Commentaires de jaysonpajaronvistal

The Marvel Cinematic Universe (MCU) has been lackluster since the epic battle in "Avengers: Endgame." There has been an online discussion about how fans have been eager for the next chapter, yet the post-Endgame films have been mixed-some are even disasters. While some MCU entries dazzle with the multiverse and celestial stakes, the franchise is weighed down by convoluted and chaotic plots or a string of new characters struggling to find their footing. Then comes Thunderbolts*, a film that breathes new life into the MCU by putting the characters front and center. Highlighting more about the soul of the characters and less about spectacle might just be what the franchise needs for a fresh start.

Thunderbolts* introduces us to a ragtag team of antiheroes and misunderstood figures who campaign to become the "new Avengers*." The film follows the misfits-Yelena Belova (Florence Pugh), Bucky Barnes (Sebastian Stan), Red Guardian (David Harbour), John Walker (Wyatt Russell), Ava Starr (Hannah John-Kamen), and the ever-charming Bob (Lewis Pullman)-who are far from our typical all-American superheroes, these characters are flawed, complicated, and deeply human. They are not just a team assembled to fight a powerful villain; each character arrives with their own emotional baggage, motivations, and personal demons to fight with. The film's biggest win lies in its writing and characterization. It's a superhero story that feels intimate, almost indie in its approach, focusing on the humane side of the superheroes. Instead of highlighting their intimidating superpower or having side characters as plot devices, the film focuses on who these people are beneath the masks and powers they possess. The characters don't feel like archetypes; they feel like real people you could meet on the streets-people with deep emotional wounds, hopes, regrets, and doubts.

In all its ways, Thunderbolts* feels like a passing of the torch. The former Avengers have largely stepped back, and this new team is poised to take their place, not because they fit a mold, but because they represent something more complex and nuanced, which has been missing in the post-Endgame MCU films. These are the heroes with messy parts, trying to find their way in a world that doesn't quite trust them.

If you're like me and crave an MCU film that invests in character arcs as much as it does in action sequences and complex multiverse tropes, Thunderbolts excels. Each character has a complete storyline, yet leaves room for future development. Yelena is struggling with loss and identity; Bucky carries the weight of his past as the Winter Soldier; Red Guardian faces his struggles with family and legacy; and John Walker is grappling with his role as a sanctioned hero. Bob or The Sentry/Void added a unique flavor, bringing elements of vulnerability, depth, and humor that balance the darker tone of his character.

What's remarkable is how the film injects depth into these characters without ever sacrificing the pacing or excitement. The arcs are poignant and relatable, where you'll find yourself caring about their journeys and rooting for their growth and redemption. Of course, it wouldn't be a superhero film without the villain, but even the "villain" is handled with nuance. Instead of a cardboard cutout antagonist, the film offers a character who fits into the larger MCU puzzle pieces, hinting at an evolving narrative. This subtlety makes the conflict feel organic rather than forced.

There's no denying that Florence Pugh is "THAT" girl. Her performance was undeniably the film's emotional core. Acting alongside her is David Harbour, who played Flo's father; their portrayal of a fractured, complicated father-daughter relationship adds another layer of raw emotion, which is seldom seen in a superhero film. The dynamics between their characters are a standout, filled with hilarious, touching, and painful moments. The film does not shy away from exploring the themes of trauma, loneliness, and the longing for connection. These aren't just throwaway lines or backstory elements; they're woven perfectly into the fabric of the characters and the narrative. The honesty in their interactions gives the film a surprising emotional weight, grounding the fantastical elements in a real human experience.

The previous MCU releases have had issues with the writing, making their characters look like caricatures in their own film. Take "Ant-Man and the Wasp: Quantumania" as an example, where the film solely relies on silly jokes or forced humor to defuse profound moments. Instead, in Thunderbolts*, the humor respects the gravity of its themes-trauma, redemption, trust, and identity-while still delivering moments of levity that feel earned and natural.

If the DC Universe's *Suicide Squad* leaned into chaotic antihero antics with a wild, almost manic energy, Thunderbolts* might be described as the "Depressed Squad." The film embraces the imperfections and vulnerabilities of its characters rather than glossing over them. This grounded approach makes the stakes feel more personal and the characters more relatable.

The film doesn't fall into the trap of overcomplicating its story with multiverse chaos or quantum physics jargon, which is refreshing after the disastrous "Captain America: Brave New World." If you binge-watch all of the MCU films, it will blow your mind, not because of the spectacle but because you'll spend a lot of time untangling alternate realities and timelines. Thunderbolts* offers a welcome return to straightforward storytelling. They finally understood what the audiences really want-strong writing and compelling characters. It's a simple reminder that it's not about grandiose spectacle or mind-bending concepts; it's about the characters and their journeys.

It's pretty common in superhero films to suffer from predictability-heroes facing a powerful villain, overcoming all of the odds in expected ways to save the world. Thunderbolts* shakes up this formula. The characters are so richly drawn and morally complex, leaving you wondering how they'll behave in a heightened situation. This unpredictability adds a layer of tension and intrigue that keeps you engaged throughout. It's very rare to watch a superhero film where the protagonists' decisions and reactions feel authentic and grounded.

Thunderbolts* is a bold, character-driven film that signals a new direction for the MCU. It proves that MCU doesn't need another sprawling multiverse saga or cosmic event to captivate audiences. Instead, it needs stories with heart, characters with depth, and themes that resonate on a human level. By focusing on flawed, complex heroes who are as relatable as they are powerful, Thunderbolts* offers a new kind of superhero film that feels fresh and necessary. Thunderbolts* is a welcome reminder of what makes the genre great: compelling characters, meaningful stories, and the courage to be vulnerable even when wearing a mask.

If this is the future of the MCU, count me in.

Ryan Coogler's "Sinners" is a cinematic masterpiece in the horror genre, weaving its narrative with the sounds of southern blues. The film follows the twin brothers as they try to leave their troubled lives behind, returning to their hometown to start again, only to discover an even greater evil waiting to welcome them back.

Michael B. Jordan plays the character "Smoke" with his twin brother "Stack," played by Michael C. Jordan. Kidding aside, the twin is played by Michael B. Jordan alone. Yes, we are gifted to see two Michael B. Jordans on the big screen, both in their tank tops and with bloody muscles. Michael B. Jordan's performance was magnetic, which is odd because he has consistently delivered great performances every time he's on screen. Yet, he hasn't secured that one role that will earn him an Oscar nomination. As much as I would love for him to get an Oscar nod for this role, the Academy is notorious for ignoring the horror genre. His performance as both "Stack" and "Smoke" was phenomenal, giving each character a distinct persona that remains true to their individuality. Jordan's dual role was powerful, complemented by Coogler's bold and in-your-face bloody direction, making their team-up a one-of-a-kind.

This film is a risk for Ryan Cooler as he hasn't done any films that are not inspired by or based on a different narrative. "Sinners" is all original and unique, which proves my point that Ryan is one of the greatest directors we have today. His fearless storytelling, which skillfully addressed racial discrimination and greed, was powerful. It's the kind of risk worth trying, and Coogler masterfully blends the elements of horror and drama through music and blood.

The first hour of the film may be a bit long and dragging to some viewers, but it's the kind of characterization needed for this kind of film. Coogler cleverly built a world for these characters, allowing us to see them and their lives before the dreaded night. Coogler allowed the viewers to understand each character and their motivations, making the film's first half pivotal. Once the film reaches its second part, it's where all the blood and chaos occur, and the journey leading up to this moment is worth it.

"Sinners" also shines in its visual and sound brilliance. There's a sequence in the film where the character played by Miles Caton, named "Sammie," sings a song that showcases various transformations in music, from classic to modern. It also features music from different cultures and races. This scene is the moment when you can say that "Sinners" is probably the best horror film in recent years; it was like a spiritual awakening. The way Coogler cleverly conveyed the film through music is impressive; the music was not just an element added for extra flair, but rather, it was pivotal and interconnected with the story. Music and storytelling are interconnected; one cannot exist without the other, and that alone is a testament to Coogler's brilliance.

"Sinners" is a film where everything was given to us, the viewers, from exceptional performances to excellent visual and audio storytelling. It's a film where all the elements of horror, drama, and music come together because Coogler's heart and dedication were in it. I have been waiting for this in the horror genre, specifically in the vampire subgenre. It's fresh and unique, yet still true to the gore and bloody nature of a film about vampires and its allegory.

"Flow" is an Academy Award-winning animated film from Latvian director Gints Zibalodis, a mystical and wonderous exploration of the spirit of survival, companionship, and stewardship, weaving together both elements of nature and the mystical. The film follows a brave little cat whose home and habitat are shattered by a flood that mysteriously overwhelms the whole forest and possibly the world. The moment I settled myself into watching this film, I was mesmerized by the visuals and how the story unfolds and captivates the profound themes of survival and co-existing that resonate deeply within us. In a world where selfishness has started to foster, "Flow" reminds us that we can survive by simply co-existing.

The film immerses viewers in a stunning and mesmerizing crafted universe that is both familiar and new. The film's highlight is the breathtaking animation, with each scene a masterclass in artistry-colors that dance and landscapes that evoke a sense of wonder and mystery. The fluidity of the animation mirrors the film's themes of adaptability and survival, which touch the heart and soothe the soul of its audience, inviting them to embark on a journey alongside each of the animals involved. Aside from its mesmerizing animation, the film's standout aspect is its unique storytelling approach. It is devoid of dialogue and relies solely on visual storytelling and emotive music to convey its narrative. For a film without dialogue, the animation elevates the film and allows the audience to warp themselves up with its visual storytelling---it's the kind of risk that pays off beautifully. The silence creates a space for reflection, urging us to reconsider the fluidity of life and the beauty of existence itself. It's a bold choice for a film to be this simple, yet it exemplifies the idea that sometimes less is truly more.

As someone who has a deep love and connection to animals, I found myself enjoying the journey of the cat alongside a motley crew of a capybara, a lemur, a secretarybird, and a dog. It is both heartwarming and anxiety-inducing. Each of these animals embodies distinct traits that contribute to the group's survival: trust, courage, and resourcefulness. Witnessing these animals navigate the dangerous waters of their new reality was thrilling and nerve-wracking-the sense of claustrophobia and anxiety as they faced various challenges, from unpredictable waves to unforeseen dangers. Despite the anxiety that sometimes crept in, "Flow" ultimately exudes a sense of calm and peace. This juxtaposition is one of the film's greatest strengths. The film acknowledges the harshness of survival in a world turned upside down but also emphasizes the importance of companionship and teamwork in overcoming various circumstances. The bond and unlikely friendship formed among these creatures is a testament to the power of connection. In a world that can often feel isolating and lonely, "Flow" is a stark reminder that we are never truly alone in our struggles.

As the film unfolds, it becomes evident that this film is more than just a tale of survival; it is also a meditation on life itself. The journey of the cat and his companions serves as a metaphor for the human experience-our struggles, triumphs, and ability to adapt to the ever-changing currents of life. The film invites us to reflect on our journeys, challenges, and relationships we cultivate along the way. It emphasizes that survival is not about physical endurance but the emotional resilience and bonds we forge with others.

"Flow" is more than just an animated film; it is a heartfelt journey that lingers in the mind and soul. Gints Zilbalodis has created a work of art that is entertaining and profoundly moving, serving as a reminder of the beauty of resilience and the importance of companionship. As the credits rolled, I felt a sense of peace wash over me, a gentle reminder that we are all part of this grand tapestry of life-flowing together as we navigate the currents of our existence.

Captain America: Brave New World marks Anthony Mackie's return as the high-flying hero Sam Wilson, who has officially taken up the shoes of Captain America. After meeting with newly elected U. S. President Thaddeus Ross (Harrison Ford), Sam finds himself in the middle of an international incident. He has a mission to discover the reason behind a nefarious global plot before the true mastermind sees the entire world red.

On paper, this narrative could work, but the film's execution feels less like a continuation of a beloved franchise and more like a drag through familiar territory that has lost its shine throughout the years. After the hype and emotional weight of "Endgame," seeing the Marvel Cinematic Universe (MCU) struggle to find its footing is disheartening. The excitement that once defined Marvel films seems to have faded, with exceptions like "Spider-Man: No Way Home" and "Guardians of the Galaxy Vol. 3" reminding us of what the franchise once was.

The storytelling and direction in "Brave New World" are particularly disappointing and convoluted. The pacing drags and is slow, leaving scenes that should be thrilling, feeling flat and uninspired. It's as if the filmmakers forgot that the audience thrives on momentum and excitement. Instead, we're left with long stretches of dialogue that are equally bad as the narrative that doesn't build character depth or advance the plot meaningfully. This lack of urgency and engagement diminishes the stakes, making it hard to care about the characters or their missions.

Just when you thought it couldn't get worse, the score itself is very jarring and disjointed from the whole movie experience. The score often overwhelms the scenes it accompanies instead of enhancing the emotional resonance of these pivotal moments in the film. It feels disjointed, pulling the viewers out of the experience rather than immersing them in it. Personally, it's frustrating to hear a potentially stirring score that ultimately feels like a mismatch with the film's tone and atmosphere.

While the performances are not equally bad, they are still a letdown. Anthony Mackie's performance as the new Captain America lacks the motivational spark and enthusiasm to make audiences root for him as the new Cap. Instead, his performance comes off as hollow and unmotivated, leaving the audience with a sense of emptiness. I don't really care about his character or mission in saving the "world." It seems as though he's just a side character in this tedious and messy narrative. Harrison Ford as President Ross is also another disappointment. His performance translates as exaggerated and uninspired, perhaps due to the lack of depth in his character. This is probably one of the worst performances I've watched this year. The characterization is where the film also fails, with each character feeling underutilized; their potential is squandered, which dilutes the impact of their arcs and interactions.

While the film successfully attempts to lay the groundwork for a new journey within the MCU franchise, it ultimately raises yet more questions than it answers, which feels like a cash grab rather than a thoughtful continuation of the whole MCU. The lack of narrative and depth in each character necessary to invest the viewers in the characters or their motivations is overwhelming, especially the antagonists, who come off as one-dimensional.

To add salt to the injury, "Captain America: Brave New World" also struggles visually, with CGI that is underwhelming and subpar, drives the viewer away from the whole cinematic experience; it's forgivable and can be overlooked, but if the narrative and execution are already flawed, at least surprise us visually. Rather than being swept away in a world of actions, we are left picking apart the cheap effects that could have elevated the story instead of pulling them out of it.

In conclusion, "Captain America: Brave New World" is another disappointing MCU addition and a missed opportunity. The film lacks all the excitement, depth, and character development that fans have come to expect from a big-budget and grand story. If this is the future of the MCU franchise, it's hard to feel concerned about where it's headed.

In the cinematic world where the fairytale narrative often gets lost in the gloss of digital fantasy and the push for inclusivity, Sean Baker's Palme d'Or winner, "Anora," reintroduces us to a gritty and audacious Cinderella story that is both electric and comedic. With the film's main character, Ani, played masterfully by Mikey Madison, we explore the underbelly of Brooklyn as she navigates the chaos that erupts when she impulsively marries Vanya (Mark Eydelshteyn), the reckless son of a wealthy Russian billionaire. What happened afterward is a wild chase through the streets of New York, underscored by Baker's unique writing, direction, and the film's textured aesthetic. I genuinely believe this is one of the best films I've seen this year and perhaps even a crowning achievement in Baker's already impressive body of work.

From the outset, Baker's vision for "Anora" is unique. His previous works, such as "Red Rocket" and "The Florida Project," have paved the way for a distinct narrative style that often melds realism with a raw emotional core. However, "Anora" marks a new pinnacle for him, blending urban life's raunchy and electric energy with a story that resonates deeply. Baker's ability to capture the heart of his characters while putting them in an environment that feels both lived-in and real is a testament to his mastery. The film's aesthetics are deliberately grungy, evoking a sense of authenticity that mirrors the lives of the characters within it. Life in New York, as depicted through Baker's lens, is not sugar-coated. It is a place where stark realities often overshadow dreams. Yet, within this gritty backdrop, the film finds humor and absurdity.

Baker's direction is a masterclass in capturing raw emotion, and I think his unique style elevates "Anora" to new heights. The film's aesthetic is textured and grungy, evoking the gritty reality of urban life authentically. I've missed seeing that kind of realism in films lately, and Baker's ability to immerse us in Ani's world through his lens is a testament to his artistry. This is probably his best work so far, and as much as I loved "Red Rocket" and "The Florida Project," "Anora" hits all the right notes for me. It's raunchy, electric, and wild, perfectly balancing humor and heart.

Mikey Madison shines as Ani, a young sex worker, navigating the streets of Brooklyn. Her performance is a revelation. I was completely mesmerized by her portrayal of Ani, a character who embodies a fierce spirit yet carries the weight of vulnerability. Ani is not merely a stereotype of a sex worker; she is a complex individual whose vulnerability and strength are palpable. Madison's ability to oscillate between the hotheadedness of a young woman desperate for love and money and the vulnerability that comes from her circumstances is a remarkable feat. The bravery she demonstrates in her performance elevates the film, making Ani a character that is as relatable as she is captivating. I felt her struggles and triumphs in every scene, and it made me reflect on the complexities of survival in a world that often overlooks the humanity of individuals like Ani.

The supporting cast also deserves praise for their performances. Vache Tovmasyan's Garnyck is a standout, injecting much-needed humor into the narrative. I couldn't help but laugh at his comedic timing; each word that came out of his mouth felt perfectly placed and never forced. His character adds a layer of absurdity to the chaos unfolding around Ani and Vanya, which I found refreshing. Yura Borisov, who plays Igor, also impressed me, even with limited dialogue. His subtle gestures and expressive eyes tell their own story, drawing the audience in and allowing us to feel the weight of his character's existence. His subtle gestures and nuanced expressions convey a wealth of emotion, revealing layers of vulnerability beneath his stoic exterior. Baker's direction shines through in these moments, allowing the audience to glean insight into the characters' internal struggles without the need for overt exposition. The film's strength lies in its ability to hint at the complexities of each character's life, drawing viewers deeper into their world.

That said, the first 40 minutes feel sluggish, almost unbearable at times, as the film lays the groundwork for what is to come. While rich in character development, it may leave some yearning for a quicker narrative progression, to which I questioned whether the film would ultimately deliver on its promise. The pacing felt dull and dragged, and I almost considered walking out of the theater. However, once the film hits its stride in the second half, it evolves into something extraordinary. The frenetic energy of the following chase is reminiscent of the intensity found in films like "Uncut Gems" and "Good Time." The narrative takes unexpected twists and turns, propelling Ani and the gang into a whirlwind of chaos that reveals the fragility of their existence. In this shift, the film indeed finds its footing, intertwining rollercoaster moments with poignant revelations about the characters' loneliness and brokenness. Despite the seemingly fun and exhilarating escapades, the reality of their lives begins to seep through. It's a powerful reminder that beneath the surface of excitement and adventure lies a profound loneliness that many of us can relate to. The film's ability to juxtapose the thrill of the chase with the emotional weight of the characters' lives left me reflecting long after the credits rolled.

What stands out in "Anora" is Baker's deft handling of these themes. He does not shy away from showcasing the rawness of life, yet he infuses the narrative with humor and heart. The film serves as a reminder that even in moments of chaos and absurdity, there exists a profound sense of longing and desire for connection. As the film concludes, I am left with a bittersweet understanding of the characters' journeys - they may have experienced a night of thrill and excitement. Still, they are ultimately left grappling with their own loneliness.

Ultimately, "Anora" is not just a film about a chase or a fairytale gone awry; it's a poignant exploration of love, desperation, and the human condition. I genuinely think it's one of the year's best films, showcasing Baker's incredible talent as a storyteller. The film is an exhilarating blend of romance and dramedy, anchored by Mikey Madison's audacious performance and Baker's exceptional direction and screenplay. I walked away from the theater feeling enriched and inspired, and I can't wait to see how this film resonates with others as they experience Ani's journey.

"Heretic," directed by Scott Beck and Bryan Woods, the writer behind "A Quiet Place," is a film that effectively combines the elements of horror, dark humor, and theological debate, ultimately creating a narrative that challenges both its characters and viewers. The film follows two young Mormon missionaries, Sister Barnes (Sophie Thatcher) and Sister Paxton (Chloe East), who inadvertently find themselves embroiled in a sinister game after knocking on the wrong door, hoping to share the Gospel. That door belongs to Mr. Reed, portrayed by the ever-charismatic Hugh Grant, whose magnetic presence elevates the entire film.

From the get-go, "Heretic" builds its unique tone and atmosphere with a conversation about condoms and sex, humorously juxtaposed against the backdrop of the missionaries' earnest mission. A cheeky line written on a chair reads, "Who says size doesn't matter," instantly signaling that the film will not shy away from taboo subjects. This juxtaposition of youthful innocence and the raw realities of human sexuality sets the stage for a film that is as much about self-discovery and faith as it is about horror. This opening scene may serve as a comedic introduction and as a harbinger of the satirical and campy route that the filmmakers would want to venture. This invites the audience to brace themselves for a cinematic experience that is both absurd and thought-provoking, or in this case, faith-provoking.

As the film progresses, it delves into the heavy themes of faith, belief, and the nature of religions. To some viewers, the dialogue-driven format may overwhelm theological discussions, especially when expectations are set for traditional horror tropes like cheap jump scares and grotesque imagery. Instead, "Heretic" opts for a more clever approach, playing with dialogue to explore the existential questions of which religion is true and whether God exists, and I think this is where the true horror happens; it's not the idea of religion that is horrifying, but people's obsession with it to the point that religion is being prioritized over humanity. This decision may alienate viewers, mainly traditional religious viewers, who are seeking conventional horror surprises. Still, it elevates the narrative by forcing audiences to engage with the material on a deeper level. This is why I suggest going into this film with little knowledge of what it is about.

The true anchor that really holds this film to the ground is Hugh Grant's chilling performance as Mr. Reed. As someone who has been following Grant from the early 90s to the 00s, who's mostly known for his charming roles in romantic comedies, this film offers a refreshing take on a charming and repellent character. Grant's charisma makes the film exceedingly difficult to dislike his character outright; even as he embodies the archetypal antagonist, Grant's nuanced portrayal is filled with subtle gestures and a disarming smile that masks the predatory nature of his character. This creates a chilling atmosphere that resonates throughout the film, and this performance stands as one of Grant's best, showcasing his versatility and ability to immerse himself in a role similar to his previous film but also challenging his established on-screen persona. The tension he brings to the film is palpable, keeping viewers on the edge of their seats as they navigate the moral complexities of his character.

While the film's exploration of religion and faith may come across as blasphemous or offensive to some, it is precisely this audacity that underscores the beauty of filmmaking. "Heretic" encourages viewers to confront their own beliefs and question the narratives they have been taught. It is a bold move that aligns with the essence of horror as a genre---challenging societal norms and personal convictions. Through their clever exchange of dialogue that pits faith against skepticism, the film allows the audience to reflect on their own blind adherence to beliefs, effectively mirroring the internal struggles of its characters. The screenplay, embellished with clever writing and sharp dialogue, is one of the film's standout features. The film's third act is a bit of a stretch, falling short of delivering a satisfying resolution. However, the screenplay's strengths and direction can easily overshadow this.

Overall, "Heretic" is a daring film that challenges conventions and invites viewers into a dialogue-driven horror that transcends mere entertainment. "Heretic" may not reach the same heights as the modern classic like "Hereditary"; the film effectively carves out its own identity through its blend of dark humor, philosophical inquiry, and psychological tension. The film's clever writing and Grant's stellar performance create a unique cinematic experience that sets itself out amongst the crowded horror genre. It invites audiences not just to witness a story of survival but to engage in an exploration of faith and morality that resonates on multiple levels. It's a testament to the power of storytelling in cinema, proving that true horror lies not only in what we see but in what we believe and how we confront those beliefs. In a world where faith can often be a source of division, the film serves as a reminder of the importance of questioning and the beauty of discourse, making it a compelling watch for those willing to engage with its themes.

Years after the heroic death of Maximus, played by Russell Crowe in the first installment of "Gladiator," "Gladiator 2" took us back again into the bloody arena of the Roman Empire through the eyes of Lucius (Paul Mescal), the young heir who has lived under the shadow of his uncle's betrayal. The film opens with a gripping sense of loss and urgency as Lucius, now a man shaped by grief and rage, finds himself compelled to step into the Colosseum, the very arena where he witnessed the tragic death of his father when he was just nearly 8 years old. The stakes are high, with the future of Rome hanging in the balance, and Lucius must confront his past to reclaim the honor and glory of an empire that has lost its way.

Directed by the legendary Ridley Scott, "Gladiator II" carries the same emotional weight as its predecessor while elevating the action sequences and adding the element of camp that may surprise some fans of the original. The second installment is undeniably an adrenaline-fueled spectacle, filled with intense battle sequences that are empowered by impressive cinematography and choreography. However, it's Denzel Washington's incredible performance as Macrinus---a cunning and manipulative figure---who stole each scene he's in. Washington's performance brought a layered complexity to the character, transforming what could easily be a one-dimensional villain into a character that is rich with depth and conflicting motivations. As the film progresses, we get to witness the nuances of Macrinus' character, revealing not just his ambition but also the fears and desires that drive him to become who he is now. Washington's ability to convey this complexity makes him stand out in this film, capturing the audience's attention every time he appears on screen as we wait for his next move to make all of his plans come to a realization.

Contrary to Paul Mescal's performance, while he's a talented actor, sometimes he struggled to find his footing within the grandiosity picture of the film. His portrayal of Lucius is commendable, but there are moments in the film when his accent and dialogue seem to get lost amidst the roaring crowds of the Colosseum and the overwhelming scale of the production. Maybe this is just me nitpicking the film, but somehow, it's apparent and hard to ignore. Mescal is undoubtedly a gifted performer, yet at times, he feels overshadowed by the weight of the narrative and the larger-than-life presence of his co-stars, namely Washington. It's almost as if he's wrestling with the enormity of his character's legacy while trying to carve out his identity, leaving the audience with both admiration and concern.

On a superficial level, "Gladiator 2" is an extravagant and visually stunning sequel filled with expansive sets, grand costumes, and the kind of epic battles you would expect from Ridley Scott. Yet, when examined more closely, it becomes clear that the film revisits familiar themes and concepts. There are moments in the film that feel recycled from the first installment. While nostalgia can sometimes be a comforting and engaging element, it can also hinder the film's ability to create its own identity. The story frequently relies on the same themes of vengeance and redemption that made the original so engaging. Still, it needs to introduce more fresh elements to hold the audience's interest at the same height.

While it's difficult to top the emotional resonance of the first "Gladiator," which was widely considered a masterpiece of grit and vengeance, this is where the "Gladiator 2" falls short. Despite the impressive battle sequences and the introduction of bizarre elements---like filling the arena with water and sharks---this addition comes across as gimmicky. They feel like desperate attempts to inject spectacle; it's as if Ridley Scott is in his quest to outdo the original, resulting in losing sight of what made the first film so impactful: its raw, emotional stakes and the personal journeys of its character.

"Gladiator 2" tends to focus on the superficial aspects of conflict, obscuring the underlying causes that drive these battles. While the action sequences are thrilling and tension-filled, they often lack the emotional depth and motivations that were so prevalent in the original film. The struggles and motivations of the characters, especially Lucius, sometimes feel overshadowed by the Colosseum itself. The film hints at deeper themes of power, betrayal, and honor, but these are often lost amidst the chaos of the arena.

In conclusion, "Gladiator 2" has successfully honored its predecessor's legacy while carving out a new path for its characters. Still, it ultimately falls short of the emotional depth and complexity that made the original film so beloved and considered a cult classic. The film offers impressive action sequences, stunning visuals, and a standout performance from Denzel Washington---whom I think will get an Oscar nomination this year---but it's hard to shake the feeling that it could have been so much more. And as much as I wanted to be swept away by the epic battles and the grandeur of Rome, I longed for the gritty authenticity of the first film. While entertaining, the film feels like a shadow of its predecessor, struggling to create an instinctive mark on the historical genre.

"Conclave," directed by Edward Berger, is a masterful exploration of one of the world's most secretive and ancient rituals: selecting a new pope. Berger's film delves deep into the clandestine corridors of the Vatican, offering viewers an introspective and suspense-laden journey through the political and spiritual machinations of the Catholic Church. In a cinematic landscape often dominated by blockbuster franchises and franchise sequels, this adaptation of Robert Harris's novel is a masterclass in suspense, introspection, and nuanced storytelling, elevated by exceptional performances and meticulous direction.

The film takes you right into the heart of the Vatican, where the sudden death of a beloved pope throws everything into chaos. I found myself drawn into this world where tradition and secrecy reign supreme. Ralph Fiennes, who never disappoints, plays Cardinal Lawrence. He's the guy who has to keep everything together during the conclave-the intense and secretive process of picking a new pope. As Lawrence navigates through this ancient ritual, he starts to uncover secrets that could shake the Church to its core. Watching him peel back these layers felt like going on a journey of discovery myself, wondering what I would uncover next.

Ralph Fiennes truly shines in his role as Cardinal Lawrence. I was struck by how he managed to convey so much with just a look or a slight change in his voice. He made Lawrence feel real and relatable, someone grappling with his doubts while trying to hold it all together. Fiennes has this incredible ability to balance authority with vulnerability, and it's hard not to think he deserves some serious award buzz for it. His portrayal is a study of restraint, capturing the internal struggles of a man caught between duty and doubt.

The supporting cast is equally impressive. Stanley Tucci, John Lithgow, and Isabella Rossellini each bring something unique to the film. Rossellini, even with her limited screen time, leaves a lasting impression. Her role as Sister Agnes really hit all the right buttons, highlighting the patriarchal nature of the Church, where nuns are silent servants expected to manage domestic duties without any recognition. She adds depth to the story, highlighting the inequalities and challenges within this powerful institution. Every small gesture she makes adds momentum to the narrative, making her presence felt long after she's off-screen.

Edward Berger, who impressed many with "All Quiet on the Western Front," really showcases his talent in "Conclave." His attention to detail and ability to build tension kept me on the edge of my seat. The way he paces the film is spot-on, letting the suspense grow naturally with each scene. Visually, the film is a treat; Berger captures the awe-inspiring beauty of the Vatican while cleverly contrasting it with the more modern, stark living spaces of the characters. This visual contrast subtly highlights the tension between tradition and modernity within the Church. The film maintains a quiet yet gripping tension throughout, thanks in no small part to Berger's careful direction and the stunning cinematography.

The cinematography in "Conclave," led by Stéphane Fontaine, is breathtaking. The way the film captures the grandeur and solemnity of the Vatican pulled me in. Every shot feels thoughtfully crafted, giving the story a sense of closeness and urgency that makes you feel like you're right there. The clever use of light and shadow adds layers to the film, emphasizing its themes of secrecy and revelation. Long lens shots further highlight the isolation of the conclave, making the viewer acutely aware of the gravity of the situation.

Volker Bertelmann's haunting score adds to this visual feast. The music wraps the film in a dark, heavy atmosphere, crucial for keeping the suspense alive. Each note seems to build on the tension, making the wait for that iconic puff of white smoke-a signal that a new pope has been elected-even more intense.

"Conclave" does not shy away from exploring dark and relevant themes with care and sensitivity. The film touches on issues such as queer rights, the role of women within the Church, religious corruption, and internal church politics with a deft hand, ensuring it addresses these topics without alienating its audience. The inclusion of a topic like laparoscopic hysterectomy might perplex some viewers. Still, it serves as a metaphor for the invasive scrutiny and the hidden, often painful truths lurking beneath the Church's surface. The film is multi-layered and quietly complex. It is a detective story, but more than that, it is a mystery.

Cardinal Lawrence's work becomes increasingly challenging as he uncovers secrets about the deceased Pope and the true nature of the new figure, Cardinal Benitez, who has been appointed without the knowledge of the other cardinals. The film's sonic language-murmured speech and susurrous ambient noises-creates a sense of mystery and intrigue, punctuated by occasional jarring moments that heighten the suspense.

The film challenges audiences to reflect on the nature of faith, power, and human fallibility. It is a meticulously crafted thriller that finds complexity and tension in the shadows of one of the world's most revered institutions. In an era where spectacle often overshadows substance, "Conclave" offers a refreshing alternative. It is an intelligent and thought-provoking film that invites viewers to engage with its complex narrative and explore the moral ambiguities within the corridors of power. Berger's film is a testament to the power of storytelling that respects its subject matter while delivering a gripping and tension-filled experience.

"Wicked" brings to life the untold tale of the witches from Oz, featuring the incredibly talented Cynthia Erivo, known for her award-winning performances in "Harriet" and Broadway's "The Color Purple," taking on the role of Elphaba--a young woman with distinctive green skin, often misunderstood, who is on a journey to discover her true potential. The Grammy-winning pop star Ariana Grande-Butera, played Glinda, a young woman who is both popular and ambitious, yet still searching for her true self. As students at Shiz University in the magical Land of Oz, the two form an unlikely but profound bond. However, after an encounter with The Wonderful Wizard of Oz, their friendship is tested, leading them down separate paths.

As a theater kid, not by talent but by heart, I am no stranger to the magic of musicals and the transformative experiences that they offer. "Wicked," directed by Jon Chu, is the cinematic equivalent of the Marvel Universe for a theater kid like me. It's a beautiful world where the fantastical meets the profound, and the stage I once adored has now been expanded into a vibrant, larger-than-life universe. As someone who has held the world of Shiz and Oz close to my heart, Jon's adaptation is a grand-scale and beautifully crafted musical, an utterly flawless adaptation of the source material. Jon did not just make the "Wicked" world into this grandeur reality; he showed courage by creating his own vision of this already familiar world by adding more emotions and flair to the narrative and not entirely changing the story. It was a conscious decision that showed his respect and care for the source material. The film possesses a heart and vision that transcends and, indeed, defies gravity.

Ariana Grande-Butera and Cynthia Erivo took center stage as Glinda and Elphaba, and their performances are nothing short of extraordinary. Their chemistry is palpable, much like what we usually see in their press conference and interviews, capturing the beauty and complexity of their friendship that is the anchor of the film. The live singing and orchestration add another layer of magic to the film, creating an immersive experience that envelops the audience in the music. The score is grand and evocative, enhancing every emotional beat and elevating the narrative. For fans of the musical, like I am, these elements are a testament to the passion and talent of the entire creative team, who have succeeded in translating the essence of the stage production to the big screen.

As someone who has been following Ariana Grande since her days on "Victorious," I was genuinely surprised by her transformation as Glinda. This was not the pop star I'd come to know; instead, Ariana embraced her inner child and portrayed her role with sincerity and depth that was both unexpected and delightful. Her portrayal of Glinda is nuanced and layered, and you can see her channeling the young Ariana, who watched the musical when she was just 10 years old. Her naivety and childlike performance have captured the true essence of Glinda, a witch longing for popularity and validation from the people around her, and Madame Morrible, played by the Academy-Award winner Michelle Yeoh.

Cynthia Erivo, on the other hand, delivered an Oscar-worthy performance that is both powerful and poignant. Her rendition of "Defying Gravity" is a standout moment in the film, echoing with emotional intensity and vocal prowess. It's a performance that pays homage to the iconic legacy of "Adele Dazeem," known as Idina Menzel, while also carving out her own unique version. Cynthia's Elphaba is complex, vulnerable, and very humane, a portrayal that resonates deeply with anyone who has ever felt like an outsider. Is she worthy of an Oscar nomination? Definitely.

As this is just the first part of a two-part adaptation, "Wicked" has set the stage for a continuation that promises to be equally compelling and moving. This film is a flawless adaptation, a celebration of talent and vision that showcases the incredible work of the cast and crew. From the visionary director to the outstanding performances from the leads down to the technical brilliance of the production team and music score, "Wicked" is a testament to the power of storytelling and the enduring appeal of musicals.

In conclusion, "Wicked" is a triumphant film that expands the world of Oz and Shiz's universe in thrilling new ways. Whether you're a longtime fan of the stage musical or new to its enchanting tale, this film captured the essence of what makes the world of Wicked so special and unique-with its exploration of friendship, identity, and the courage to defy gravity. Chu's "Wicked" is a cinematic masterpiece that honors its roots while daring to soar to new heights, leaving audiences with a sense of awe and excitement for Part 2.

"Wicked" will forever be famous-well, Popular! (You see what I did there?)

The Outrun follows the story of Rona, played by Saoirse Ronan, a 29-year-old fresh out of rehab who returns to the island of Orkney after more than a decade of being away. As she reconnects with the dramatic landscape of where she grew up, memories of her childhood merge with the more recent challenging events that have set her on the path of recovery. The film is based on Amy Liptrot's memoir of the same name, directed by Nora Fingscheidt in a lyrical and free-form structure that is filled with metaphors and moods of fragmentation through the changes in the protagonist's hair, which shares the similarity of the film, "Eternal Sunshine of a Spotless Mind."

Saoirse plays a young woman born in Orkney who has lived in London for over a decade to escape her tragic and traumatic childhood. Hoping to find freedom and joy, she instead formed a relationship with alcohol and parties, which led to her character becoming violent and depressed.

Rona's toxic involvement in alcohol leads to a violent and vulnerable situation, which ends up tearing her relationship with her boyfriend (Paapa Essiedu). Saoirse Ronan showcased her powerful yet painful performance in this involving addiction-recovery drama. I think it's safe to say that Ronan is one of the best actresses of this generation. Everything she does in this film shows how much power and authenticity she shows to her character, from subtle and poignant expressions to violent drunk acting. It's a range that only a few actresses in this generation can pull off, and Saoirse handled her character in a careful yet personal manner.

Stories about addiction, depression, and isolation always resonate with me on a personal level. It's a topic I hold dear mainly because of how much I relate to these kinds of stories, and "The Outrun" is one of those films that hits you in the right places. The film is crafted carefully, making sure that they are not just highlighting the struggles and chaotic path of a person with an addiction but also showing the continuous journey of someone's soul entangled in addiction. This is where I think the film felt very personal and honest, as it does not try to manipulate the viewers by showing the intense tantrums or breakdowns of a person with an addiction --- it's not that these scenes are absent in the movie, but they treated it like it's less pivotal. Instead, they showed us more of Rona's road to recovery.

On the road to recovering from addiction, it's essential to confront your past and find the root cause of it. In Rona's case, it was because of her troubled childhood with a bipolar father, in which she witnessed severe episodes, and a religious mother---these factors posed a question to Rona: was her addiction nature or nurtured? Even the title of the film, "The Outrun," refers to the remote island of Orkney that isn't suitable for farming and is constantly battered by strong waves and winds, which could serve as a metaphor for Ronan's character. The film allows the viewers to experience the wonders and beauty of the island, yet it's intimidating and mysterious, coated by its peace and quiet nature. The Island Orkney does not just serve as a backdrop of the film, but rather, it serves as a metaphor throughout the story, mirroring Rona's inner world.

The wild and untamed nature of the island Orkney reflects Rona's chaotic past and the isolation she feels due to her addiction. The islands' perilous cliffs, unpredictable weather, and vast, open spaces symbolize freedom and the threat of confronting one's demons. The harsh yet majestic Orkney underscores Rona's journey toward self-discovery and healing. The island becomes a sanctuary, offering her the clarity and peace needed to face her addiction. The cyclical nature of the tides and the relentless winds serve as metaphors for the ebb and flow of her recovery process, emphasizing the ongoing struggle and resilience required to overcome addiction.

In conclusion, "The Outrun" is a beautifully crafted exploration of addiction and recovery, brought to life by Saoirse Ronan's powerful performance. The film does more than depict the turmoil of Rona's addiction; it captures the essence of her journey toward healing with authenticity and grace. Director Nora Fingscheidt's lyrical approach, combined with the haunting beauty of the Orkney Islands, creates a powerful metaphor for Rona's internal struggles and resilience. "The Outrun" stands as a testament to the strength of the human spirit, reminding us that, much like the island's rugged landscape, the journey to recovery is both challenging and beautiful.

"Let's start one day at a time."

"We Live In Time" follows the story of Almut (Florence Pugh) and Tobias (Andrew Garfield), who are brought together by a surprise encounter that changes their lives. Through snapshots of their life together -- falling for each other, building a home, becoming a family -- a difficult truth is revealed that rocks its foundation. As they embark on a path challenged by the limits of time, they learn to cherish each moment of the unconventional route their love story has taken. Directed by John Crowley, "We Live In Time" is a film that explores the complexity of time and grief.

Florence Pugh and Andrew Garfield delivered a raw and poignant performance, but the latter truly stands out with his subtle yet powerful expressions. Andrew's ability to convey his emotions and grief through his eyes and subtle gestures is a testament to the actor's range, drawing the audience into the depths of his character's emotional journey. You can tell how much Andrew took his character to a personal level as he has been very open about his perspective of grief, which transcends on the big screen.

While the film deals with some heavy themes, such as grief and loss, it is predictable and can feel all over the place due to its non-linear storytelling structure. However, what holds the film together is the palpable chemistry between Pugh and Garfield. Their genuine and heartfelt interactions make their on-screen relationship feel authentic and relatable. This connection and honest narrative carry the film, allowing viewers to become more invested in their love story even when the plot sometimes stumbles upon a rough path.

As mentioned, the film's unorthodox approach to storytelling is unique. Instead of following a more traditional and structured way of telling, the film invites the audience to explore grief at different stages of each character's life. While this approach may not appeal to everyone, particularly those who prefer a more one-line narrative, for those open to this approach, this style allows for a richer exploration of grief. In these moments of raw and honest storytelling, the film truly shines, offering a more poignant look at how people deal with loss, grief, and the passage of time.

Contrary to most romance-drama films, which aim to make audiences cry, "We Live In Time" takes a different route. The film does not seek to manipulate the emotions of the audience with dramatic scenes or tear-jerking moments. Instead, the film gently guides the audiences to reflect on the nature of loss and grief, encouraging us to see time as a friend rather than a foe. The film's honest and optimistic narrative urges us to make the most of our time, no matter how little it may be. It's a very refreshing approach to a relatively common subgenre of drama, anchored by the outstanding performances of its leads, great cinematography, and a promising direction.

Despite its strengths, the film has its challenges. The pacing can be uneven, and some plot points feel underdeveloped or rushed. There are moments when the film's ambition seems to exceed its reach, leaving certain themes unexplored, such as motherhood. Yet, these missteps don't overshadow the film's core message or emotional impact. "We Live In Time" is a perfect film to confront your emotions and will take you on a journey filled with emotional punches.

The film doesn't just tell a story; it invites audiences to experience a range of emotions, from heartbreak to hope, alongside its characters. This emotional journey is what makes "We Live In Time" a standout, lingering in the minds of viewers. The direction, though unconventional, allows for moments of introspection and connection. It challenges viewers to think about their own relationship with time and how they process grief. It's a testament to the power of storytelling, showing that even in its predictability, a film can touch hearts and provoke thought.

In conclusion, "We Live In Time" is a film that, despite its flaws, offers a poignant exploration of time, grief, and human connection. It's a journey that invites viewers to reflect on their take on grief and the passage of time. While it may not be perfect, its emotional depth and the exceptional performances of its leads make it a standout film worth watching. Whether you're drawn in by the story, the performances, or the themes, "We Live In Time" will leave a lasting impression, reminding us of the precious nature of time and the importance of making the most of it.

Netflix's new addition to their catalog is "It's What's Inside," the latest film by director Greg Jardin. It's the new entry in the burgeoning subgenre of game-night horror; much like "Bodies Bodies Bodies" and "Talk To Me," this film offers a fresh perspective on a familiar premise of the body-switch trope. While it navigates the predictable waters of thriller storytelling, it distinguishes itself through its excessive verve style and relevant themes. The film follows a group of friends meeting up for a party on the night before the wedding. One group member brings a mysterious game that allows them to swap bodies temporarily with other members. This premise, while reminiscent of other films in the genre, is executed with a unique style that keeps the narrative engaging and somewhat unpredictable.

The film focuses on its seven main characters---well, there is an eighth character whose identity provides a captivating twist. Each character plays an integral role, and the film relies heavily on the actors to deliver performances that convey both their original personalities and those of the characters they inhabit following the body swaps. Unfortunately, this is where the film encounters some challenges. While the narrative provides a rich picture for exploring identity and personality, the performances were unconvincing, which is required to realize the body-swapping fully. This is a missed opportunity to elevate the film from a conventional thriller flick. While the cast is visually appealing and charming, their inexperience ultimately hinders the film's overall impact.

Despite these performance issues, "It's What's Inside" excels in its high-concept narrative. Rather than bogging down the story with scientific explanations of how the machine works, the film trusts its audience to trust its material and focus on its thematic explorations. This approach allows the narrative to delve into more meaningful examinations of modern-day shallowness and the masks we often present to the world. The unlikeable nature of each character reflects a world filled with insincerity and distrust, subtly highlighting the jealousy and envy we usually feel toward friends and those around us, which is timely and relevant in this modern day.

The film effectively critiques the superficiality of modern society by presenting characters with diverse backgrounds and experiences, all coming together in this one party only to reveal their true self. As the characters swap bodies, they confront the biases and realities they typically conceal, both from themselves and others. This narrative device of the masks we wear is where "It's What's Inside" truly shines, giving the audiences a reality check of who we really are and the identity we present to the world.

While some viewers may find the film's extravagant style and verve visuals excessive, these elements align perfectly with Jardin's directorial vision. The film's cinematography resembles a sensory overload, mirroring the characters' confusion and disorientation as they navigate their new bodies. This visual stimulation serves both as a narrative device and an immersive experience, drawing the audience into the film's tumultuous high energy. One of the cleverest and most innovative aspects of Jardin's direction is his use of stylish, red-lit visuals to differentiate characters post-swap. This creative choice not only enhances the film's unique aesthetic but also aids the audience in tracking the characters' identities amidst the narrative chaos. While the plot can occasionally be convoluted, these visual cues provide clarity, allowing viewers to follow the story's twists and turns confidently.

In conclusion, "It's What's Inside" is a high-concept addition to the game-night thriller subgenre. While it may struggle with some aspects of performance execution, it compensates with its narrative, vibrant style, and thematic depth. Greg Jardin's film is a compelling exploration of identity, perception, and the roles we assume in our daily lives, all presented within a visually stimulating framework. It's a film that feels like you're smoking weed while watching, and that's a compliment.

"The Wild Robot" is a standout Dreamworks project that has captivated audiences with its wholesome and sincere approach to storytelling. The film shines through its realistic depiction of life in the wild, as it doesn't shy away from the harsh realities of nature. It explores the prey-predator relationship, migration, and the challenges of extreme weather. These mature themes are presented in a way that helps kids understand the complexities of life in the wild.

At its heart, the film is a simple yet substantial story. It isn't just about finding a home; it's about creating one for yourself and those around you. The film beautifully demonstrates how migration can be essential for survival and how letting go can sometimes be a form of protection for ourselves and our loved ones. On a deeper level, when you look at these characters and dissect the people they represent. Brightbill, Fink, and Roz each represent a fundamental aspect of the human journey, and in doing so, they resonate with the core of who we are and the paths we choose.

Brightbill, the goose that grew up being nurtured by a robot and the fox, represents those people who feel an innate pull towards their origin. Some people who were raised in an environment unlike their own are on their journey of self-discovery and belonging. Others tend to go their way and find those people who share their passions and understand the nuances and experiences of their lives. It is not about rejecting the people or community that raised them; it's about seeking solace and understanding those who share the same belief and mirror their spirit. Just as the geese migrate in order to survive, some people also search for their own flock and tribe to feel truly at home and survive.

Fink, the solitary fox, represents those people who find peace in solitude, which is often misunderstood by society. In a society where we label these people as outsiders, Fink is a testament to the quiet strength found in being alone and enjoying your own company. Some people feel like they are lone wanderers, perceived by society as distant or "monsters" as what they call the fox, yet they find comfort in the silence and learning to coexist with the people around them. Fink reminds us that walking alone is okay and that solitude can be a friend rather than a foe.

Lastly, we have Roz, the robot who leaves behind what she knows to protect those around her. Roz's journey is all about sacrifices and courage, stepping beyond the familiar to ensure the safety of those she loves. It's a poignant reminder that there are also people who had to make this difficult decision in life, leaving behind the comfort and familiarity of the place they knew for the sake of those they hold dear. Their path is not easy and often misunderstood by those around them, but it's a powerful narrative of love and protection that sometimes leaving can be a form of protection.

Each of these characters reflects our own lives and choices. Whether we seek our people like Brightbill, find peace in solitude like Fink, or make sacrifices like Roz, we are all navigating the complex journey of existence in our own unique ways. There is no right or wrong path, only the one that feels true to who we are.

Staying faithful to the source material, Dreamworks has elevated the story by avoiding unnecessary complications, focusing instead on heartfelt and sincere storytelling. They may not have been consistent in recent years in giving us quality animations, but with the power of Chris Sanders, "The Wild Robot" has managed to salvage the studio. The film is a poignant exploration of parenthood, survival, and kindness, offering a warm embrace to those who are motherless or parentless. Its charm lies not in a complex plot but in its ability to explore mature themes in a way that children and adults can easily reach.

Lupita Nyong'o delivers a standout performance as the voice actor of Roz the Robot, bringing nuances of a robot and warmth to the character. The animation is breathtaking, capturing the beauty and brutality of the wild with stunning detail, with each character being part of this beautifully immersive world that the animation department expertly crafts. With Chris Sanders behind the camera, a legend in animation, "The Wild Robot" emerges as one of the best-animated films of the year, surpassing my much-anticipated "Inside Out 2." It's a film that knows how to make the audiences laugh, cry, and affect them with simplicity and aptitude.

To sum it all up, "The Wild Robot" is a testament to the power of simple yet earnest storytelling. It's a film that touches the heart while imparting valuable lessons to its audiences. Whether you're a child or simply a child at heart, this film offers something truly special-a reminder that sometimes, the simplest stories are the ones that stay with us the longest.

"Joker: Folie à Deux" is one of this year's most anticipated films, or maybe just my most anticipated film, yet it's this year's biggest letdown film. The first Joker is very special for me and my page, as this was the first movie I reviewed, and I also enjoyed it. I'm a very sentimental person, and when they announced that there would be a sequel, I was excited. Then they confirmed Lady Gaga would play as Harley; I was even more excited. The biggest lesson I learned from this movie, I guess, is to lessen your expectations. From the direction and writing, the whole film felt like it was written by a mediocre kid at school who thinks everything they did is superior---It's that bad, really!

The writing and direction felt uninspired and lazy. The film follows Arthur Fleck's life, waiting for his trial for the crimes of Joker. While struggling with his dual identity as Arthur Fleck and Joker, Arthur stumbles upon true love and finds the music that's always inside him. The synopsis may have the potential to be a poignant exploration of mental health, but the film struggles to find its footing. The pacing is almost unbearable, as it gets dragged and dragged with nowhere to go. The film doesn't know what it is trying to convey; the dialogue is flat, and the musical element does not match the narrative.

One of the most disjointed elements is the musical component, which seems awkwardly inserted rather than seamlessly integrated into the narrative. The music fails to enhance the story or characters, instead feeling like an afterthought. Although the musical element serves as Joker and Harley's fantasies, it just doesn't work well with the narrative they are trying to deliver. Adding the musical aspect to their dialogues made the film almost feel comical and pretentious. Lee said, "I'm pregnant." "What?!" Arthur replied, then Lee, out of nowhere, belted out, "Why do birds suddenly appear every time you are near?" It was hilarious.

For a $200 million budget, it's a massive letdown. It is weird to have this much budget, yet no extra or grand was happening. The film's settings were only at the jail and courtroom, so where did the $200 million budget go? Compared to Denis Villeneuve's "Dune: Part Two," which was this year's biggest film, it only has a $190 million budget, but the CGI effects and the quality of the film are far from "Joker: Folie à Deux." Even the first installment has a budget of $65 million, yet it made an astounding $1.07 billion at the global box office.

When it comes to the performances, both Joaquin Phoenix and Stefani Germanotta (famously known as Lady Gaga) were electrifying. I appreciate that they are singing live, which added authenticity to their character, and the contrast in their voices sounded so good. However, due to the film's lack of characterization, the addition of Harley "Lee" Quinn to this saga is rather unnecessary and underutilized. The addition of Harley Quinn could have been a great character to explore, but as the movie progresses, she fades into the background although her character plays a vital role in Joker's life; it's not that she has less screen time but because there was nothing written for her character aside from being Joker's love interest. Although Joaquin Phoenix was great in this movie, it's apparent that they are capitalizing on his success in the first installment after winning the Oscar for Best Actor and the movie gaining $1 Billion at the box office. Still, sadly, it turned out to be a disorganized and uninspiring film.

Everything in this film felt like a mistake. It's a cash-grab movie with nothing promising to offer. The musical aspect could be more cohesive to the whole film. Even the final scene felt like Todd Philips just wanted to end the Joker saga to avoid any further sequels. From start to finish, the film stumbles to find its ground. The entire experience of watching this film felt like witnessing a series of missteps. It comes across as a project primarily motivated by the desire to generate revenue without offering anything genuinely innovative or exciting for the audience. As a sequel, there is an expectation to build upon the strengths of its predecessor, but this movie struggles to find its own identity and purpose. This film is particularly disappointing for fans of the first installment, like myself. The original set a high bar with its depth and complexity, and as someone who appreciated its nuances, I hoped for a sequel that would expand on those strengths. Instead, I left the theater feeling let down by a film that failed to capture the essence of what made the original so impactful.

In conclusion, this sequel misses the mark on multiple fronts, failing to capture the depth and innovation that made its predecessor so compelling. Its lack of cohesion and purpose feels like a disservice to fans who anticipated a continuation worthy of the original's legacy. The disjointed musical elements rushed ending, and overall inconsistency contribute to a viewing experience that feels more like a series of missed opportunities than a meaningful story. While the film may achieve commercial success or not, it ultimately falls short of delivering the artistic and narrative fulfillment that audiences were hoping for. As a fan, seeing such potential go unrealized is disheartening, leaving one to wonder what could have been with more thoughtful execution. "Joker: Folie à Deux" is a testament that not all sequels are necessary.

A fading celebrity, Elizabeth Sparkle, decides to use a black-market drug, a cell-replicating substance that temporarily creates a younger, better version of herself. "The Substance" is a film that talks about aging, body dysmorphia, and the extremely ridiculous amount of body standards that society sets for women in general. As per Rotten Tomatoes, the film's synopsis goes like this: "Have you ever dreamt of a better version of yourself? You are only better in every way. You should try this new product; it's called The Substance. IT CHANGED MY LIFE. With The Substance, you can generate another you: younger, more beautiful, more perfect. You just have to share time -- one week for one, one week for the other. A perfect balance of seven days each... Easy right? If you respect the balance... What could possibly go wrong?" Reading from this synopsis, even without watching the trailer, you'll know what the film will be like; from the get-go, you'll understand the dilemma, the character's motives, and intentions. However, despite being on the nose, the film will surprise you on so many levels.

The movie's most surprising aspect is the sheer number of references that pay homage to classic horror films. It's abundantly clear that the director, Coralie Fargeat, holds a deep respect for the genre, as she makes these references unsubtly, adding a layer of entertainment for horror fans. For instance, Elisabeth Sparkle's transformation and obsession closely resemble Nina Sayers' metamorphosis in Darren Aronofsky's "Black Swan." The vibrant corridor scenes are heavily inspired by Stanley Kubrick's "The Shining." Moreover, the closeup shots serve as a nod to David Cronenberg's classics, "Videodrome" and "The Fly." Even the revelation of the "monster" at the film's climax shares a notable similarity to the unveiling in David Lynch's "The Elephant Man." In an interview, Coralie Fargeat mentioned that David Lynch is one of her inspirations for the film, further cementing these connections. Furthermore, the bloodbath scene in the final 15 minutes of the movie bears a strong resemblance to the classic feminist horror film "Carrie," both depicting female rage driven by societal oppression. These intentional, well-crafted references make the film a gratifying experience for horror cinema fans.

Demi Moore's performance as Elisabeth Sparkle is career-defining-definitely her best performance throughout her career. Her bold and audacious performance allowed the audience to fully submerge into her character, showcasing her raw and authentic emotion to Elisabeth's inner turmoil. One notable scene in the film that showcased Moore's range was the mirror scene, from subtle envy and insecurities to extreme rage and anger to hatred. Moore has never had any chance to commit to a role like this in her previous films; she has allowed herself to be seen by the audience in a different light.

On the other hand, Margaret Qualley's performance is a revelation and a testament to her exceptional talent. She has proven herself to be one of the best actresses of this generation. Throughout the year, Margaret has been one of the young actresses who were constantly in a good film but were overlooked due to her characters' limited resources or being overshadowed by her co-actors. In this film, she was able to, not outperform Demi Moore, but gave a bold and horrific performance as "Sue," or the better version of Demi Moore's character. Both actresses were able to play their characters differently, but at the same time, you know that they are one. Their inner turmoil for success, validation, and societal pressure is evident in the characters they play.

I mean, it's definitely an Oscar-worthy performance. Still, due to the Academy's bias and hatred towards the horror genre, it's almost impossible for them to get a nomination in the acting category for a body-horror film (we still can't get over the fact that they robbed Toni Collette of that Oscar statue, heck, even a nomination).

"The Substance" is likely the best body-horror film I've seen in recent years. While everything is quite direct, the film also possesses deep layers. The opening scene alone sets the stage for how grotesque and disturbing the film will become, and it doesn't disappoint in its bold approach to body horror. The direction is straightforward and precise, allowing the audience to immerse themselves fully in the experience. Certain aspects of the direction are particularly clever and brilliant, especially when we see things from Elisabeth and Sue's perspectives. This approach smartly and effectively allows the audience to embody the characters and experience their agony fully. Although the movie could have benefited from a more polished and well-executed finale, it maximizes the body-horror experience, which sometimes becomes almost comical, especially in the last 15 minutes. Nevertheless, the film successfully delivers its purpose through a very on-the-nose and humorous direction.

It's the kind of film that will linger in your mind, or even haunt you, long after the credits roll. Experiencing the last 30 minutes in a packed theater is incredibly satisfying; the collective gasps, some people throwing up, and the unified shouting create a truly unforgettable cinematic experience. This is just a pure cinematic experience we've been missing in recent years, and as a horror fan, I'm thrilled to experience it again. Cinema is back!

One piece of advice: do not watch this film while eating or drinking. Trust me, I don't have many regrets in life, but doing so during "The Substance" is definitely one of them. It's a film so nasty and disturbing that you might find yourself needing to cleanse your palate with something light-hearted, like a Disney-Pixar film, to recover. In summary, "The Substance" stands out in the body-horror genre, offering a raw, visceral experience that will leave a lasting impression. With phenomenal performances from Demi Moore and Margaret Qualley and a bold and innovative direction, this film is a must-watch for horror enthusiasts. Just be prepared for a ride that will test the limits of your stomach and your psyche.

"Rebel Ridge" is a thrilling action drama that explores the dark side of small-town police corruption. The story centers on Terry Richmond (Aaron Pierre), an ex-marine caught in a risky fight to post bail for his cousin. What starts as a straightforward mission soon escalates into a full-blown violent battle with corrupt cops. This film, directed by Jeremy Saulnier, showcases Netflix's mastery of presenting engaging stories that clearly navigate the typical stereotypes commonly found in police dramas.

Netflix finally gives us a quality police story that avoids the cliche troupe. With Rebel Ridge, it's a well-written and well-executed action drama that ends up delivering a good narrative. The movie opens with the protagonist, Terry Richmond (Aaron Pierre), being run over by a cop, and right from that moment, you get the idea of what the movie will be all about. The tension and excitement are already present at the table; much like the film "First Blood," the movie sets its foot at the right places without a miss.

Aaron Pierre's performance as Terry Richmond is nothing short of captivating. His performance is powerful, showing a simmering rage and deep emotional struggle with just a glance. Pierre's ability to express such intense emotions subtly and convincingly anchors the film, making Terry a character that viewers can empathize with and root for right from the beginning. Even in moments of silence, you can feel what Terry is going through, thanks to Pierre's nuanced performance. Anna Sophia Robb also shines as Summer. Her character is not just a sidekick or a plot device; she is a fully realized individual with her motivations and depth. Surprisingly, her character was also explored very well, revealing her motivations and past traumas in a way that is not forced nor an unnecessary addition to the story. Instead, it allowed the audience to connect with her character fully. The chemistry between Terry and Summer is electric, and their interactions add complexity to the story. Both actors deliver performances that do justice to their well-written characters, enhancing the film's overall impact.

Jeremy Saulnier's direction is masterful. If you've seen his other movies like "Green Room" and "Blue Ruin," you'll know he's excellent at building tension. In "Rebel Ridge," he keeps the pace slow but finds more time for character development. His meticulous attention to detail and ability to craft tension-filled scenes using dialogues are evident throughout the movie. The result is a film that is both thrilling and thought-provoking. One of the most compelling aspects of Rebel Ridge is its multi-layered narrative within the characters. While it is an action film at its core, it delves into complex themes like corruption, racial discrimination, and the abuse of power. The film doesn't shy away from exploring the legal intricacies of the situation. However, the film uses legal jargon that some audiences may not be familiar with, but the writing is so effective that it does not feel like it's being heavy-handed. Instead, they explained everything clearly without spoon-feeding the audience, making the story more engaging and authentic.

The film's portrayal of police corruption is incredibly timely, given today's socio-political conditions. It serves as a stark reminder of the systemic issues that continue to plague law enforcement, especially concerning racial discrimination. The movie doesn't hold back in showing the brutality and injustice faced by people of color at the hands of those sworn to protect them. It's insane how these police officials who vowed to "protect" the people ended up damaging those in the minority. For viewers who have experienced or are aware of such injustices, the scenes of corrupt officers being held accountable provide a sense of satisfaction.

"Rebel Ridge" avoids the pitfalls of many action dramas by ensuring its characters are well-developed, and its plot is well-crafted. The film's tension comes from its action sequences and the moral and ethical dilemmas its characters face. This approach adds depth to the narrative, making the stakes feel real and immediate. The action sequences in the film are executed very well with precision and realism. They are gritty, intense, and unflinching, reflecting the characters' high stakes and desperation. Saulnier's direction ensures that these scenes are not just spectacles but integral parts of the story that drive the plot forward.

In conclusion, "Rebel Ridge" is a standout film that combines a compelling narrative with powerful performances and masterful direction. Aaron Pierre and Anna Sophia Robb deliver standout performances that bring depth and authenticity to their characters. Jeremy Saulnier's direction ensures the film is thrilling and thought-provoking, addressing critical social issues while providing a gripping action drama. Netflix has once again proven its ability to deliver high-quality content that resonates with audiences. "Rebel Ridge" is a must-watch for anyone looking for an entertaining and impactful film.

"Beetlejuice Beetlejuice" is the follow-up to Tim Burton's 1988 horror-comedy "Beetlejuice." It brings back the peculiar, spooky charm that made the original a cult favorite. This new film takes us back to the strange town of Winter River, mixing nostalgia with fresh storylines to engage longtime and newcomer fans. After an unexpected family tragedy, three generations of the Deetz family return home to Winter River. Still haunted by Beetlejuice, Lydia's (Winona Ryder) life is turned upside down when her rebellious teenage daughter, Astrid (Jenna Ortega), discovers the mysterious model of the town in the attic and the portal to the Afterlife is accidentally opened. With trouble brewing in both realms, it's only a matter of time until someone says Beetlejuice's name three times, and the mischievous demon returns to unleash his brand of mayhem.

Looking back at the original "Beetlejuice," you would say that the film ends rightfully, and a sequel is unnecessary. The first film has already set its standard as a self-contained masterpiece that perfectly balances horror, camp, and comedy. It is populated by unique characters that leave a lasting impression. However, "Beetlejuice Beetlejuice" manages to carve out its own space by delivering a good story that pays homage to the original while introducing fresh elements. Though imperfect, the sequel captures the goofy, spooky essence that fans loved, making it an enjoyable experience.

One of the most enjoyable aspects of the sequel is the reunion of the original cast members. Michael Keaton returns as Beetlejuice after 36 years, and his performance is as vibrant and chaotic as ever. Keaton's portrayal of the mischievous poltergeist is a whirlwind of energy, capturing the same spirit that made his character iconic. Winona Ryder also reprises her role as Lydia Deetz, now a mature adult grappling with her past and the challenges of raising a teenager. Ryder's performance evokes a sense of nostalgia, reminding audiences of the goth queen they admired in the original film. Catherine O'Hara also returns, bringing her unique comedic flair to the role and adding a layer of authenticity and warmth to the film. It's Catherine O'Hara's character's redemption arc, and I'm here for it.

However, the film does face some narrative missteps. Compared to the original, the sequel attempts to juggle multiple side plots and introduces several new characters not adequately explored. This results in a somewhat convoluted narrative that can sometimes feel hectic and tedious. The film tries to weave together various storylines, but not all receive the attention they deserve, leading to disjointedness. For example, the subplot involving Astrid's rebellious nature and her strained relationship with Lydia could have been more deeply explored to add emotional depth to the complicated mother-daughter story.

A surprising issue with the film is the limited screen time given to Beetlejuice himself. Given that the movie is titled "Beetlejuice Beetlejuice," one would expect the mischievous poltergeist to be at the center of the action. Similar to the original film, which focused heavily on the dynamic between Lydia and Beetlejuice, the sequel spreads its attention more broadly across multiple characters and subplots. This dilution of focus might disappoint some fans hoping for more of Beetlejuice's antics and interactions with the Deetz family. Monica Bellucci is a notable new addition to the cast, and her character's introduction is one of the film's intriguing elements. Bellucci brings a sense of mystery and allure to her role, and her presence adds a new layer to the story. Unfortunately, as the film progresses, her character becomes underutilized and less interesting, only for her character to become useless in the end. This is a missed opportunity, as Bellucci's performance could have added more depth and complexity to the narrative. If there were one aspect of the film that I wished they fixed, it would undoubtedly be to give Bellucci's character more significance and development.

Despite these narrative flaws, "Beetlejuice Beetlejuice" is a pleasant surprise as it manages to avoid the pitfalls of many unnecessary sequels by providing an entertaining and engaging experience. The film excels in its visual and production elements, with impeccable hair and makeup, costume design, and set pieces that evoke the quirky, gothic aesthetic of the original. The attention to detail in these aspects helps to create a cohesive and immersive world. The production design, in particular, stands out, with its imaginative and whimsical sets that bring the Winter River town and the Afterlife to life in detail.

At its core, "Beetlejuice Beetlejuice" is a feel-good movie. It may not be perfect and has flaws, but it delivers a fun and nostalgic experience. The humor, while sometimes uneven, hits the right notes more often than not, and the spooky elements are balanced with a light-hearted touch. The film's ability to provide good laughs and a sense of nostalgia makes it a worthwhile addition to the "Beetlejuice" legacy.

In conclusion, "Beetlejuice Beetlejuice" is a commendable sequel that captures the essence of what made the original film a cult classic. It brings back beloved characters, introduces new ones, and navigates the tricky terrain of living up to its predecessor. While it may not reach the same heights as the first film, it offers a delightful and fun experience that fans of the original will appreciate. The film's imperfections are overshadowed by its charm and the joy of seeing Keaton, Ryder, and O'Hara back in action. Whether you're a longtime fan of the original or a newcomer to the world of Beetlejuice, this sequel provides a satisfying and entertaining journey into the bizarre and whimsical world of the Deetz family and their mischievous poltergeist companion.

In the realm of horror cinema, "The Watchers," directed by Ishana Shyamalan, M. Night Shyamalan's daughter, has stirred a considerable amount of anticipation. The film stars Dakota Fanning in a role that places her in the eerie and isolating environment of the woods, where she finds herself inexplicably trapped in a room with three strangers. Together, they are subjected to the unnerving surveillance of the unknown entities known as The Watchers. As showcased in the trailer, the premise promises an eerie and nail-biting experience. Yet, while the movie begins with a gripping sense of horror and intrigue, it ultimately succumbs to a disappointing unraveling. In the true nature of the Shyamalan family, the movie started off as intriguing only to falter as the film progresses. As I like it, the movie has been "Shyamalanified."

From the get-go, "The Watchers" captured the viewers with its compelling and eerie setup. Dakota Fanning delivers a strong performance as her character navigates the disorienting and terrifying circumstances of her entrapment, while also subtly showcasing the internal trauma of her character. The first act was effectively crafted to evoke a deep sense of dread, leveraging the fear of the unknown and the unseen. The concept of being watched by an invisible force taps into primal fears, and the film effectively uses this to build suspense and tension. However, as the narrative progresses, "The Watchers" begins to falter. The movie's initial premise of an unseen antagonist, which could have sustained the horror elements, starts to disintegrate. The fear of the unknown, a potential tool in horror storytelling, is gradually replaced by a need to overexplain and demystify the core narrative elements that made the film intriguing in the first place. This shift is where the movie starts to lose its grip on the audience.

The film's downfall is reminiscent of the trajectory seen in some of M. Night Shyamalan's works, where an initially captivating premise gives way to a convoluted and unsatisfying resolution. Ishana Shyamalan's direction follows a similar pattern, leading to what I described as a "Shyamalanified" horror experience. Much like "The Watchers", which began with the promise of exploring deeper themes such as identity, childhood trauma, and the existential fear of being watched, ends up diluting these concepts through excessive exposition and predictable twists. The source material, a book that inspired the film, likely held the potential for a richer and more nuanced exploration of these themes. However, the cinematic adaptation falls short in its execution. The reveal of the "Unknown" is handled in a manner that feels lackluster and anti-climactic. Instead of maintaining the enigma and allowing the audience's imagination to fill in the gaps, the movie opts for a straightforward and uninspired explanation. This choice undermines the buildup, resulting in a climax that lacks the intended impact.

As the movie delves into the root of what is happening, it becomes bogged down by its own narrative choices. The twists, which are meant to add layers of complexity and intrigue, end up being more of a stronghold than a revelation. The pacing suffers as the story becomes increasingly tedious, weighed down by unnecessary details and over-explanation of the situation. This approach is counterproductive in a horror film, where the power of the unknown and the unexplained often serves to heighten fear and tension. The second and third acts of "The Watchers" are particularly problematic. What began as a promising exploration of psychological and existential horror devolves into a cliche-ridden drama. The movie's insistence on stripping away the mystery to lay everything bare robs it of its initial allure. Instead of allowing the audience to grapple with the unsettling ambiguity, the film spoon-feeds answers that are neither satisfying nor compelling. The execution in these latter parts feels like a disservice to the clever idea that the film started with. The narrative, which could have continued to explore the deeper psychological aspects of fear and identity, instead resorts to conventional horror tropes. The result is a film that feels like a missed opportunity-a promising concept that was muddied by an overzealous need to provide concrete answers. It's a crime against the horror cinematic universe. There is nothing wrong with allowing the audience to explore their imagination and letting them create narratives in their head.

In summary, "The Watchers" is a film that begins with great potential but ultimately fails to deliver on its initial promise. The intriguing premise and strong performances, particularly by Dakota Fanning, are overshadowed by a narrative that loses its way. The fear of the unknown, a powerful element in horror, is squandered and squashed by an overreliance on explanation and predictability. Ishana Shyamalan's direction, while initially effective, falls into the trap of overcomplicating and demystifying the story, leading to a disappointing and lackluster conclusion.

For viewers seeking a horror film that maintains its suspense and keeps them on the edge of their seats, "The Watchers" may prove to be a letdown. While it has moments of brilliance and a strong beginning, the overall experience is marred by a flawed execution that ultimately makes it a frustrating watch. The film serves as a reminder that sometimes, in horror, less is more, and the power of the unknown should never be underestimated.

"It Ends With Us," the first Colleen Hoover novel to be adapted for the big screen, tells the poignant and deeply emotional story of Lily Bloom. A woman who has managed to overcome a traumatic childhood and is now chasing her dreams in Boston, including opening her own business. Her life takes a dramatic turn when she meets Ryle Kincaid, a charming neurosurgeon. Their intense connection quickly blossoms into a passionate relationship. However, as Lily delves deeper into her relationship with Ryle, she begins to see troubling similarities to her parents' tumultuous relationship. The plot thickens when Lily's first love, Atlas Corrigan, reenters her life, forcing her to make challenging decisions about her future and her own strength.

As a film reviewer who has not read the source material due to a personal vendetta against the author, I took it upon myself to evaluate the film on its own merits. So, if you're expecting a comparison to the book, you won't find that here. This review is purely based on the film itself and my personal impressions. Any remarks saying "the book is better" won't resonate with me.

The film has three standout aspects: Blake Lively's performance, the soundtrack, and the cinematography. Firstly, Blake Lively's portrayal of Lily Bloom is commendable. She brings a sense of authenticity and depth to the character that is both endearing and convincing. Lively manages to capture the nuances of a woman who has endured trauma and abuse without resorting to melodrama. Her subtle expressions and mannerisms effectively convey Lily's complex emotional landscape, making her performance the film's strongest suit. Without resorting to melodrama, Lively's portrayal feels both raw and genuine, which is crucial for a character with such a disturbing background.

Secondly, the soundtrack is a significant highlight. Featuring songs by Lana Del Rey and Ethel Cain, the music adds a layer of emotional depth to the narrative. The soundtrack is so compelling that it occasionally overshadows the dialogue, but this is a forgivable flaw. In many instances, the music is more engaging than the actual conversations between characters, it kinda sucks but it enhances the overall experience for audiences like me who enjoy pop music.

Lastly, Justin Baldoni's direction and use of handheld camerawork add a raw, realistic edge to the film. The naturalistic lighting and intimate camera angles make the film feel more grounded and relatable, which is crucial for a story that deals with heavy themes like trauma and abuse.

Despite these strengths, the film has several notable weaknesses that detract from its overall impact. The narrative devices used in the film are glaringly obvious, and the dialogues often come across as pretentious. This pretentiousness, at times, borders on the ridiculous, making it difficult to take the characters seriously. While the film aims to address important issues such as trauma and generational curses, the execution is far from seamless. The blend of these themes feels forced, and the film struggles to do justice to the weighty subject matter of the source material.

One of the most evident issues is the film's runtime. At two hours, the film feels unnecessarily long and repetitive. The pacing is inconsistent, with a drawn-out opening sequence that takes up the first ten minutes, followed by a rushed progression through key points in Lily and Ryle's relationship. This hurried pace leaves little room for character development, making it hard for the audience to fully grasp Lily's trauma or the depth of her connection with Ryle. The lack of chemistry between the two leads further undermines the film's romantic subplot. The characterization is another weak point. The film barely allows the audience to process Lily's traumatic past before plunging her into a whirlwind romance with Ryle. This rushed approach makes their "deep" love for each other seem superficial and unconvincing. The reintroduction of Atlas Corrigan into Lily's life, while intended to create conflict, feels more like a plot device than a meaningful part of the story. After all, the film does revolve around the story of Lily, so it's understandable that all characters, aside from Lily, are just background characters with little to no impact on the film. The film could have benefited from being 30 minutes shorter. With its 2-hour runtime, it felt overly long and repetitive, often going in circles without adding much to the story.

In conclusion, "It Ends With Us" is a film that falls short of its potential. While it has its redeeming qualities-primarily Blake Lively's performance, the soundtrack, and cinematography-it is ultimately a forgettable and predictable story. The film's length and pacing issues, combined with its pretentious dialogues and lack of character development, make it a shallow and, at times, boring experience. For those who have not read the book and are looking for a film that tackles heavy themes with emotional depth, "It Ends With Us" may still offer some emotional resonance. It has the potential to pull at the heartstrings and take the audience on an emotional rollercoaster. However, for viewers seeking substance and a more nuanced portrayal of trauma and relationships, the film is likely to disappoint.

"It Ends With Us" can be seen as part of the "once beloved book turned into a film disaster" club. It serves as a reminder that not all popular novels translate well to the big screen. While the film does honor the heaviness and relevance of the theme to some extent, it ultimately lacks the depth and coherence needed to make it a truly memorable cinematic experience.

Directed by Oz Perkins, "Longlegs" is a film that will undoubtedly be marked and remembered in the minds of horror fans for years to come. In pursuit of a serial killer, the movie follows an FBI agent who uncovers a series of horrifying occult clues that she must solve to end his terrifying killing spree. Much like David Fincher's "Mindhunter," the movie is trying to resolve murder cases, but the difference is the revelation of traumatic and disturbing childhood experiences. Starring Maika Monroe and the unrecognizable Nicholas Cage, "Longlegs" has now become one of the best horror films I've watched in recent years, following Ari Aster's "Hereditary." The film is filled with harrowing and spine-chilling suspense and has an unsettling atmosphere that takes viewers on a creepy journey. Even after the credits roll, the movie's impact lingers in your mind.

From the get-go, "Longlegs" introduces us to its central antagonist-a creepy, weird old man with Satanic inclinations. At the same time, this narrative might seem like a familiar trope that we've encountered countless times before, but the movie's execution brings a fresh and terrifying perspective to occult horror. The way the film presents this character is both disturbing and unique, making it stand out despite the familiar theme. Though it may not be as groundbreaking as "Hereditary" or "Mulholland Drive, the movie still offers a chilling experience. It's indeed a strong addition to the ever-growing horror genre, proving that even well-worn paths can lead to new and horrifying destinations.

However, the film isn't without its flaws. Right from the start, "Longlegs" has a slow and somewhat confusing beginning. I found myself getting a bit impatient, wondering where the story was headed. This pacing might test the patience of some viewers, and I wouldn't be surprised if a few people felt a bit lost during the early scenes. But looking back, I realize that this deliberate pacing is actually crucial. It lays the groundwork for what's to come, slowly building a sense of unease and anticipation. Once the movie finds its footing and firmly establishes its atmosphere of dread, it becomes unstoppable. From the second part onwards, the film transforms into a disquieting and uncomfortable cinematic experience. The suspense and horror ramp up considerably, gripping the audience and refusing to let go until the very end.

Nicholas Cage's performance is one of the film's most polarizing elements. Some may find his acting style overwhelming, but there is no denying his physical transformation and sheer commitment to the role. Cage's portrayal of the malevolent antagonist is nothing short of mesmerizing. His performance seeps under your skin, a testament to his undeniable talent and ability to embody such a chilling character. On the other hand, Maika Monroe delivers a subtle yet powerful performance that solidifies her status as one of this generation's finest actresses. Monroe plays a character burdened with traumatic experiences and a disturbing childhood, and her portrayal is both remarkable and convincing. She does not exaggerate her performance, instead opting for nuanced expressions and reserved performances that convey deep emotional turmoil. Every subtle nuance is precisely calibrated to evoke empathy and tension, showcasing her exceptional talent.

"Longlegs" follows a narrative that may seem familiar to horror fans, but it is Oz Perkins' vision and mastery that elevate the film above its contemporaries. Perkins demonstrates an uncanny ability to craft harrowing and claustrophobic tension, enveloping the audience in a palpable sense of dread. The first half of the film, though slow, is filled with intriguing and harrowing moments that set the stage for the sheer terror of the second and third acts. As the story progresses, the film becomes increasingly scary, creepy, and chilling, solidifying its place as a standout in the horror genre.

One of the film's most notable strengths is its refusal to provide easy answers or resolutions. While much of the plot revolves around an investigation, the longing for definitive answers is conspicuously absent. Instead, "Longlegs" presents a world where mysteries remain unsolved, and evil continues to lurk in the shadows. This lack of resolution is both unsettling and effective, as it reflects the harsh reality that not all mysteries are meant to be solved. Serial killers and cults often operate in the shadows, their malevolent actions are rarely brought to light. The film's open-ended conclusion serves as a chilling reminder that such threats may still be lurking around us, unseen and unresolved.

The cinematography and sound design in "Longlegs" further enhance its atmosphere of terror. The visual composition is meticulously crafted, with shadowy corners and dimly lit rooms creating a sense of claustrophobia and unease. The sound design is equally effective, with eerie whispers and unsettling noises heightening the tension. Every creak and whisper feels like a harbinger of doom, keeping the audience on edge throughout the film. The camera works were also very effective, with the slow zoom-ins and centralized shots, building a terrifying atmosphere.

In conclusion, "Longlegs" is a masterclass in horror filmmaking, a film that will leave audiences breathless and haunted long after the credits roll. While it may suffer from a slow and confusing start, the film's ability to establish and maintain an atmosphere of unrelenting dread is unparalleled. Nicholas Cage's divisive yet captivating performance, combined with Maika Monroe's nuanced and powerful portrayal, anchors the film in a reality that is both terrifying and believable. The film's refusal to provide easy answers or resolutions adds to its effectiveness, leaving viewers with lingering questions and a sense of unease. Ultimately, "Longlegs" is a testament to the enduring power of horror to captivate, terrify, and provoke thought, making it a must-watch for any fan of the genre.

When it was announced that they were making a prequel of the beloved "A Quiet Place" franchise, I couldn't help but have a mixed bag of excitement and skepticism. Only because the first two installments were already great, and to make a prequel about the time that the invasion started, may sound interesting but can be very risky as it would result in having cheap writing. After all, the original "A Quiet Place" broke new ground with its unique premise and tension-filled atmosphere, while the second installment took the suspense to another level. Could this prequel set on the first day of the alien invasion, live up to its predecessors? While it may not have broken any new ground or be as thrilling as the previous installments, "A Quiet Place: Day One" is still a commendable addition to the franchise with a groundbreaking central performance by Lupita Nyong'o.

Lupita's central performance is nothing short of extraordinary. The challenge of playing a character with minimal dialogue in a movie where silence is paramount is not a small feat. However, Lupita rises to the occasion with subtle nuances and grace. She showcased her incredible emotional range and nuanced expressions throughout the movie, with every flicker of fear, a glimmer of hope, and every ounce of determination conveyed through her eyes and body language. The character itself doesn't have much to play around with, but she does so much with her character, from subtle emotions to intricate gestures, telling us how she's been feeling without ever uttering a word. This is a testament to Lupita Nyong'o's remarkable talent and a highlight of the entire movie. Truly, Lupita is one of our generation's great actresses.

One of the more unusual additions to the film is the cat. At first, this may seem like an odd choice, given cats' inherently noisy and playful nature. However, it quickly becomes apparent that this feline companion makes sense in the movie as cats are known for their stealth and ability to move silently, and in relation to the movie, it perfectly aligns with the characters' survival tactics. As a cat person myself, I found it both amusing and anxiety-inducing how the cat somehow always manages to find the characters or vice versa, even after it had seemingly run away or lost, they always find the cat, Frodo. Every time a cat was off-screen, my anxiety would skyrocket, and I couldn't help but question whether the cat was a vital addition to the movie for the characters to risk their lives for. While I am not complaining about the addition of the cat, making it such an important character in a life-threatening situation did feel somewhat absurd to me. But then again, this might just be because of my overt obsession with cats. Whether this constant worry was a good or bad thing, it's up to me and does not really affect the entire movie's narrative and is still up for debate.

While "A Quiet Place: Day One" may not possess the same thrill and suspense as the two installments, the beauty of this movie is that it does not try to outdo its predecessors. Instead, the movie offers us answers we've all been craving since the beginning---where did the aliens come from? The first two movies threw us right into a world that's already being ravaged by these sound-sensitive aliens, leaving us wondering about their origins and intentions. This prequel, however, offers a refreshing take by allowing us to experience the chaos and terror of the invasion's onset through the eyes of a new character, Sam, played wonderfully by Lupita. Witnessing the world unravel and succumb to chaos on the first day of the invasion was a thrilling experience, despite the film not being as heart-pounding as the previous installments. Written and directed by Michael Sarnoski, they did an excellent job of capturing the initial shock and confusion of the world, and it was fascinating to see how different the characters reacted to the sudden disruption and upheaval of their lives. Lupita's character, in particular, provided a unique perspective, adding depth and emotional resonance to the story.

On a negative note, the movie does have its drawbacks, especially when it comes to characterization. One notable example is Joseph Quinn's character, Eric, who appears only in the second half of the movie. It's kinda difficult to form a connection to his character given that audiences are expected to care about him as we only get a little back story of his life, with his parents living overseas. This lack of compelling characterization is a noticeable departure from the first two movies, where we're deeply invested in the family's fates. However, despite this, the performances of Lupita and Joseph remain the backbone of the movie. Lupita's central performance alone is a visual treat for the audiences and could be a masterclass in subtle performance. Her portrayal is so masterful that it draws us closer to her character, making us feel every moment of her journey. While the supporting character may not be as compelling, the performance's strength helps carry the entire movie.

In conclusion, "A Quiet Place: Day One" may have not broken any new ground or reached the same level of suspense as its predecessors, but it still holds its own as a worthy addition to the franchise. With remarkable performances from Lupit and Joseph, the prequel is a must-watch for the fans of the franchise. The inclusion of the cat, while anxiety-inducing for some, adds an interesting dynamic to the story. The movie's exploration of the invasion's origins provides the answers we've been seeking, making it a satisfying prequel that enriches the overall story. "A Quiet Place: Day One" may have its visible flaws, but it's a commendable entry that leaves a long-lasting impression, especially because of the performances.

Over the years, action movies often cast actors/actresses who are young, agile, and flexible, creating a limitation to a vibrant genre. With "Thelma", the movie emerges as a refreshing and revitalizing departure from the norm regarding the action-comedy genre. From the visionary, Josh Margolin, the movie is inspired by the real-life experiences of his grandmother, "Thelma", reimagining the action genre by placing an elderly grandmother as the lead. The film stands as a testament to the boundless potential of storytelling, regardless of age, and is an exuberant celebration of life, family, and the indomitable will to defy expectations.

June Squibb, in her first leading role performance in 40 years, delivers a tour-de-force performance as the savage grandmother---Thelma. "Thelma" is a strong-willed grandmother who embarks on a series of thrilling action escapades, despite her advanced age of 93, Squibb embodies the character with such grit and determination that is palpable throughout the movie, making it an infectious and heartwarming performance. But above all, her performance is full of joy that transcends and will linger even after the credits roll. Her performance is so compelling and hilarious that it begs the question: why has Hollywood overlooked her talents for so long? Although she previously garnered an Oscar nomination for her performance in "Nebraska", her performance in "Thelma" undoubtedly deserves another nod, and this time in a leading role nomination. However, given the film's indie comedy label, one might worry that the Academy could overlook her extraordinary performance once again.

The film opens with "Thelma" living a seemingly mundane life, overshadowed by the well-meaning but overbearing concerns of her daughter, "Gail", son-in-law Alan, and grandson Danny. Not long enough, the audience are being whisked away on a roller-coaster adventure that reveals Thelma's hidden prowess and invincible spirit. Margolin's direction and vision are both deft and literate, employing familiar action tropes, like Mission Impossible, in a manner that is both age-appropriate and hilariously innovative. Whether it's Thelma outsmarting a group of bumbling burglars or executing a high-stake heist to retrieve a stolen family heirloom, the film never ceases to surprise and entertain audiences with its rich and hilarious storytelling.

The film's greatest strength lies in the film's ability to balance humor with heartfelt and action-packed moments. Margolin's screenplay is infused with a natural, infectious humor that feels genuine and respectful. The comedy aspect of the film arises naturally from the characters and situations, allowing the audience to laugh alongside Thelma rather than at her. This kind of inclusive approach to humor is what makes the film so endearing and relatable, Thelma's antics are not just funny, but also a celebration of her agency and vitality, serving as a poignant reminder that life doesn't stop at a certain age, or in this case, at 93.

At its core, "Thelma" is a family movie. Amid the high-octane action sequences and clever comedic scenes, the film delves into the profound bonds and intricate dynamics that define familial relationships. Margolin captures the heart of the movie through its tender and intimate moments that will resonate with authenticity and ingenuity. Even the interactions between Thelma and her family are imbued with genuine emotions and reflect the love, frustration, and unspoken understanding that often characterize real-life family dynamics. Even as the credit rolls, the film will leave its audiences to ponder and reflect, and in my case, cry.

The film's emotional impact is matched by its exciting roller-coaster pacing. One moment, you're laughing out loud, and the next, you're reaching for tissues---moments like these make "Thelma" a truly engaging and immersive experience. The film's wholesomeness and heart-touching tribute make it a perfect addition to the ever-evolving cinematic universe, one that can be enjoyed by everyone, from kids to grandparents. It's the kind of film that is universally appealing and can be enjoyed together with your friends, family, and especially your grandparents. The film's charm lies in its ability to entertain while also delivering a heartfelt message about the value of family and life.

In conclusion, "Thelma" is a cinematic gem that deserves to be celebrated and talked about. Squibb's captivating performance is phenomenal and heartbreaking at the same time, together with Margolin's direction that breathes new life into the action-comedy genre with clever humor, heartfelt moments, and a fresh perspective. The film's ability to tackle themes of aging, agency, and family with such grace and authenticity is what the film stand out sets apart from other action-comedy flicks. Thelma is the kind of film that will make you laugh out loud and bring you to tears, and after its credit rolls, you will have a new perspective and appreciation of the resilience and strength of the human spirit regardless of your age. "Thelma" stands out as one of the most entertaining and heartfelt films in recent years, a testament to the idea that heroes come in all shapes, sizes, and ages and that life's adventures come with no expiration date. Whether you're a fan of action, comedy, or great storytelling, "Thelma" is a must-watch. It's a film that defies expectations and will leave a long-lasting impression on its audiences.

In 2015, "Inside Out" first graced our screens and captured the hearts and minds of its audiences worldwide, from kids to adults, becoming an instant classic with its innovative exploration of human emotions through the lens of the young Riley and the complex relationship between Joy, Sadness, Anger, Fear, and Disgust. Fast forward to 2024, and Pixar's much-anticipated sequel, "Inside Out 2," arrives to expand this emotional landscape further and now introduces new emotions: Embarrassment, Envy, Ennui, and Anxiety. While these new emotions may be uncomfortable to explore, "Inside Out 2" takes a more mature route in displaying these emotions by portraying a more profound exploration of emotional intelligence with slightly different audiences in mind.

The standout aspect of the movie is its bold decision to introduce Anxiety as a pivotal and central emotion, alongside Envy, Ennui, and Embarrassment. The thing is, the movie did not try to shy away from the complexity of these emotions, especially with their exploration of Anxiety, which was portrayed with remarkable depth and sensitivity that everyone can relate to. The narrative begs the question, "Is Anxiety a bad thing?" and the movie answers it with a thoughtful exploration of how Anxiety, just like all emotions, serves a purpose in human emotions. It's not just about suppressing these feelings but understanding that these uncomfortable emotions---like Envy, Embarrassment, Ennui, and Anxiety---are meant to be felt. Additionally, Pixar's animation has always been top-notch, and "Inside Out 2" is no exception. The attention to detail is remarkable, from the intricate designs of the characters' dresses to the nuanced expressions that convey their emotional states. These small details enhance the storytelling, making the emotional experiences of the characters more vivid and relatable.

The film's brave portrayal of Anxiety is particularly praiseworthy. We often view anxiety as a negative emotion, something to be avoided or stamped out. However, "Inside Out 2", offers a refreshing perspective that Anxiety is a natural part of growing up and an essential component of our emotional repertoire. These emotions teach Riley---and by extension, the audience---that being comfortable with our anxiety and the rest of our emotions is crucial in growing up. This message is especially relevant for teenagers and even adult audiences, who often struggle with heightened emotional states as they navigate through the unstable and overwhelming waters of adolescence. Even the movie's clever description of puberty as "messy" resonates deeply with teen and adult audiences. For kids, it might be hard to understand this reference, but this depiction is both clever and relevant, capturing the chaotic and often overwhelming experience of growing up. The film's ability to communicate and relay that our emotions, even the uncomfortable and messy ones, do not define us but are part of our life journey, is profoundly impactful and relevant. This clever storytelling has allowed the audiences to embrace the complexity of our emotions rather than suppressing them---a message that is both timely and timeless.

While it is worth noting that "Inside Out 2" is targeted at younger audiences, it sometimes misses the mark in connecting with them, especially with the kids. Unlike the first installment, the humor and themes were universally relatable, while the sequel's jokes and themes have become more mature, often suited better for adult audiences. This shift could be seen as a drawback, it was evident in theaters that some kids missed the jokes while the adults were laughing, and this could alienate younger audiences who may find the content hard to grasp. However, this mature approach is also the film's greatest strength as it opens up new opportunities for parents to have a meaningful conversation with their kids about these emotions, making it a valuable tool for another emotional education. When we look at it, anxiety is not inherently bad; it's a universal experience, and the movie depicted Anxiety with a much broader understanding of the emotion in real life. It's a scientific fact that there are only two types of people who don't feel anxious---those with certain psychiatric conditions, or what people call "crazy," and those who are dead. This perspective underscores anxiety as a neutral emotion and can be used as a motivator and a protector in real life. Anxiety is what makes us care about how we look, how we perform, and how we interact with others. In this light, Anxiety is not a villain but a guide, helping us navigate the complexities of life.

In comparison to its predecessor, "Inside Out 2" does not quite reach the same emotional depths the same way "Inside Out" did. The first installment was groundbreaking in exploring the complex relationship between Joy and Sadness, delivering an emotional punch that resonated very well with audiences of all ages. While the sequel may have not reached the same level of emotional height, the film compensates with its maturity and intellectual depth. The film has somehow captured the charm and ingenuity of the first movie while also delving into more sophisticated and complicated themes, making it an important addition to the franchise. Although the movie may have lost some of the spark and joy that were characterized by the first installment, the film stands strong on its own merits. But the movie's maturity and profound exploration of emotions is what makes this a triumphant film. The movie reminds the audiences once again of the importance of not suppressing these natural aspects of ourselves. The movie may have revisited the old themes, but they did it in a manner that feels fresh and relevant, particularly in the way they handle "Anxiety".

In conclusion, "Inside Out 2" is a clever, entertaining, and deeply thoughtful addition to the franchise that builds on the legacy of its predecessor while carving out its own unique space. The movie may not be as universally accessible and understandable in comparison to the first movie, but its mature themes and profound messages make the movie an important and valuable sequel. By encouraging viewers to embrace their emotions, particularly Anxiety, the film offers a compelling narrative that is about the complexity of human emotions and the importance of emotional balance. At its heart, the film's portrayal of Anxiety serves as a powerful reminder that this emotion, though oftentimes unpleasant and uncomfortable to sit with, is actually an essential aspect of growing up. The movie teaches both teenagers and parents that Anxiety is not something to fear about but has to be understood and embraced. This message is crucial in today's fast-paced, high-pressure world, where emotional well-being is often overlooked and misunderstood.

Known for his distinct storytelling style and vision, director Richard Linklater has returned once again with his latest film, "Hit Man", a neo-noir genre that highlighted Linklater's keen observations on human nature. The film stars Glen Powell as Gary Johnson, a seemingly strait-laced professor who leads a double life as a fake hitman for the New Orleans Police Department with a mission to capture these frustrated murderers. Gary's unique talent for adopting various guises and personalities enables him to trap those who wish to eliminate someone. However, his professional and ethical boundaries came to blur when he was contacted by Madison, played by Adria Arjona, to hire him to kill her husband. As Madison falls for one of Gary's personas---the sexy Ron---their steamy relationship ignites a series of play-acting, deception, and escalating stakes.

The most effective aspect of the movie lies in the moral and psychological dilemma faced by the protagonist, Gary. As a professor, he teaches ethical principles promotes clear-cut notions of right and wrong, and identifies yourself. Yet, his secret activities forced him to navigate a morally ambiguous persona, creating a stark contrast between his personal and professional undercover work. This contradiction sets the stage for profoundly exploring his identity and ego. Gary's struggle to separate his true self from the various personas he adopts adds another layer to his characterization. This internal conflict is vividly shown, making viewers think about what really shapes our identity and how it changes based on the different roles we play in life and the different people we interact with.

The main concept of the movie is the five-factor model of personality--- extraversion, neuroticism, openness to experience, agreeableness, and conscientiousness. This framework created another layer to the main character's emotional depth. Throughout the film, Gary has presented different types of personas and it begs the question as to where amongst the five factors does his personality change belong. This idea isn't just interesting but also makes the story deeper, offering a lot to think about for anyone curious about psychology and how characters develop. It makes you wonder about how flexible our identities can be and how outside events shape who we are, adding a unique psychological twist to the movie.

The screenplay is also one of the movie's greatest strengths. Co-written by Richard Linklater and Powell, the movie serves as a masterclass in the simplicity and ingenuity of the script. In general, movies don't have to rely heavily on grand and over-the-top dramatic twists, and this is where "Hit Man" excels. The screenplay focuses on the nuanced character development and clever plot turns that allow the audience to be continually engaged. The writing in this movie is very tight, witty, and full of subtle surprises, despite having some pacing issues in the first two acts, the movie's clever script and engaging dialogues make it compelling and fun to watch. Powell's involvement in the screenplay is a pleasant surprise for me as well, this showcases his versatility beyond acting and proving his capability as a writer.

Glen Powell's performance is nothing short of a revelation. To be honest, one of my worries in this movie is Glen Powell, I fear that he might just be another boy next door, potentially making his performance less convincing. However, Powell dispels these doubts with his multifaceted portrayal of Gary and his various personas. His ability to seamlessly transition from one character to another, each with its own unique charm and complexity, is genuinely impressive. The chemistry between Powell and Arjona adds another layer of intensity and sensuality to the film. Their dynamic as actors embodies a dark and romantic comedy vibe that fits well within the neo-noir genre which allows the narrative to be very enriching and emotionally deep.

Despite its strength, the movie is far from perfect. The pacing in the first and second acts can feel sluggish, as the narrative takes its time to build up Gary's undercover exploits. This slow and gradual build-up can be very overwhelming to some viewers, making you question the direction of the story and where it's heading. The film spends a considerable amount of time establishing Gary's various personas, and in the 2nd half, the relationship buildup between Gary and Madison is overtly done. However, as the movie progresses and once we've reached the 3rd act, the movie brings clarity and resolution, tying together the movie's themes and character arcs in a satisfying conclusion. At 1 hour and 50 minutes, the movie could have benefited from tighter editing to maintain a more consistent pace and keep the audience more engaged throughout.

Overall, "Hit Man" has all the elements of a perfect film-smart writing, good performances, and an unusual Bonnie and Clyde love story. The writing is clever, simple, and with the right amount of twists that work seamlessly with the material. It stands out as a crowd-pleasing addition to the neo-noir genre and is a testament to Richard Linklater's skillful storytelling. Despite its pacing issues, the film ultimately delivers a compelling narrative that resonates with audiences. Glen Powell's performance and the clever exploration of identity make "Hit Man" a memorable and thought-provoking cinematic experience. The film's visual style is another standout feature, with Linklater's keen eye for detail creating a world that feels both grounded and surreal. The New Orleans setting provides a rich, atmospheric backdrop that complements the film's themes of deception and identity. The cinematography captures the city's moody, noir-esque ambiance, adding another layer of depth to the narrative.

In true Richard Linklater fashion, "Hit Man" is a home run, solidifying its place in his impressive filmography. The film's unique blend of psychological depth, moral ambiguity, and romantic intrigue makes it a standout in the neo-noir genre, offering a narrative that is both intellectually stimulating and emotionally engaging.

In conclusion, "Hit Man" is a film that succeeds on multiple levels. It is a smart, engaging, and thought-provoking addition to the genre, with strong performances, a compelling narrative, and a unique exploration of identity and morality. Richard Linklater and Glen Powell have created a film that is both entertaining and intellectually stimulating, proving that the neo-noir genre still has plenty of room for innovation. Whether you're a fan of Linklater's previous work or new to his filmography, "Hit Man" is a film that is sure to leave a lasting impression.