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Madame Web isn't nearly as terrible as its reputation suggests. While the dialogue can feel clunky and the humor doesn't always land, that's hardly unusual for the current wave of superhero films. Dakota Johnson delivers a solid enough performance in the lead role, carrying the story better than the film's harshest critics give her credit for. Considering this, it's hard to agree with the idea that it deserved to sweep the Razzies.

The villain, though serviceable, ends up feeling like a dollar store version of Mark Ruffalo playing a darker role. The trio of teens Madame Web mentors, including Sydney Sweeney's character, fall into predictable stereotypes, but the movie never really pretends to be more than a straightforward origin story. Within those boundaries, they do what they're written to do.

Overall, Madame Web isn't a standout superhero film, but it's also not dramatically worse than many recent entries in the genre. It's flawed, yes, but far from the cinematic disaster it's often made out to be.

This movie checks all the boxes for what I want in an infection-driven horror film. It effectively shows the lingering damage caused by the original rage virus, and the U. S. military's approach to reintegration feels surprisingly authentic. The musical score fits the tone perfectly, reinforcing the tension and atmosphere.

While the characters could use a bit more depth, it's not a major drawback. You learn enough about each of them to stay invested in their fate. The movie also benefits from its simplicity: it doesn't drag on, it doesn't overcomplicate things, and it delivers solid entertainment from start to finish.

Overall, I enjoyed this installment even more than the first film, though I know that might be a controversial opinion.

Guillermo del Toro's adaptation of Mary Shelley's Frankenstein is a cinematic triumph. It is one of the most striking and emotionally resonant films to emerge in years. Even though it was released primarily on streaming, with limited theatrical release, it feels crafted for the scale and immersion of a theatre screen, and skipping out on that experience is perhaps the only real disappointment I had after watching it.

While del Toro makes some departures from Shelley's original narrative, nearly all of these choices feel thoughtful and thematically rich. The film's lengthy runtime never drags. Every scene either contributes to character depth, plot progression, or the philosophical questions the story raises. Nothing feels like filler, and the pacing gives the film room to breathe without ever losing momentum. The decision to divide the story into Victor's story and the Creatures story is also clever with each character providing their own unique perspective of events.

Oscar Isaac delivers a remarkable performance as Victor Frankenstein, embodying both the drive and the blindness of unchecked ambition. His relationship with the Creature forms the emotional backbone of the film, and he plays it with a sincerity that makes the story's core themes land powerfully. Jacob Elordi is equally impressive as the Creature. His performance is a revelation, showing a level of range and emotional nuance that many viewers may not have expected from him. I was not aware prior that he was capable of stepping beyond the role of simply being a charming young man. This role certainly was far from that. Through Elordi's performance , the Creature becomes thoroughly sympathetic, and his anguish is portrayed with a deep sense of humanity.

Christoph Waltz, as usual, is excellent, though his character contributes less directly to the heart of the narrative. Mia Goth, playing both Elizabeth Harlander and Viktor's mother, brings an unsettling and captivating quality to her roles. The only significant hesitation I had with del Toro's alterations involves Elizabeth's connection to the Creature; while it's clearly meant to reinforce the audience's empathy, it sometimes feels underdeveloped. Even so, this is a minor issue in a film that otherwise feels cohesive.

What truly elevates this adaptation is how many levels it operates on. It is visually breathtaking with both its cinematography and costume design. The script is intelligent and thought-provoking, raising meaningful questions while still telling an engaging and accessible story. Achieving this kind of sophistication without sacrificing entertainment value is rare, and the film pulls it off with ease. The cast is uniformly strong, the direction assured, and the entire production feels crafted with care and vision.

For anyone deciding how to watch it, I strongly recommend experiencing it in a theatre if possible. It's a film that's made the effort and deserves to be viewed on the biggest screen you can find.