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Let's start with the obvious-while "Mickey 17" offers plenty of social commentary, it falls short of the sharp satire and intelligent (class) critique that made "Parasite" a modern masterpiece. Instead, what we get is a sci-fi parody that explores humanity's vanity and self-destruction, yet for some reason, it never truly feels like it takes place in a distant future.

*** Robert Pattinson delivers another strong performance, continuing his streak of unique and compelling roles. He has successfully reshaped his career, moving far beyond his early days, and frankly, we prefer him this way. His unexpected comedic side is a revelation, adding a fresh layer to his performance. Mark Ruffalo also shines, delivering a performance reminiscent of his role in Poor Things, with certain expressions and mannerisms subtly evoking Trump.

*** The production is undeniably grand and expensive, evident in its visually striking yet occasionally excessive scenes. The film often gives off a sense of familiarity-as if we've seen these themes before. The idea for example that we are the real aliens and "monsters" is hardly new, and at times, the script leans too heavily on familiar concepts explored already by many movies.

*** While Mickey 17 is a solid film, it's far from a masterpiece. Perhaps the biggest challenge is that Bong Joon-ho has set the bar so high that anything less than exceptional feels like a slight let-down. There's a lingering sense that something is missing-a sharper edge, a deeper impact, or a more innovative twist.

An outstanding film-in fact, the best I saw at this year's Berlinale. Watching it, I couldn't help but feel echoes of The Substance (2024), as it masterfully balances fantasy, horror, and an almost suffocating intensity centred around the theme of motherhood.

*** Rose Byrne delivers a phenomenal performance, one that earned her a well-deserved award in Berlin. The film leans heavily on her presence, and rightly so-her portrayal is what makes the experience so gripping. We see, hear, and feel everything from her perspective, yet that very subjectivity leaves room for doubt. Are we witnessing reality or a distorted, anxiety-fuelled version of it?

*** The cinematography amplifies this tension brilliantly. The use of tight close-ups throughout most of the film creates an unsettling sense of imprisonment, mirroring the protagonist's internal struggle. It's only in some moments of relief that the camera pulls back, giving us fleeting glimpses of the world beyond her immediate perception. This directorial choice not only strengthens the script but also deepens the film's psychological impact.

*** If I Had Legs, I Would Kick You is an immersive, nerve-wracking experience-a must-see that will undoubtedly find its place on many cinephiles lists for the 2025 best movies.

After the credits roll, Hot Milk leaves you with the strange taste of over-boiled milk-bitter and lacking something essential.

*** The protagonist's journey is shaped by her interactions with those around her, particularly in her tumultuous relationship with her mother and her complicated love life.

Yet, despite these emotional dynamics, the film feels disjointed, as if the narrative lacks a clear purpose.

The script, unfortunately, falls short. Information is doled out sparingly, making the plot feel underdeveloped. Potentially intriguing parallel stories are introduced but never fully explored. The ending, too, seems forced, attempting to provoke an emotional response but ultimately feeling hollow.

*** On the bright side, the film benefits from a strong performance from Irish actress Fiona Shaw, whose portrayal brings depth to her character. Additionally, the photography shines, with stunning shots of the Mediterranean sun and sea.