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Heads of State (2025) isn't trying to be a groundbreaking film, and in many ways, that works in its favor. It's not built on a deep plot or Oscar-worthy performances, but rather on a straightforward, action-comedy formula that embraces its own absurdity - and delivers some solid fun along the way.

Let's be honest: the story isn't particularly layered, and the acting, while serviceable, doesn't aim to impress. The jokes, too, are a mixed bag - some are just okay, a bit on the mediocre side, while others hit the mark well enough to make you chuckle. But somehow, in the context of the film's energetic pacing and over-the-top premise, it all works.

What stood out for me was the screenplay. It's tighter than expected and keeps things moving at a brisk, enjoyable clip. The film knows what it is - an entertaining ride rather than a cinematic masterpiece - and leans into that identity confidently. That self-awareness makes it easier to forgive its clichés and just enjoy the ride.

No, it's not Spielberg, and it's not trying to be. But Heads of State is exactly the kind of movie you can kick back and have fun with. It's silly, it's playful, and at times genuinely entertaining. I found myself smiling more often than I expected, and by the end, I realized I'd had a pretty good time.

If you're in the mood for a movie that's lighthearted, fast-paced, and doesn't ask much of you except to enjoy it, this one's a safe bet. An easy 8/10 from me.

Companion 2025 was marketed as a gripping, futuristic tale delving into the complexities of artificial intelligence-but what we get instead is a hollow, uninspired story dressed in sci-fi clothing. The plot is disappointingly shallow, revolving around a conventional narrative of love and betrayal, with AI simply used as a cosmetic backdrop. There's no meaningful exploration of AI ethics, consciousness, or innovation. The characters might be machines, but the story could easily exist without the tech angle. Repeating the term "AI" doesn't make it a genuine AI film. It's a missed opportunity wrapped in glossy visuals.

A Working Man (2025) is the cinematic equivalent of a lukewarm Hot Pocket-technically edible, but you're left wondering why you bothered. Jason Statham growls through another paint-by-numbers action flick that's so formulaic it feels like it was scripted by an algorithm with a fetish for clichés. Levon Cade, a retired black-ops badass turned construction worker, dives back into his skull-cracking past to save his boss's kidnapped daughter. Yawn. Haven't we seen this, like, 47 times before? The plot trudges along like a tired mule, dragging every predictable trope: gritty hero, shady Russians, human trafficking sob story, and a "shocking" conspiracy that's about as surprising as rain in Seattle.

The action? Snooze-worthy. Fights are so choppily edited you'd think the cameraman was drunk, and the choreography lacks the snap to make you care. Statham's as watchable as ever-he could make reading a phone book look intense-but even he can't save this soulless slog. David Ayer's direction is flatter than day-old soda, and Sylvester Stallone's co-written script reads like it was cobbled together from rejected Expendables drafts. Critics have called it "competently made but forgettable" (Variety) and "a bland thriller of fisticuffs" (The Guardian), and they're being generous. It's not even bad enough to be fun-just a gray, joyless void that clocks in, punches you with boredom, and clocks out. 1/10, save your money for something with a pulse.

Now, let's talk about the real scam here: the state of modern action movies. Hollywood's out here churning these Statham vehicles like they're Big Macs-same ingredients, same taste, zero soul. It's like they've got a factory line: toss in a gruff hero, some vague crime syndicate, a kid in peril, and boom, you've got a movie that'll make just enough at the box office to justify the next one. Whatever happened to action that made your heart race? Die Hard had stakes, wit, and a villain you loved to hate. A Working Man has... a guy in a hard hat breaking noses for two hours. And don't even get me started on the trailers-those things spoil every decent moment, which, okay, there aren't many, but still! The whole industry's phoning it in, and we're just sitting here, munching overpriced popcorn, pretending it's fine. Wake me up when someone remembers how to make a movie that doesn't feel like homework.