aghostofachance

Above all, this is half musical, half movie- and perhaps not a moviegoer's favorite combination.

I first watched the original Kiss of the Spider Woman nearly twenty years ago. The 1985 version was a landmark - both a critical and commercial success - and by the time I discovered it, it had already earned its place as a classic. I never saw the Broadway musical adaptation, but the new 2025 remake brings an intriguing reinterpretation: a re-imagined musical that shifts its focus from identity, sexuality, and politics to themes of imagination, transformation, and the power of art to inspire life.

This shift in focus, however, is precisely what seems to divide audiences. Musicals are not for everyone, and for many fans of the original, the idea of turning a politically charged drama into a stylized Hollywood musical feels like a dilution of its essence. Despite the strong marketing campaign and high expectations, I anticipated that this version might struggle to connect with general audiences - and I wasn't entirely wrong.

That said, the storytelling remains engaging and structurally sound. The characters are vivid and entertaining - particularly Jennifer Lopez as the glittering fantasy showgirl Aurora, who brings charisma and flair to her scenes. But with a terrible make-up and wardrobe... Musical numbers such as "Kiss of Spiderwoman," "Gimme Love," and "Only in the Movies" are catchy and well-executed, adding bursts of energy and theatricality. The choreography is polished but visually boring, and often the film's saving grace from autonomy.

Performances by Tonatiuh and Diego Luna are compelling from an acting standpoint, though their singing voices lack the strength one might expect from a traditional musical. This seems to be a growing trend, following the likes of Emilia Pérez - prioritizing raw, untrained vocals to achieve a more "authentic" sound. It's an interesting creative choice, though not always effective.(!)

Visually, the film's dual-world structure - alternating between gritty realism and vivid fantasy - gives the impression of two different directors at work. Unfortunately, the lighting and color palette don't always harmonize with the story's tone, leaving some sequences feeling uneven or over-stylized, and some very weak and dark.

At over two hours, the pacing does drag at times, and while the musical interludes add life and spectacle(for the music lovers), they may test the patience of those who aren't fond of the genre. Still, for viewers open to experimentation, Kiss of the Spider Woman (2025) offers a refreshing if flawed reinterpretation - one that dares to transform a somber political drama into a dazzling exploration of imagination and escape.

"The Woman in Cabin 10" is an atmospheric and elegantly crafted murder mystery thriller that keeps you guessing and definitely not trusting anyone until the very end. Director Simon Stone creates a world of claustrophobic tension aboard a luxury cruise ship, where every corridor or room seems to hide a secret and every passenger is a suspect.

Keira Knightley delivers one of her most notable performances in years. As Laura Blacklock, a smart journalist caught in a spiral of crime, paranoia and self-doubt, Knightley balances fragility and determination with remarkable precision. Her portrayal makes you question what's real and what's not- and she carries the entire film with quiet intensity and emotional depth.

The film's cinematography beautifully captures both the sleek opulence of the cruise ship and the isolating vastness of the open sea, mirroring the protagonist's growing sense of unease. The pacing is deliberate but never slow; each scene builds tension while deepening the mystery.

While it occasionally leans on familiar genre tropes, "The Woman in Cabin 10" succeeds through its atmosphere, strong direction, and Knightley's commanding performance. It's a smart, stylish thriller that rewards patience and attention. The book must have been a fun read as well though I haven't. This is a sophisticated and suspenseful ride that proves Keira Knightley is as compelling in psychological thrillers as she is in period dramas. Well done.

I think I had higher expectations of The Astronaut and I was happy to see that Kate Mara finally got that lead role that she deserved after years of being the supporting actress for headliners. And I was happy to see Laurence Fishburne in a new movie, expecting to be acting as a well-written character with a better motivation... However, there's always a catch when a director is also the writer, especially when she (in this case) is a newbie. The story was so predictable and characters were quite hollow. The drama was too much for a sci-fi and the close-up face shots of characters were tiresome(!)... At times, I thought of Sandra Bullock's character from Alfonso Cuaron's "Gravity", then raptors from Spielberg's "Jurassic Park" and even "E. T." But those scenes were looking like "direct to video" quality with very cheap looking effects and well-worn alien design... The movie starts well but becomes unbearable too soon. I gave 4 stars only for the effort of an jenny-come-lately(!) director who might learn from her mistakes for this one. It could have been a great movie with that cast and potential, if there was(!) a really authentic and interesting story. Yet it's far from it...