Commentaires de dylanfordays

The Arnold Schwarzenegger and Carl Weathers combo at the peak of their physiques is action movie gold.

It's made even better by the fact that the audience is supposed to buy into the fact that this Predator is the real deal, so when we see it tear through a bunch of similar battle-trained soldiers with ease, it's effective for sure. Seeing the fear on the face of Weathers' Dillon character or Sonny Landham's Billy Character, for example, went a long way towards building the proper atmosphere surrounding the thing that's hunting them. The Central American jungle setting elevated the sense of dread and claustrophobia, too.

I have to note, unfortunately, that the score by Alan Silvestri, who is responsible for great stuff including the iconic Back to the Future soundtrack, felt out of place for me. There are great elements to it, such as the theme that plays whenever the Predator is lurking, but the main loop of the general theme was too...silly or wacky for lack of a better word. Did not fit the vibe most of the time, but it wasn't detrimental to the film or anything. Maybe action movies of the time period favored the more upbeat stuff as opposed to something more oppressive even if to match the situation of the story.

Schwarzenegger himself starts off really rocky in the acting department but then settles in quite well when dialogue is no longer required from him as much. The entire last act of the film between him and the Predator was fantastic and felt like a different kind of movie, honestly.

The rest of the crew was the standard group of soldiers that I'm used to seeing in movies like this, so nothing too special to note about them. Some attempts at humor in the beginning, but just like with Arnold, I'm willing to forgive the shaky beginning all around. A favorite scene of mine was Billy staring into the valley and announcing there was something in the trees. I just wish they capitalized on this cool character by having the Predator match his energy on the log so that we could witness hand to hand combat against it for the first time as opposed to the off-screen conclusion he undeservedly received. However, I understand the reasons for the filmmakers to save a scene like that for the confrontation with the main protagonist. It just would have been a cool moment is all I'm saying.

The Predator itself was cooler than I expected for its first iteration; while it's odd for me to have anticipated less out of the OG film, I suppose the complete lack of love that I've seen in any circles for this movie led me to believe the best was yet to come for this IP. Now, I feel secure in saying that the first appearance of the Predator was well done. Probably too much "Predator-Vision" by the end, but I can't blame them for thinking that was really cool at the time. Also, I am choosing to believe the laugh it gives in its final scene was the work of the established voice imitation skills channeling Billy's earlier laugh instead of being genuine. If that was supposed to be real...massive aura plummet is called for. Otherwise, the good looks we do get of the creature were satisfying. Great concept that has deservedly persisted into the current year with the new release, Predator: Badlands (2025), which is getting rave reviews. I am excited to see it after getting properly introduced to the Predator filmography.

Watch for the most masculine handshake ever put to screen.

WATCHED ON: Disney Plus

HIGHER OR LOWER: higher.

Between this and The Order (2024), I think it's safe to say I'm becoming the target audience for these gritty 90s crime dramas in Small Town, USA. So far, they're not anything special, but they don't need to be. I'll take 50 of these solid and consistent films over most things floating around out there.

We follow Billy Magnussen who plays Lucas Frost, an heir to a third of a family drug empire, as he deals with the aftermath of a terrible personal tragedy at the hands of his own estranged kin. Starting out as an honest man on his way out of the criminal world his family is steeped in, Lucas' need for revenge pushes him to a point of no return-hence, "Violent Ends."

I really like the idea of revenge on paper. Seeing justice carried out on bad people should be a slam dunk entertainment wise, but in practice, a delicate balance needs to be struck between satisfying retribution and keeping a grasp on the protagonist's good nature. This is why many revenge plots will go the route of "forgiveness," which this film addresses, but even that conclusion can feel underwhelming at times. In this case, this subjective topic came across as a little too indulgent on the side of blood or an "eye for an eye." Do I think it would have been a better movie if Lucas had shown more restraint? Not particularly. All I know is that my empathy for Lucas was significantly lessened once he crosses a certain line. The reaction from the brother and mother point to this being the intended impact, but even so, the emotional resonance at the end can only reach so far after this point.

I was pleasantly surprised to see Kate Burton, who I enjoyed in NBC's Grimm (2011-2017), play the mother of Lucas and a cop, Darlene Woodley. Unfortunately, I felt they didn't use her to the full potential. Early on, her careful investigation into the inciting incident seemed like it was going to surpass Lucas' messier rush for justice and offer something to say about playing things straight despite seemingly easier options, but her subplot was delegated to uncovering a "twist" about the case that I personally saw coming. Her contribution of this information wasn't even really necessary either as it was actively being revealed just as she arrives with it.

I couldn't help but think about Sons of Anarchy (2008-2014), which, despite the benefit of multiple seasons of television to build upon, handles the exact "brand" of vengeance this film was targeting much better on many occasions. As for a movie comp, one of my favorites of last year, The Dead Don't Hurt (2024) reaches a similar conclusion but handles the aftermath of the revenge tastefully enough to make the whole ordeal feel earned, which this movie lacks a bit (although, the flashback was a really nice touch to close it out).

My favorite scene was probably when Lucas and his brother Tuck seek out Uncle Walt Frost, played really well by Ray McKinnon, in order to negotiate for a more "rational" justice. This plan ends terribly, of course, but it was surely entertaining to watch.

Other random thoughts: I enjoyed the "rattlesnake" analogy to describe Lucas and his situation. I found it odd how Lucas demanded so much out of Tuck despite caring about him and knowing what his involvement could mean for his family (until the very end when it was too late). I felt that Lucas' "at least I'm doing something" justification for his actions was weak, especially considering the seemingly decent job his mother was doing given how recent the incident was.

Between this and The Order, I would choose the latter for the star power. It turns out that really does matter.

WATCHED ON: AMC Theaters

HIGHER OR LOWER: higher.

Yorgos Lanthimos is slowly learning how to behave more like a human, and for that I am grateful.

Yes, not only is the dialogue becoming more and more digestible, but the emotional resonance is raised as well. Bugonia tell the tale of two members on the outside of society abducting a high-powered CEO under the belief that she is an alien and that forcing her to organize a meeting between them and her mothership will lead to a liberation of the human race.

Naturally, this scenario plays out in all the deliciously disturbing ways you can imagine. Teddy, played immaculately by the great Jesse Plemmons, is deeply saturated in niche political and social circles online that cause him to influence his special needs cousin, Don (played by Aidan Delbis), to go through with the plan to capture and interrogate an "alien." All of the signs of mental illness and social ineptitude are on full display as Emma Stone's CEO character, Michelle Fuller, navigates her imprisonment in their family farm basement.

Aside from the demented "experiments" Teddy performs on Michelle to prove her extraterrestrial nature, the attempts from both sides to share a "dialogue" are what is most intriguing from the whole ordeal. Teddy, while clearly unhinged and unwell, has his talking points and principles down to precise memory and weaponizes his "knowledge" terrifyingly. Plemmons is a safe bet for a future Best Actor win, I'm telling you now. On the other hand, Michelle is carefully yet sternly trying to speak reason into Teddy's made-up mind regarding the gravity of the situation they're in. Once she realizes just how unflinching Teddy is in his convictions, she pivots to the weaker link, Don.

Delbis delivers an excellent performance of the character of Don, whose circumstances are quite sad. Teddy clearly doesn't have any close relationships and uses Don to further his own ambitions despite these actions putting Don's life in danger. It's selfish no matter how good the intentions are believed to be in Teddy's mind, which is magnified by the multiple instances in which Teddy takes full credit for his mission's progress before correcting himself and giving credit to Don's assistance as a second thought. Michelle sees Don being used in this way and tries to appeal to his internal conflict about the situation. While Don gives a captivating and convincing performance in these moments, I also feel as though my biggest gripe with the story is rooted here. Without spoiling, the conclusion to these appeals to humanity by Michelle is one that, while shocking, feels a bit sloppy and unconvincing. Almost as if the story needed to end a certain way according to the screenplay and that subplot needed to finish abruptly to move on to that final chapter.

The end is certainly worth the leap, however. Following a series of bold plays by Michelle that includes a devastating sequence carried out by and designed to hurt Teddy, the captor and his prisoner take the alien premise to its absolute limits before an extremely satisfying truth is revealed that changes everything.

Seriously, this film is good. The performance from Stone and Plemmons had me questioning what I believed many times, which is also the sign of a great script. The themes of truth and misinformation, nature and mortality, and love versus usefulness makes this film extremely relevant to today, in my opinion. Lanthimos proves once again that he is a must-watch director in the business, even if his dialogue is a fever dream sometimes. This one is destined to be owned by my on the form of physical media for sure.

WATCHED ON: AMC Theaters

HIGHER OR LOWER: higher.

I don't care what anyone says about the third Back to the Future, Robert Zemeckis and Bob Gale had a plan for the trilogy and executed it extremely well. That alone makes this entry, and this trilogy, worlds better than other IPs that hand off creative leadership every so often and lack overall direction-a market now defined by reboots and legacy sequels as a means to cash in as opposed to lovingly continuing a story.

It also rules that they wanted the final chapter to be a western. I respect that so much.

Starting with unearthing another hidden delorean in 1955, the Doc of that decade sends Marty on a mission to prevent Marty's Doc from an untimely fate by the hands of Biff's great grandfather, Bufford "Mad Dog" Tannen. Against Doc's wishes, Marty goes after him to bring him home. That's all the hook I need.

While in 1885, I felt the filmakers did a good job with the old west atmosphere. The saloon, while much different the corner cafes of the previous two entries for good reason, still served its purpose as the initial confrontation point between Marty and Biff's variant. The horse riding was exciting, especially when paired with the altered Back to the Future theme. Heck, even the nighttime scenes with Marty and Doc camping by the fire harnessed the feeling of a western wonderfully to me.

Where I'll concede this entry gets a little bogged down is in regards to the focus on Doc's love life with Clara Clayton and the lack of a love interest for Marty, mother or otherwise. Ultimately I do value this aspect and appreciate that Doc earns his happy ever after, but there is a decent chunk that feels unevenly paced with the rest of the trilogy as a result of pursuing this storyline. Also, Clara's bumbling around on the train in the final act is pure rage bait tension, lol.

As always, though, the wild methods required to get back home are engaging, and the plan to use the locomotive to push the Delorean to 88 mph is no different. Extra points for making Marty and Doc confront their fate with Bufford on the city street as opposed to running away from it. Way more satisfying, obviously.

I do enjoy that we eventually get the payoff of Marty's troubling future from Part II. While it would have been nice to have this fit nearly within its own story in the previous entry, I understand how it couldn't due to the fact that Marty was stuck in 1955, which was the right call for sure. It just further highlights how the first film is actually perfect because it can hold up on its own whereas these sequels are excellent but can't exist independently of each other.

Ultimately, this is probably the best trilogy ever made exclusively for the screen (The Lord of the Rings would most likely take the crown in general). All time classics and a masterpiece in storytelling. Bonus points for the creators being steadfast in their stance to never make a modern sequel or spin off as well-I do not want that.

WATCHED ON: 4K Disc

HIGHER OR LOWER: at the top to close out the trilogy.

Affectionately regarded by me as one of the best sequels of all time, I have to believe I'm not the only one since 1989 to think the same.

The first half, which has us immediately picking up from the end of the first, sees Marty and Doc traveling through time for the first time together into the future to prevent Marty's kids from an unfortunate fate. Re-hitting all the familiar story beats from the first in this new setting, this aspect of the film was certainly very entertaining, especially when we get a peek into Marty's future home life and how it isn't as idealistic as expected.

However, things get really interesting when old Biff steals the Time Machine and alters history as Doc and Marty knew it. An understanding moment of moral weakness from Marty plants the idea in Biff's head to bestow his younger self with the key to riches and therefore the resources to carry out his most depraved impulses and plans not just for Hill Valley, but for the McFly family as well. The alternate 1985 is a welcomed dark spot in Marty and Doc's travels which elevates their future successes so much more when they come.

Just when I thought the movie couldn't get any better, in order to reverse the actions of Biff, Marty and Doc discover they must return to November 12, 1955, the day Marty first went back in time. At this point, my mind was being blown every minute. To this day, I haven't seen a movie pull off time travel storytelling as enthralling as this. Seeing Marty of the sequel having to avoid himself from the first film was awesome, and the Johnny Be Good sequence is burned into my mind as the most compelling example of this-especially his confrontation with 1955 Biff afterwards.

To cap it all off, this already amazing sequel concludes with a shocking twist that leads perfectly into the third and final chapter, the old west. An all time iconic moment of the series will always be Marty approaching 1955 Doc immediately following the events of the first film with a new mission. Just genius storytelling.

Is the first one technically better all things considered? Yeah, I think so, especially factoring in the loss of Crispín Glover. Is it still deserving of five stars? Absolutely.

WATCHED ON: 4K Disc

HIGHER OR LOWER: At the top with its predecessor.

Trademark short reviews for masterpieces that left a huge impact on me growing up!

Permanent nostalgia aside, this movie is actually perfection. Marty McFly is one of the all time great protagonists in film, and Doc Brown is an elite supporting character. The two of them on screen together is magic, which is ironic since everything they do together is rooted in "science."

Now, It could have been neat if Marty and Doc were involved in matters of the past that didn't mean much to them personally, but the decision to have Marty's entire existence at stake as he interacts with his parents and other community members of Hill Valley was essential in the film's lasting legacy. Everyone wonders what it would be like to go back in time and change the past, and we are shown over and over how doing so could have drastic and unintended consequences.

One of my favorite aspects of the film is how Marty tries to warn Doc of his fate 30 years in the future, the night he goes back in time. Doc vehemently rejects any knowledge of his future so as to allow his life to play out naturally, and Marty simply wants to save his friend. It's a captivating conundrum that has a satisfying conclusion.

Of course, the focus of the story surrounding Marty's parents falling in love is incredibly strong. Witnessing the evolution of George McFly from a complete pushover to confident is inspiring, and seeing Lorraine's hypocrisy in her later years rear its head to Marty in real time was hilarious.

Biff, played by Thomas Wilson, is one of the best antagonists ever. The blueprint for the traditional bully, his towering figure and slow wit has a love-to-hate sort of charm that imroves every scene he's in. The word "butthead" is truly immortalized by him, and my Letterboxd bio as of the time of writing this review claims that the best line ever written is one spoken by him: "make like a tree and get outta here."

The score is timeless, the stakes are always ridiculously high following the most entertaining of coincidences, and the performances are all fun. Good messages about choices and world-view. A classic through and through.

WATCHED ON: AMC Theaters IMAX

HIGHER OR LOWER: at the very top.

I did not have Jared Leto improving an IP on this year's bingo card...

Wow. I haven't so much as peeked at reviews for this, so I don't know if this is a hot take, but Tron: Ares is easily the best entry so far. While the character of Kevin Flynn played by Jeff Bridges is still hanging around, his presence was severely lessened-a choice that immediately felt like an exciting breath of fresh air for the franchise. Even the parts that do use him feel higher quality. The nostalgia bait here is much milder than I was expecting, and to my delight, creative risks were taken which lead in an exciting new direction.

The most apparent risk is that of Jared Leto, who is typically someone I think of as a complete dud and kills the momentum of any world he's placed in. However, the exact opposite is at work here. At least for the first act, Leto's Ares character is fascinating, cool in ways that Flynn Jr. From the previous entry could not access, and emotionally resonant. Unlike Tron: Legacy (2010), in which a program designed for good turns bad, we now have a program designed for bad intentions wrestling with his purpose and identity and ultimately choosing to do good. And I LOVE that arc so much more.

Not only is the main protagonist-and the rest of the supporting cast, honestly-the best we've seen in this world so far, but the movie just looks beautiful. The red neon light contrasting with the real world was so much more visually interesting to me than the completely digital worlds of the past.

Even the story gets an upgrade, in my opinion. The hunt for the Permanence code is positioned as a way for humanity to solve many problems such as world hunger with the ability to spawn in fruit trees, for example. Of course, this altruistic purpose sought by Encom is not the main focus: the concept of printing soldier programs is all too tempting for the Dillinger corporation, and through chasing this goal, Ares begins desiring permanence for reasons that defy his creator's intentions.

Sure, this thing still has all the awkward comedic moments and muted violence that define a Disney production these days, but gosh darn it I like it. Yeah I rolled my eyes at Ares a few times after he becomes more lighthearted returning from the Grid with Eve Kim, but he still retains the badass aura when it matters most (the final confrontation was very satisfying).

This is simply the direction Tron needs to keep going. Get off the Grid. Bring the programs to the real world. Create chaos. I hope the sequel they teased gets made one day; while I fear the Grid will be more prevalent, I'd be lying if I said this entry didn't hook me to care about what happens next.

Oh, and the music provided by Nine Inch Nails was peak. Fantastic stuff, especially the escaping the Grid sequence.

WATCHED ON: AMC THEATERS

HIGHER OR LOWER: higher.

The biggest visual upgrade in history can only do so much for a story that felt cheap and messy most of the time, which is on par for this IP so far.

Look, Tron looks cool as hell. The lightcycles and the identity discs are iconic, and this entry seriously goes all out in terms of grand set pieces. It has the potential of sitting with expansive worlds such as Dune, Avatar, and Star Wars, but the reasons for the world existing are just...lame.

Yeah, I said it. Encom and Kevin Flynn's goals and aspirations are boring to me. He wants to create a perfect world, and in the process, a new lifeform spawns from nowhere called ISOs that seem to possess the key to many cures and social solutions back in the real world. For some reason that concept sounds alright on paper but in its execution with Jeff Bridges-who leans way more into his trademark laid back nature in his older age-at the helm, I just can't get excited about it. Bridges as Kevin Flynn is not doing it for me, and I wish that could be different.

Even Kevin Flynn's son, Sam Flynn played by Garret Hedlund, couldn't get me interested in this story or world beyond mild enjoyment. Sure, he's technically pretty badass and a nonchalant king, but something on a deeper level never clicked. Seriously, a study should be conducted on why Hedlund as a confident and brooding lead isn't as captivating as Timotheé Chalamet as Paul Atreides in Dune (2021). I would like to read that paper.

Then there's the whole de-aging aspect. I have no idea if this was considered advanced for the time it came out, but it was very uncanny to me. All they had to do was make anything above the eyes move on the face of Jeff Bridges and it would have looked five times better. And then there's Tron himself, who was delegated to a full coverage henchman suit because they didn't want to de-age Bruce Boxleitner.

I think this movie does its best to look epic and important while also leaving the most minimal impact. Honestly, I feel like AI could come really close to pumping this out in my lifetime, which is both ironic and scary.

I'm sorry for literally only dumping on this movie, and it sucks because there really is some amazing shots (all those sweet identity disc frames) and the score is amazing, but this franchise just doesn't have enough for me to latch on to. Also, you could definitely tell this came from Disney, which is not a good thing. The warning signs were there, George Lucas!!!! Why did you sell Star Wars to them!!!!

WATCHED ON: Disney Plus

HIGHER OR LOWER: higher.

An excellent example of why I love going to see movies in the theater.

Ethan Hawke is simply on another level. For an hour and forty minutes, Hawke disappears into the role of Lorenz Hart seamlessly and undoubtedly brought the already excellently written character to life in ways the filmmakers could only dream of before shooting. I quickly found that I could not unglue my eyes from the screen throughout Hawke's portrayal, and I knew in my bones that I was witnessing something special. I am firm in my stance that if Ethan Hawke does not get a nomination at the Academy Awards for Best Actor for this role, it would be the biggest snub in that category this year. From what I've seen from other movies so far, he currently deserves to win, too.

Not only is the main character pure gold, but all of the other performances, the writing, and the directing were all of the highest quality. The film plays almost as though the audience is watching a stage performance. In fact, this could easily be adapted to fit that format, and I would go see it in a heartbeat. This perfect balance between operating wonderfully as a movie and being prime for live performance speaks to the expertly crafted screenplay. This rarely happens, but it's so good in fact, that I am tempted to buy a physical copy of it just to read.

While I already gave a nod to the supporting performances, I have to specifically give respect to Margaret Qualley and Andrew Scott. Qualley, who after The Substance (2024) is rapidly climbing the list of young actors working today for me, delivers both convincing heart ache and heart break in one fell swoop. Scott plays Lorenz Hart's longtime partner in lyricism, Richard Rogers, who is celebrating the biggest success of his career following the first project without Hart. Scott switches back and forth between a desire to distance himself from the satirical and pessimistic flavor of his longtime partner and a hope that he and his old friend can someday recreate the magic of their early days, which is lessened to a mere sense of obligation to show respect to Hart when he is reminded over and over again of the unlikelihood of that dream.

Truly a tragedy unfolding at all times that feels strangely feels so lighthearted and warm. I haven't seen anything quite like it before, I don't think. SEE IT.

WATCHED ON: AMC Theaters

HIGHER OR LOWER: Higher.

I've seen movies older than Tron that don't feel this dated and weird.

This both was and was not what I was expecting: I knew there was some general consensus that the original Tron film was certainly a movie of its time, but I wasn't expecting it to be so...weird. It's oddly similar to the Dune IP in that the lore and world-building can seem comparably overwhelming at times as well as a sort of "messiah" figure at play in a couple of ways.

Starting with the intended chosen one, Tron the character is a puzzle to me since he is delegated to a supporting role. He plays the vanilla hero role to a T-think Buzz Lightyear from Toy Story (1995). Regarding how he's used in this movie, think The Guy from Spy Kids 3-D: Game Over (2003). He's just not a viable protagonist due to this next character taking the spotlight and setting the tone for what this movie will ultimately be remembered for.

Jeff Bridges as Flynn is the real idol in this story as seen through the eyes of the programs. His unique status as a "user" gives him an advantage during the games, and his goofy charm gives him the edge as the more compelling lead to be sure. However, the dynamic between the main trio had me thinking this was Star Wars' little cousin but instead of Luke as the main hero it's Han Solo. I mean seriously, young Jeff Bridges and Harrison Ford are an uncanny match in both appearances and some behavior.

Unfortunately, putting this type of character in front of a sci-fi story such as this does cheapen the whole thing, in my opinion. I felt like there was solid potential, especially towards the end, for the world of these programs to carry some real weight and feel significant. I was reminded of The Dark Crystal (1982) in some ways when stepping back and considering what it was these programs-like Tron-were fighting for. It's fine that Disney didn't want to make it super serious, and it probably shouldn't have been, but I'm just expressing how my personal immersion in this highly CGI and digitized world was lessened by the lack of sincere character across the board.

Another thing I feel like the movie didn't do well was explain what the purpose of these games were in the grand scheme of things. I guess I fault this movie in general for not showing the rules of this world more clearly. Not that it has to hold the audience's hand, but a little something something that will better stand the test of a handful of decades let alone the rest of time would have been beneficial.

Yeah, I feel like modern Tron leans heavily into the game aspect (as opposed to unearthing files to publish an exposé, lol) and makes the world more visually appealing with the help of modern technology, which is good. I guess I'll see how far those improvements go in terms of raising the quality bar when I get to the sequels, but for now, the first chapter leaves much to be desired.

WATCHED ON: Disney Plus

HIGHER OR LOWER: same or lower maybe.

AAAAAAAAAAH HECK YAAAAAA

Director Danny Boyle and writer Alex Garland return to their IP in glorious fashion. Grittier than ever, this sequel truly does feel like it takes place 28 years after the start of Infection. The overgrown environments, people who've never known the civilized world and act like it, and the evolution of the forces that dominate the landscape (the addition of the alphas was exciting) all contribute to this. I was heavily reminded of how I felt when watching Kingdom of the Planet of the Apes (2024), which was also a quality continuation of that IP that breathed new life into it at the same time.

This really is a new beginning for the series, but a consequence of this is a heavy air about it that feels like a "Part One" rather than a wholly complete story. Usually, I knock a movie for doing this; for example, Dune (2021), Spider-Man: Across the Spider-Verse (2023), and Wicked (2024) all have received a penalty for not being able to stand up on their own. However, "Part Ones" that are within a complete and verifiably good series of films such as Back to the Future (1985) or The Lord of the Rings: The Fellowship of the Ring (2001) receive the highest score deserved since the big picture is realized and good. Therefore, it's possible I will revisit this film after the new trilogy is complete and bump it up even more.

For now, I just really appreciate what we got. We follow a young boy named Spike visit the mainland for the first time with his father (Aaron Taylor Johnson) and witness the horrors of Infection firsthand. I like how they show him struggle hard that first night, because it went a long way to help me believe his survival growth by the end. While this is happening, Spike's mother (Jodie Comer) is suffering from an illness that seems to be getting worse. With Spike's dad already beginning to move on and Spike learning of the existence of an old-world doctor on the mainland, he sneaks out with his mother on a quest to heal her. Already, this plot is right up my alley.

By the time they arrived at Dr. Kelson's, I was already enjoying the movie, but it gets even better from that point until the end. Ralph Fiennes, a worthy nominee for Best Actor in the most recent Academy Awards, elevates every scene he's in. The "Memento Mori" and "Memento Amoris" dialogues were simple yet profound to me. I didn't expect this film to get me emotionally, but that sunrise scene...my god. Beautiful.

Also beautiful is how consistent the editing style has been throughout this series. It's weird and it's fresh. I dig it.

The only other thing to discuss is the character of Jimmy from the opening sequence and his return for the final scene. This aspect of the story is heavily defined by the Part One effect, so I don't really have an opinion on it yet. From what it seems, though, Jimmy and his gang of "Teletubbies" could be bad news. If that's the case, it's certainly interesting to make the audience's first impression of this trilogy be with who I would assume to be the main antagonist of the story. Definitely intrigued to learn more about it, and now I can officially say I am excited that the next entry is only a few months away!

WATCHED ON: Prime Video

Higher or Lower: higher if the trilogy is good.

No time is wasted in reminding the audience how cruel this world is: when faced with self-preservation or flutily risking life out of loyalty to a partner, a man makes a shocking choice that eventually brings the healing world back on the brink.

New director, with help from OGs Danny Boyle and Alex Garland as executive producers, Juan Carlos Fresnadillo shows great respect for the first entry in this IP. By keeping with a familiar style both with the camera and character interactions, the film feels like a worthy sequel. It remains to be seen whether or not this entry is "canon" in 28 Years Later (2025), but I personally hope so. The movie doesn't really take the concept of infection in an offensive direction; I could totally believe that the core motivation and discovery of the film-natural immunity to infection-didn't pan out in the long run or something like that. There wasn't anything of great importance that needs to be retconned unless if for some reason the third movie needed to use the Isle of Dogs within London, which was carpet bombed heavily, lol. Anyways, I do agree with the consensus that this is a solid continuation, and I feel as though it deserves to live on as more movies are made.

I sort of spilled my guts for the "In conclusion" section too early, so don't be alarmed when this review ends abruptly.

Speaking of ending abruptly, there were more than a handful of times when some really neat scenes that deserved time to breath would cut away very quickly to the next visual. For example, once the Isle of Dogs is bombed, there are many reactions and action shots of the sequence that don't get more than a couple seconds. I mean, if you're going to commit to a cool set-piece like that, at least let the audience revel in it for a beat longer. Similar occurrences would happen within character interactions as well.

For characters, the streak of awkward, monotonous child acting continues with older sister Tammy and younger brother Andy, the latter being precious "cargo" for much of the film's plot. Rose Byrne, who I recognized as an actress I wasn't thrilled about but couldn't remember where I'd seen her, plays the chief medical officer for NATO; she generally feels out of place, personally, and I once again was not impressed by her performance. Another actor who feels out of place and who was essentially a jump-scare due to me being surprised he's in this was Jeremy Renner, a US Army sniper who abandons his post when he receives an order too cold and detached from humanity. He's alright, I guess. Just Jeremy Renner doing Jeremy Renner action star things, which doesn't really seem like it should fit in this particular world. I don't know, the combination of Byrne and Renner made the IP feel closer in line with a mainstream B-Level action flick rather than an extension of the sort of philosophical vibes established by the first film and the opening sequence of this film.

The opening sequence, as I already discussed, is an uncomfortable watch in the best possible way, and it picks up right where the last movie did in terms of the messed up things humans are driven to do when s*** hits the fan. This is where my favorite performances of the movie reside: Robert Carlyle as Don and Catherine McCormack as Alice. This husband and wife are hiding out with a small group of survivors, and just in the opening scene, I could tell I would have really enjoyed a different version of this movie that kept them as the main protagonists throughout. Just solid chemistry, and they matched the vibe of the characters in the previous entry well.

Despite straying away from the gritty side of this IP just a bit, I was ultimately satisfied with the film and how it fits into the overall story of this particular infection and what is essentially a zombie outbreak. There, some more closing remarks to not end this review in its tracks.

WATCHED ON: Hulu

HIGHER OR LOWER: higher.

Congratulations to YouTuber Chris Stuckmann for getting this movie made. I've watched his movie reviews since before high school, and it's nice to see someone so passionate about film and the theatrical experience get to experience and craft the real deal.

I was pretty dang impressed with how good this horror movie looks, my goodness. The "found footage" videos were some of the best looking I've seen in a movie (aside from the static effect...that felt cheap), and its presentation rivaled the quality found in examples such as Together (2025) and Bring Her Back (2025) whenever these videos were shown on the physical television set. Stuckmann really nailed dark lighting and framing of hard to see environments. Sticking with the shots of the physical television, I was amazed with how authentic the edges of the theater screen seemed-as if I was actually in the dark room watching these videos alone. Once the late title drop and opening credits hit, I was definitely hooked. Again, the quality of movie's look was advanced; recent examples I could point to for a comparison would be Oddity (2024) and Longlegs (2024).

What the film also has in common with Longlegs-to its detriment-are the long periods of atmospheric build-up that don't feel tense enough in the moment or result in a satisfying pay off. There's too much looking on in horror at various things and not enough actually horrific things happening, if that makes sense.

My thoughts on this aspect of the movie coincide with my thoughts on the main actress and character, Camille Sullivan who plays Mia. Unfortunately, while she is noticeably more talented than other actors within this budget level of horror movie, her range is very limited here. I am not sure if this came from her or if Chris specifically directed her this way, but the repetitive trauma-shaking and crying got old pretty fast. We are expected to believe she is this determined and strong-willed person on the hunt for her sister, which is exemplified by a spontaneous trip to an abandoned prison in the middle of the night to follow a clue, but then the moment anything mildly creepy starts happening, she freezes up at Toni Collette in Hereditary (2018) levels and repeats that process over and over again. Look, the real issue here is that Mia isn't given enough character or dialogue for me to be at all invested in these "terrifying" moments happening to her. The biggest problem with this movie is the lack of character, which unfortunately bumps this down pretty significantly. Hell, if I think Lee Harker from Longlegs has more to latch onto than the main character of your horror movie, there's a serious problem.

The story itself along with the lore surrounding the evil goings-on was competent. While events towards the end certainly felt more rushed and sloppier, I was ultimately satisfied with the main plot. Stuckmann's ability to show a string of puzzle pieces in the form of news coverage montages, flashbacks, or photo slides was exceptional. My only complaint in that department was the choice to give us an extended opening with all this nice found footage, etc. For context only to hit us with another extended scene of found footage immediately following the promising title card sequence. That needed to be spaced out more for more effective pacing. Honestly, if he can create good characters with meaningful dialogue in his next project, I'd be excited to check it out.

All in all, what an amazing directorial debut and end result. While the characters in the film are a major stumble and inexcusable for any other well-established director in the genre, I am absolutely willing to give this more leeway due to the high bar established in the film's other areas.

WATCHED ON: AMC Theaters

HIGHER OR LOWER: higher.

I was fully willing to forgive them dropping the "The" from The Black Phone (2022) for the sequel if it was better or as good as the original. Unfortunately, I cannot forgive.

The trailer and concept for this really had me thinking this was going to reach Terrifier levels of improvement within the IP (I'd be so surprised if they ever make a third Black Phone, but it's possible). New setting, main protagonists' actors are older and hopefully more practiced (I'll get to that...), more Ethan Hawke, and a promising embrace of more supernatural elements. It all seems like a slam dunk on paper, but the movie stumbles. How?! I'll do my best to explain.

Starting with what works, the new setting at this youth camp was certainly the right call. I enjoyed the frozen atmosphere surrounding the horror at play, and the blizzard was a decent excuse to keep the protagonists trapped in one location since the Grabber can't exactly pull up in his van with black balloons anymore. The cabins and camp lodge were nice set pieces and helped give the setting character-I just wished there was more to it such as more decorations or other campers that barely made it through the storm just like Finney and Gwen did.

Next, Mason Thames as Finney definitely picked up some chops in between films. He brought a fire to his character that was interesting and exciting to watch. Just as the first film, the best parts of the movie are when Finney interacts with the black phone; Thames and Hawk share the best scene in the movie involving a lakeside telephone booth and a real-life blizzard striking all around. Even Hawke, whose presence in the film seems muted compared to the first despite probably having more screen time, appears to have subtly improve and evolve the Grabber following his previous fate. The middle of this last point leads me to what didn't work...

How do you bring Ethan Hawke back only to make the character feel less like Ethan Hawke?! Seriously, they could have stuck with the flashback version of the Grabber for the entire movie and effectively the same product would have materialized. They show his eyes for one scene in a dream/flashback, but it's not enough. I love the mask, trust me, but Hawke is one of those actors like Willem Dafoe as the Green Goblin in which the mask simply needs to come off at least partially so we can better see the stand-out performance.

Then there's the opposite problem in which this movie frustratingly decided to make Gwen sort of the main character. It's not that I don't think that character is worthy of capturing the Grabber's ire in Finney's stead. It's that it severely undercuts Finney's involvement in the grand scheme of things, which is just very disappointing as a fan of the dynamic established in the first film-also, I am not a fan of Madaleine McGraw's performance in either movie, maybe even less so here. She has a tendency to "over-act" or say her lines in a way that is too polished for my taste; it makes my skin crawl every time they have her utter one of her cringe cussing lines.

Perhaps most damaging of all, however, is the fact that the supernatural aspect of the movie turns out to be way too simple. C'mon now, the A Nightmare on Elm Street IP was more creative with dream vs real life conflict, and I expected more of an effort to be unique on that front. Sure, some of the final confrontation was cool to see go down in the moment, but I walked away knowing it could have been better, especially when considering all the expendable supporting characters that could have been gifted on a silver platter for the Grabber to murder in order to give us any sense of dread or consequence in the situation at hand.

Overall, I did enjoy my time with the movie, but I also recognize a step backward when I see it. I kind of do hope a third film is made to complete a trilogy and maybe they will reel it back in and return to what made the first movie so successful originally. Having said that, I respect the hell out of this sequel for taking as much creative liberty as it did-the movie could have easily been a cheap rehash of the first in more careless hands.

Watch for the Grabber's sick ice-skating skills.

WATCHED ON: AMC Theaters

Higher or Lower: Tough, I think Higher though based on me feeling like it was on par with the first walking out of the theater originally.

Channing Tatum, I see you...Fly Me to the Moon (2024), Blink Twice (2024), and now Roofman-Tatum is on an interesting run of movies for sure.

In between the huge blockbusters, children's movies, and niche indie films, it's refreshing to see a "normal" movie with a decent cast every once in a while. I realize that "normal" is very subjective, but I guess I would describe it as a type of movie that would be pumped out en masse every weekend in the 90s and then subsequently forgotten until it hit video rental shelves. That's the vibe of this "based on a true story" film, and I welcome it with open arms.

Tatum plays Jefferey Manchester, who was a real-life thief who actually carved holes in the roofs of McDonalds restaurants, escaped from prison, and hid inside a Toys R' Us. Think Catch Me If You Can (2002) except barely any focus on any law enforcement character and more focus on wooing Kirstin Dunst's Leigh Wainscott, who works at the Toys R' Us and catches Jeff's eye.

Of course, following the first act and knowing what we know about Jeff's situation as a criminal and now estranged father before we've even met Leigh, it became a safe bet that things weren't exactly going to work out. It is a true story, after all. The movie does its best to make you forget about that, though, as the chemistry between Tatum and Dunst is quite good assuming you can enjoy a romance leaning more awkward and endearing than hot and exciting.

One gripe I have from a storytelling perspective is the lack of closure Jeff has with his first family. This falls under the constraints of being based on a true story I'm sure, but for the sake of a story, it felt like a gap was present in that aspect surrounding the movie's overall emotional closure.

The movie looks good, by the way, which is something I don't usually point out as it seems like the bare minimum these days, but I had a hunch and later confirmed that this was shot on film. Pretty cool.

Peter Dinklage was a good call for the slimy store manager with nice comic relief. Kirsten Dunst is the highlight as a single mom with a big heart; unexpectedly, she gives one of the best crying performances that I've seen in a long while near the end-just filled with authenticity.

Not too much to say here other than it being a standard solid movie in my book. Rewatchable, enjoyable, and important in an industry that commonly has a boom or bust attitude at the box office. I would love two of these kinds of movies releasing every week to keep things feeling balanced.

WATCHED ON: AMC Theaters

Higher or Lower: Higher.

If we were nominating franchises for "Most Formulaic," then I'd cast my vote for this one at this point.

Man, I saw this in a theater by myself, and I was zero percent spooked out because these films have just become plain predictable. I will always remember the wild ride that was The Conjuring (2013) and how terrified I was. It was the first movie to make me appreciate horror as a legit genre of movie beyond my mainstay franchises at the time: Halloween and A Nightmare on Elm Street (mind you, I was thirteen). Granted, I am fairly certain the first Conjuring doesn't hold up as well as I'd like, but dammit I will always have a soft spot for it. Here though, the supposed "last" entry in the main line of films (spin-offs will never go away I'm sure) feels more like an obligation than an inspired horror story.

This "obligation" refers to the film pretty much exclusively focusing on Ed and Lorraine Warren while abruptly shoving the haunted family to the sideline after a certain point. Yes, Patrick Wilson and Vera Farmiga, as always, are the heart and soul of these movies for good reason-they are perfect in these roles. However, I like my Ed and Lorraine when they are treated more along the lines of Jack Sparrow in The Pirates of the Caribbean in that they are scene stealing supporting characters bordering on main characters rather than the main focus of the story. The early films got it right; they made sure the story regarding the family tormented by the demon was interesting and worth the audience's investment. I was not made to care about the family in this film. Just enough information is given to establish the facts of the case, but it's all just a backdrop for the Warrens to get back in the ring and fight their own personal demons.

The story isn't even that far-fetched on paper, either. The writers and director Michael Chavez delivered adequate backstory and reasons for the Warrens taking center stage in this entry, but sensical storytelling isn't enough to get me to care deeper than a superficial level. Another aspect that is responsible for this personal disconnect is the fact that Judy has been recast at least three times at this point. I know the films are set at different time periods and the character's age is out of their control, but damn. I just wasn't feeling anything for this new Judy. If the scheduling wasn't an issue, they should have just put Mckenna Grace in aged up make-up or something.

As someone who has researched the Warrens online since the first film, it was inevitable that I found their "official" YouTube channel, which is ran by Tony Spera, the same Tony who is Judy's husband and whose character is finally making his debut in this movie. I have to say after seeing many of his videos, it was quite funny seeing how he clearly wanted to be depicted in the film. I wish I could have viewed his character and plotline in an unbiased way.

Ending on a positive note, this movie is worth seeing for Wilson and Farmiga alone. They have these characters down to a science. I was extra impressed by Wilson's gradual transformation across the franchise from the go-getting and eager exorcist at the start to an older Ed limited by his body and declining health towards the end. Farmiga always gives her all to Lorraine, of course. Also, despite pretty much poo pooing on the final chapter of the franchise, I have to say these movies bring me a good deal of comfort. The predictable nature of them is sort of charming in a way. Is this franchise a horror masterpiece? No, no. Do I appreciate the hell out of it for helping to bring horror more into the mainstream these past two decades? Absolutely.

WATCHED ON: AMC Theaters

HIGHER OR LOWER: Higher.

A fantastic concept and performance from Ethan Hawke is hurt by some unfortunate performances and writing, but the good definitely outweighs the bad.

The "bad" isnt even anything major; I'm just very sensitive to extremely polished dialogue between children, and it's just so obvious that the things they were making these child actors say were straight from a script written by a smug (I like to think so) adult. Pair this over the top/too perfect dialogue with that almost plastic-like shine of the 70s that contemporary horror content likes to imbue and the result is something that feels more like play pretend than an actual tangible story.

That vibe isn't constant, though. Gwen's dreams and the Grabber's run down neighborhood did offer some authentically dreadful atmosphere in the best way. The Grabber's basement was an excellent set. It's just when we are in Finney's home or school or around other people in the town that everything starts feeling fake.

I blame Jeremy Davies as Terrance, Finney and Gwen's dad, for making the home life feel "performed." He was an awful casting choice for the abusive and intimidating father role. Beverly's father in It (2017), while not the same type of abusive, was far more intimidating for example. I understand that they are trying to leave some gray area for the dad to mount a redemption, but the role required a more visceral touch. It felt like I was watching someone like actor Brett Gelman try and be scary, which is funny because I think he would have done a better job despite him not being right for the role either. Anyways wow, enough about the dad, who is a minor part of the movie.

Where this movie absolutely cooks is with Ethan Hawke as the Grabber and the idea of Black Phone. Coraline (2009) is a masterpiece for many reasons, but one of the coolest aspects of that movie is seeing Coraline interact and recieve help from the ghosts of previous victims of the Beldam. Here, the concept is applied to a live action format with the phone being the link between the living and the dead-thankfully they did not go the route of Finney actually seeing the ghosts. I was totally invested in the black phone and loved how not everything a ghost kid recommended Finney worked out, because of course it wouldn't! They failed! The Grabber also being able to hear the ring of the phone was the cherry on top for me. I just wish that the pay off to that wasn't as...simple as it ended up being? I almost wish we didn't get to hear the copy and paste statements from the ghost children and just got to see the Grabber in pure horror. Let the imagination do the scaring. I felt that same way about the audience being able to see the ghost children during the phone calls. I don't think we needed to. Look to Talk to Me (2022) for an excellent example of showing the right amount of paranormal content while still nurturing the fear of the unknown.

This movie needed more fear of the unknown in the supernatural sense. On the other hand, the real world stuff needed a lot more work. I almost crawled out of my skin in second hand embarrassment when Gwen was cussing out the detectives at the school. Suspension of disbelief was in critical danger during a lot of the social aspects in this movie. However, the personal experience between the Grabber, Finney, and the black phone (add Gwen's dreams in there too even though they function outside of this intimate area) was top notch and absolutely made this horror experience worth it. I'm so glad the trailer for Black Phone 2 (2025) seems like it's doubling down on this rivalry between Finney and the Grabber. It has the potential of being like Sienna and Art the Clown from the Terrifier movies or something along the lines as the classic example of Laurie Strode and Michael Myers before the familial canon was established. If the sequel is good, I'll forgive them for taking the "the" out the title. Seriously, why did they do that bro.

Watch for Ethan Hawke channeling the on screen intensity he's known for into a satisfying horror antagonist that has the potential of sticking around if the writing gets better.

WATCHED ON: Peacock

HIGHER OR LOWER: four stars ceiling, higher.

I can't believe I'm saying this, but The Strangers: Chapter 2 (2025) (I haven't even seen it yet, I just know) might not be the worst movie in theaters this weekend.

What seems like a fun and raunchy horror flick that doesn't require much brain activity but would count where it matters in the thrill and gore department actually ends up being a mind-boggling mess to sit through with barely any fun bloody horror to feast on. If that sentence seemed poorly written and like it ran on, then I am glad I could give you just a taste of what this film is all about. Beyond the mildly exciting opening scene advertised heavily in the promotional material, the horror action is reserved for the very end-and it's not even worth the wait.

If the horror action is the bread of this sandwich, then the filling comprises of what can only be described as one of the most poorly written movies I have ever seen in terms of dialogue, characters, and plot. So pretty much everything. The single positive aspect this movie has going for itself is some interesting editing such as a night to morning time-lapse and an interactive doorknob camera angle, for example. However, these competent editing choices surrounded by the rest of the movie's foulness ultimately just left me confused and skeptical whether or not those editing decisions were actually good or if I was desperate for something decent to latch on to.

The terrible writing is even more frustrating when considering that the actors' performances weren't even that bad. I believe they did their best with what they were given; it's very unfortunate that the material makes them seem like bad performers. I mean, they aren't great or anything, but off brand Antony Starr and Florence Pugh deserved better to show off what they're really made of. Marco Pigossi, who plays Diego, was especially held back by the awful writing decisions made for his character.

As for the plot, it borrows ideas from the likes of Barbarian (2022) for the inciting incident, Speak No Evil (2022) for similar type of motivations for the antagonists, Tarot (2024) and Until Dawn (2025) for the oddly manicured "themed," creepy rooms, and The Strangers: Chapter 1 (2024)-yes, the new one is a better match--for similar motivations for the antagonists, once again. Unfortunately, the story is too convoluted and not believable, therefore the payoffs to all the elements it borrows from are nowhere near satisfying. There is a really surprising moment in which Diego stands firm on a stance he has about his girlfriend that is kinda cool in the moment but is completely unearned and pretty much a subversion to everything that has been building up to that point. The film rushes into a "good for them" conclusion that feels so unnatural considering I was still hoping the protagonist couple would mutually end things as they have spent a long time showing they are clearly incompatible.

I don't know, just really odd stuff. I walked away wishing it would have leaned more into the sex angle and actually committed to being that kind of horror flick. Hell, "Bone Lake" works so well as an innuendo--what a waste. Instead, we got a head scratching and unsatisfying tale working through a doomed couple's relationship issues.

Watch for the interesting commentary on self-pleasure within a relationship, I guess. That's about it.

WATCHED ON: AMC Theaters

HIGHER OR LOWER: I was thinking about being nice originally with 2/5, but it can go either way at this point.

I've seen so many images of Cillain Murphy roaming a desolate city in a hospital gown. I wasn't prepared for the context to line up so well with how The Walking Dead begins in which Rick Grimes experiences the same thing. The crazy part is this film came before that show and the comic, so it's clear now which one is the blueprint.

As for being the blueprint for phenomenal zombie apocalypse storytelling...not quite. The "infection occuring in the UK, the filmmakers being British, and the shooting and editing style throughout heavily reminds me of a a sort of BBC straight to TV production; I felt like what little I've see of Doctor Who could fit into this world nicely, and then I just saw that this film literally has the ninth Doctor starring as Major Henry West. It's all making sense. Now, this is not to imply that early 2000's British media equals not great storytelling (Going Postal (2010) is a real gem), but there is a sort of lightness in the air that is antithetical to the harsh and scary world these characters find themselves in. On one hand, this aspect takes me out of certain moments that were intended to be tense, but on the other hand, I found myself charmed by the main cast of characters and more invested in what was going on as a result. Ultimately, I think this film ends up striking a healthy balance between campy British aura and competent zombie world building.

It helps that my enjoyment for the film only increased the longer it went on, which I feel is an uncommon feat for a movie to accomplish. Like Rick Grimes, Cillian Murphy's Jim is a quick learner in this new world and adapts well. Naomie Harris' Selena was a fun character (reminded me of Michonne and Andrea combined). Megan Burns as Hannah was definitely the least skilled of the bunch even if the monotone inflection was purposeful. The previously mentioned Major Henry West played by Christopher Eccleston was a pleasing antagonist. His smart, stern, and seemingly empathetic demeanor made for a character rich with gray area much like many of the early foes in The Walking Dead. By far, though, the standout here is Brendan Gleason as Frank. It was a surprise to me that he was in the movie, and I loved every moment with him on screen. The best sequence in the film involves him and a crow-just an excellent beat for this type of story.

While the overall atmoshphere doesn't lean too far towards Shaun of the Dead (2004) or the other way towards The Road (2009), I felt satisfied with this hybrid and severely underrated (even still, with the third movie just recently released at the time of writing) entry in the zombie apocalypse genre.

I'm excited to check out 28 Weeks Later (2007) due to hearing whispers that it improves upon the worldbuilding, however, I've also heard that it is not considered canon for the third entry just released, 28 Years Later (2025). I'm intrigued to find out why.

Watch for Cillian Murphy and Brendan Gleeson flexing their acting skill in a zombie apocalypse movie. That's it. That's all you should need to be convinced.

WATCHED ON: Pluto TV

HIGHER OR LOWER: I was lower for the first half, but the strong second half got it where it is. Thinking on it fondly now makes me fully question which direction it deserves to go. I'll just say same for now!

The sequence of Justin Long's character locking in and calculating the extra square footage of his rental property in the face of a truly disturbing scene is deserving of 4 stars by itself.

Barbarian is such a gem. Let's start with that title: it can be referring to multiple different characters including The Mother (the most obvious), Frank (the serial rapist and kidnapper played by Richard Brake), and AJ (Justin Long's character, who is also revealed to be a rapist and bad person, but at a level that is more common today).

Then let's address the fantastic, long opening and title card drop. Georgina Campbell's Tess experiences a modern nightmare scenario of someone occupying the AirBNB you booked, and the occupant being Bill Skarsgård (Kieth) only made things seem even worse for a decent chunk of the runtime. It isn't until it's too late for everyone involved that we realize our initial suspicions were incorrect, and there's a darker evil hidden away nearby. The first time I saw the creature, I remember my soul leaving my body. It's one of those horror scenarios in which I would freeze up and accept death, tbh.

A guy who isn't gonna freeze up and accept his fate is Justin Long playing his trademark d***bag, that's for sure. His entrance into the movie about halfway in was a well appreciated jolt of energy. Easily the best performance I've seen from him, Long showcases the weight of a life changing allegation while also proving its merit in the most perfect, slimy way possible. He deserves anything that comes his way in this movie, yet we can't help but root for the idiot. Perfect character and actor in a horror like this.

The mutated creature and the lore surrounding it was gross and fascinating. Comparing this to the lore shown in something like Together (2025) really shows why I found that film slightly dissapointing and why I appreciate this one so much even on a rewatch. Every question we have is given a sufficient answer but not everything is spelled out. Boom. Literally all this is ever necessary for a horror movie.

The commentary surrounding AJ near the end when he is seemingly making up for his sins and learning to take accountability was met with a bittersweet yet extremely satisfying conclusion that fit the character perfectly. It also allowed the film to refocus on the original main protagonist and remind us that this really is their story despite the exciting Justin Long interlude. I enjoyed how the creature was given empathy as well. It really shone a light on how messed up the entire situation surrounding that house had been for the past how many decades. The surrounding neighborhood may literally be rotting and decaying away, but that property was way more twisted than anything else for miles.

Zach Cregger ate with this film, and having seen and loved Weapons (2025) makes me instantly excited for whatever he comes up with next.

Watch for a tutorial on how to feed your baby and also measuring additional, secret square footage you may find in your home's basement.

WATCHED ON: Disney Plus (Hulu)

HIGHER OR LOWER: higher.

I love late, well timed title card drops in this house 😤

Well folks, it's another Stephen King film adaptation. You know that that means: dozens of critic and early audience chatter claiming that THIS is actually the best Stephen King adaptation yet. No seriously-they say-you have to believe us this time. Well, the jokes sort of on me. I went into this being pretty dang optimistic just for me to think....it's alright!

The first thing I noticed was King's unmistakable style of dialogue. Characters referring to each other by their last names? Check. Clichè, direct bullying? Yes. Every character, despite their age, dishing out a philosophical monologue? Bingo! Heck, even the visual style of these adaptations are beginning to blend together. Seriously, look up the trailer for the It: Welcome to Derry (2025) TV show and tell me it doesn't look the same.

Okay, okay, enough moaning about Stephen Kingisms. Let's get to the actual film. I applaud how dang entertaining they were able to make the concept of The Long Walk on the screen, which is just one of those plots that seems like would only work well in a book. Going back to the title card, the gorey and disturbing scene immediately presceding it set the tone for how raw this experience was going to get-and let me tell you, they don't hold back. Perhaps the film's greatest strength is that the physical horror of what this competition does to people is on full display. Yes, even the uncontrollable bowel movements that some of these boys need to take over the course of their hundreds of miles long hike.

The real core of the film, however, is not just the gore on its own; Ray Garraty (Cooper Hoffman) and his friendship-brotherhood-with Petey McVries (David Jonsson) is the bread and butter. They realize that in order to make it far in the Long Walk, connections are necessary. Fortunately, the bond they create is compelling, endearing, and full of intriguing point of views that serve to challenge each other's belief system. In the case of Garraty learning from Petey, this seemed like a beautiful development. In the case of Petey learning from Garraty, it was reasonable to expect some sort of emotional epiphany that would finally make the act of walking away from past problems come to an end.

Unfortunately, though, the ending of this movie takes the promising path of these two characters' closure and pulls an UNO Reverse Card on both. Forget about light at the end of the tunnel, the filmmakers embraced subversion over predictability at the cost of the story, in my opinion. Even the book's ending was left ambiguous enough to allow the reader to believe good things may have happened. Here, however, it's pretty clear what transpired by the time there was only one contestant left standing, and what actually happened is not as satisfying as what the movie had spent a long time setting up.

Seriously, what lesson was learned? Violence is the answer after all, even by the hand of someone who has been deemed incorruptible? Giving up is alright because a mistake was made and working hard to make things right isn't conceivable? Look, I'm purposely choosing not to extract the positive messaging from the film's chosen ending out of stubbornness, but I am serious when I tell you that if the movie had just been predictable, the excellent quality showcased throughout the Walk itself paired with an appropriate conclusion would have guaranteed a higher rating. Maybe even a 4/5, which is rare for a King adaptation.

For now, though, this is a good supplement in the "battle royale" genre of content in the marketplace these days. Friendship and camaraderie is also well exemplified here for when that sort of messaging is desired in your viewing diet. There should have been more shoes falling apart and disintegrating, by the way, especially these psychos rocking converse for upwards of 300 straight miles. The gall.

Watch for rising star David Jonsson's delivery of hope-core in this unorthodox game of battle-royale in which the players don't try to eliminate each other because reasons.

WATCHED ON: ROGERS CINEMA

HIGHER OR LOWER: higher.

Living up to its name, One Battle After Another provides a constant stream of sweet suspense and intensity. The foot never eases off the pedal once things get going, especially in one particular sequence that I'm sure everyone is raving about in each of their reviews-rightfully so.

This almost uncomfortable sense of dread is most closely related to the feeling recieved from watching Uncut Gems (2017), for example. Both films are filled with raw and flawed characters mostly down on their luck and in deep s***. The main characters in each get themselves into the mess they're in, but that adds to the charm. We aren't rooting for anyone objectively innocent and good; instead, we are asked to empathize with the human emotions and reactions that come from these surreal situations. While this recipe doesn't necessarily make for a perfectly "rounded" story, I enjoy the hell out of it.

The first act of the movie takes its time inviting us into some of the lives of the French 75 revolutionaries at the height of their activity, particularly Perfidia Beverly Hills (Teyana Taylor) and Bob Ferguson (Leonardo DiCaprio). Perfidia is definitely the dominant presence here. Her blazing leadership role within the French 75 fulfills some sort of deep desire of change and control. The pleasure she gets from the power carries over into her sex life, which is where things get complicated and eventually balls to the wall. Oh, Bob is just Bob with a thing for blowing things up. Nothing special about him in this part.

The complication that persists throughout the entire movie is Sean Penn's character, Colonel Steven J Lockjaw. My god. I haven't seen Penn in much, but he KILLS this role to such a degree that I would fully believe it if a Penn enthusiast claimed this was one of his best performances. Lockjaw is overpowered by Perfidia during the film's opening sequence and made to be sexually humiliated. This lights a fire in him that burns fiercely throughout the rest of the runtime. An intimidating psychopath he absolutely is, but there are flashes of moments in which the audience can see his desire for belonging and connection bursting through. These little bits of humanity coming from such a formidable foe is what makes him one of the best antagonists on the screen in quite some time. While watching, I remember feeling like he matched the same vibe I got from the character of Arnold Ridgeway while reading Colson Whitehead's The Underground Railroad (2016). Just an unrelenting, intelligent figure that finds solace in evil ideology, and therefore needs to be avoided by the protagonists at all costs.

The main protagonists of this story after the time jump following the first act are Bob and his and Perfidia's daughter, Willa. Living new lives after the slaughtering of the French 75, the father and daughter duo are suddenly thrusted back into the action with no warning when their cover is blown. Seperated both physically and emotionally, we follow Bob desperately try and reunite with Willa while also following Willa running away from a terrible reality that's hellbent on destroying her.

The movie definitely picks up pace during this section, however, some of Bob's journey does get a little too lengthy for my taste. For example, Bob's dependency on Benicio del Toro's Sergio character, while certainly very entertaining, felt long winded and less interesting to me than the other elements the film had to offer. Maybe I just don't vibe with del Toro. After all, I think the only thing keeping me from seeing The Phoenician Scheme (2025) so far is him playing the main character. "A few small beers" was a great moment, though.

Another aspect of the film that I found entertaining yet felt something was lacking was the plot involving the Christmas Adventurer's Club. The concept of this infamous racist organization "fronting" in this way is golden, in my opinion. Lockjaw's eagerness to join their ranks despite his clear conflict of interest is fascinating. The assassin deployed by them leads to the best sequence of the entire movie. However, it just felt too disjointed from the rest of what's going on. It seemed to exist to give the bad guy a bad guy since the "good" guys can't really go toe to toe at a similar level, if that makes sense.

Look, I'm all for movies like this that offer a wild ride-a fist-clenching experience. I just don't know if the story fully works. One indication of this is the very end, when certain characters make decisions as though no lesson had been learned or needed to be learned. Almost as though if the movie hadn't just brought us along an elaborate chase sequence for the past hour, these characters would be doing the exact same thing they were doing right before the credits roll. Now I know there are certain behaviors that are clearly different and growth did occur, but overall the impact doesn't feel that great. I was at least expecting more closure than we got for who was arguably the main character in the aforementioned first act.

But I digress. This movie does indeed slap and scratch a certain itch. The car chase sequence is jaw dropping. Simply, this kind of movie and the filmmaking style on show within it doesn't get made anymore, and I think it deserves love. This felt like a movie that The Man, Ed Harris would have been in in the 80s, and that alone is worthy of praise. What a ride this was.

Watch for a phenomenal car chase and probably Sean Penn's greatest performance, at least in a long time.

WATCHED ON: AMC THEATERS

HIGHER OR LOWER: struggled so hard between 3.5 and 4. I wanted to do 4 but my heart says it doesn't belong there yet. Higher.

My first Korean film I believe, and it was a good introduction! The movie itself comes across heavy with the melodrama vibes, but this works to its advantage. The cute performances from literally everyone, a lot of panoramic camerawork, and the near constant melancholic piano score made me really feel the effort invested in what is otherwise a fairly simple plot. I mean, Dharr Man would literally kill to produce anything that touches this in terms of quality.

I conjured the Dharr Man's name because we are shown the morality of this world very quickly, and pretty much all the players stay consistent in their roles within it the rest of the way. Many things are black and white, and aside from the frequent intimidation, there isn't a ton of action to compensate for the lack of mental stimulation. Generously, I would say this is the Korean A History of Violence (2005) due to the striking plot similarities, but I did feel like there were more gray areas to sink my teeth in there than there was with this. A History of Violence also doesn't offer much real action, and if I remember correctly, I remember feeling the same way about that then as I do with Sunflower now.

I'm not saying I wanted Taesik to give up his promises early on or at all necessarily, but I think having the other, violent happy characters get more to do on that front could have balanced the scales a bit. Don't get me wrong, I loved the emotional groundwork being laid through Taesik's time with his new family; I just wish there was more spice to go with all the hype we get surrounding Taesik's troubled past.

Speaking of that, this man is literally a goober most of the time, and it's so funny whenever characters cower in fear at the sight of his tattoos or recollection of the things he did a decade prior. The only time we get a glimpse into what those characters are afraid of is during one of the coolest sequences of the movie: when the cops discussing the incident that locked Taesik in prison, and the flashback is playing around them in this cool mix of the present and past.

My other favorite scenes were both of the monologues expertly given by Kim Hae-Sook, who played Taesik's mother. She was operating on an entirely different level of skill compared to the rest of the cast when it came to conveying convincing emotion and selling her motivations. Aside from the cool factor of the flashback sequence, the two scenes in which Kim Hae-Sook gets to be vulnerable were masterful. The connection between her and Taesik was truly interesting to learn about.

Just like A History of Violence and perhaps even Monkey Man (2024), the final confrontation leaves a lot to be desired. It just happens the way you'd expect, and it has you leaving thinking "okay" as opposed to "wow!"

All in all, cute and decent film. The sister was a joy on screen, and her relationship with Taesik may be the only legit gray area of the film if you know what I mean.

Watch for "the quiet kid is secretly an alpha" fantasy fulfillment.

WATCHED ON: Sling

HIGHER OR LOWER: lower.

Belief in yourself is a helluva thing.

Seriously, it can be hard enough as it is to wake up everyday and prove to the mirror that the person staring back is valid; add in an entire society obsessed with perfection at the cellular level, and life becomes one big, constant game of chicken. Your genetic profile says you can't handle Reaper level spice at Dave's Hot Chicken? Who are you to argue? Unless...

But seriously, I love the message Gattaca gives through not only the daring Vincent with a dream for outer space but also Eugene, who chose to help someone else fulfill their dreams even though his were no longer attainable. Young Ethan Hawke and Jude Law was a combo I never considered but am glad happened. I'm not certain how many movies Hawke and Thurman have shared in their careers-this could very well be the one idk-but they seem very natural together and their real life relationship makes sense to me.

The film itself reminded me of other sci-fi entries such as Minority Report (2002), Equilibrium (2002) maybe?, and most of all: Blade Runner (1982). Obviously the first two would have drawn inspiration from this, but I'd bet without Blade Runner there would be no Gattaca. It's so interesting too, because they both address the idea of "invalidity," but one compares technology/AI with humans and the other-this ofc-compares evolutionarily advantaged humans with regular humans.

This concept of a "faith birth," "god child," or "de-gene-erate" (AMAZING NAMES BTW) was so fascinating to me. Love it when sci-fi makes something as ordinary as natural birth seem like a foreign concept. I need more.

The narration in the beginning would normally put me off, but the combination of it being Ethan Hawke doing it and it's use fitting the vibes of the rest of the movie grants it a pass.

I think the emotional aspect was lacking a touch for me in order to bump this up significantly, but super strong emotion isn't always required and perhaps it wouldn't have fit well here. It's just personal preference to have it in this kind of story. The emotion available come across as icy and distant, which again is definitely the point given the state of one of the most emotional acts we do as humans: creating life.

I'm a sucker for direct call backs, so the detective plot unraveled very neat and nicely for me. Those games of chicken in the ocean are the scenes I would look up in the future when recalling this movie for sure. The music really stands out in these moments as well.

All in all, I'm so pumped to have another certified banger enter the sci-fi genre in my mind library. I'm going to break the alphabetized laws and slide this right next to Blade Runner where it belongs.

Watch for Jude Law making going upstairs seem so damn ínstense.

WATCHED ON: Paramount Plus

HIGHER OR LOWER: same, maybe higher one day.