Movie_Rating_n_Ranking

Since John Wick, this new wave of action films focused on their invincible protagonist, with its many fast-paced and bloody hand-to-hand battles, nighttime shots, and neon lights, has given us plenty of examples of pure, unadulterated action. For instance, Hank-the protagonist of Nobody and Nobody 2-was considered a more mature version of John Wick, though only in terms of age, as he offered the same kind of action.

The sequel tries to capitalize on this formula, but I don't think it was as effective as the first film or other titles this year, such as Havok and Novocaine. Admittedly, it had a bigger budget for its pyrotechnics, but not so much for its writers.

Now, the worst part, without a doubt, was the villain. An out-of-place Sharon Stone, portraying a caricature instead of a character worthy of facing Hank, left much to be desired. The film could have had a better script, one that showed better motivations for both the protagonists and the villains, but it falls flat. Or maybe I'm just overanalyzing it and it's a masterpiece, who knows?

Recommended? Skip it, I'd say.

An entertaining romantic comedy with action elements and plenty of clichés, likely used with considerable skill and finesse. The themes it addresses could be debated if taken out of the comedic context, but that will depend on each viewer.

The lead couple manages to develop their performances around each other, but I felt there was a lack of chemistry between them.

It's a comedy with typical American spectacle and a decent display of CGI for buildings and settings.

In short, it's one of those movies that's fun to watch but doesn't particularly stand out, remaining a mere anecdote worth recommending if you're looking for a light comedy.

The Roses fulfills its purpose of entertaining.

This is one of those films that isn't elevated by the acting-despite the excellent work of the supporting actors and the casting choices-but rather by the film's more intellectual elements: screenplay, direction, editing, and cinematography. If you thought Darren Aronofsky couldn't make a comedy, think again, because not only did he, but he gave us the best comedy of the year, with one of the most intelligent screenplays in the genre, direction that screams his name throughout, perfect editing, and cinematography that many would envy.

I can even say that we can benefit from the elements that could be considered "stumbling blocks" (like the predictable sequences), because they are sequences that make you happy to have predicted them and see them executed masterfully.

Many unexpected twists, unscrupulous brutality, and dark humor complete an unbeatable framework for Darren Aronofsky's latest offering. A must-see for 2025 cinema.