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Without a doubt, one of the most challenging films I've ever seen. Ari Aster laughs at everyone. In fact, he invites the viewer to laugh with him. And everything means political fanaticism, conspiracy theorists, cult creators, social media users, social media creators, deniers, pro-gun people, and a long etcetera. If all of this seems impossible to cram into a single story, well, it isn't, given Eddington's creation, which, despite its slow pace in the first two acts, manages to be entertaining, interesting, intentionally controversial, and funny. Yes, funny, because everyone tries to fix the world, everyone tries to raise hell, but in the end, all those attempts end up making things worse and become mere obstacles to real solutions. Now, it's not that the film tries to propose solutions either. It's far from that. And perhaps that's one of its enormous flaws. It ends with a rant and rave, making fun of everyone, but it lacks solidity, cohesion, and perhaps a more rounded, less chaotic idea.

Ultimately, Eddington isn't one of Aster's best films, but it manages to be controversial enough to remain in the spotlight.

I like intelligent films like The Amateur. And not only because it teams up the protagonist of Mr. Robot with one of the protagonists of Mindhunter and also one of the protagonists of The Matrix saga, but also because it's a film that was put together with planning to provide a good puzzle for the viewer. If conveniences exist in cinema, then let's use them in a script like this, where they can go unnoticed and do a great service to the story.

The overall pace is quite slow, so don't watch it when your eyes are closing from sleep.

Accompany the protagonist in his thirst for revenge and see how clever he is to achieve, or not, his goals.

Since the last decade, the concept of "elevated horror" has circulated in the film industry. When you find it fused (pun intended) with the body horror subgenre, you come face to face with a delicacy like Together.

The analogy of emotional dependence on one's partner is obvious, and it should be so that the plot gels perfectly and isn't confused with just another bizarre tale of cinematic horror. If you want, you can even dig deeper to find a few more layers beneath it all, but that will depend on each viewer.

Personally, I think that the Michael Shanks' film is one of the best of its genre for the year 2025 and becomes a must-see if you're looking for the concepts mentioned above.

Cheers to the horror of 2025!