson (Austin Butler), a washed-up ex-minor league baseball player whose life takes a hard left turn after a botched job lands him in the middle of a brutal New York crime war. Aronofsky crafts a grimy, neon-lit New York that feels alive and dangerous-a city that's just as much a character as the people navigating its shadows.

Austin Butler is magnetic as Hank, giving a performance that blends desperation with a jagged, almost reckless charm. He's the perfect everyman thrown into a world of violence, and you can't help but root for him, even when you know he's in way over his head. Regina King is a powerhouse as the calculating crime boss pulling strings in the background, equal parts ice and fire, commanding every scene she's in. Zoë Kravitz brings a slick, unpredictable energy to the mix, while Liev Schreiber and Vincent D'Onofrio are pitch perfect as rival underworld titans menacing, unpredictable, and terrifying in their quiet moments.

And yes, Benito Martínez Ocasio (Bad Bunny) absolutely surprises here, stealing multiple scenes with a sharp, darkly comedic performance that proves he's more than just a musician crossing into film. Add in Griffin Dunne and Carol Kane for moments of eccentric levity, and you've got an ensemble that never misses a beat.

The script by Charlie Huston is lean and mean as every line of dialogue lands, sharp as broken glass but laced with just enough humor to keep you smirking in between white-knuckle sequences. It's that rare crime thriller that manages to balance relentless tension with comedic relief that actually feels organic, not forced.

The score? Raw, guttural sound create something visceral and unforgettable. The music doesn't just underscore the film; it grabs you by the throat and drags you deeper into its world which had me talking about it after the film.

By the time the credits roll, you're left rattled-in the best way. Caught Stealing isn't just a movie; it's an experience. It's the kind of film you want to talk about as soon as you step out of the theater, the kind you'll revisit just to catch every subtle detail and character tic you missed the first time.

After two long years of waiting, The Toxic Avenger has finally splattered its way onto the big screen and believe me, this delay had nothing to do with quality. Much like this summer's The Naked Gun revival, Macon Blair's reboot of the cult classic knows exactly what it is and leans into it unapologetically. The result? A crude, raunchy, blood-soaked horror-comedy that never once apologizes for its absurdity and delivers the splatterfest fans have been craving.

This fifth installment in the franchise-and a reimagining of the 1984 Troma classic-is every bit as outrageous as its predecessors but with a modern twist that blends old-school grindhouse charm with slick, updated filmmaking. There are tits, dicks, off-color jokes, and buckets of gore flying across the screen exactly what you'd expect from a Toxic Avenger movie, and then some. If you grew up on Lloyd Kaufman's wild, politically incorrect originals, you'll feel right at home. If you're new to Tromaville and more accustomed to the squeaky-clean tone of modern superhero flicks, buckle up. This one will either shock you or convert you.

Peter Dinklage absolutely owns the role of Toxie. He brings heart, grit, and just the right amount of tragic hero energy to a character that could have easily slipped into pure parody. His journey taking on the evil BTH corporation, led by Kevin Bacon's vile Bob Garbinger. Bacon, for his part, is clearly having a blast as the sleaziest CEO imaginable, chewing up every scene with cartoonish villainy.

The balance of practical effects and CGI is one of the movie's strongest points. The gore here is gloriously over the top but still tactile enough to keep that Troma DNA alive. Limbs fly, heads explode, and the screen is painted red in set pieces that rival some of the best splatter moments of the past decade. But what makes it work is that, underneath the carnage, there's still a story with heart, a hero who, despite his grotesque transformation, just wants to do the right thing.

The humor is as sharp and unapologetic as ever. Blair doesn't try to sanitize the material to make it "palatable" for modern audiences. Instead, he embraces the outrageousness of the original films and turns it up a notch, creating a film that is self-aware without ever becoming self parody.

The Toxic Avenger is a filthy, funny, and fantastically bloody good time. It's rare for a reboot to honor its source material while carving out its own identity, but Macon Blair and Peter Dinklage pull it off. Whether you're a lifelong fan of Toxie or a newcomer looking for something bold, brash, and completely insane, this one is not to be missed.