kjproulx

Looking back at the filmography of Darren Aronofsky, I realized I've never truly disliked any of his films. His unique style always draws me in, and even when one of his movies feels uneven, there's still something fascinating about it. Caught Stealing is his latest directorial effort, and I had been eagerly anticipating it. Thankfully, it lived up to my expectations and then some.

The story follows Hank Thompson (Austin Butler), a former baseball player whose career came to a tragic end, leaving him aimless and burned out. His life takes a sudden and dangerous turn when his neighbour, Russ (Matt Smith) pulls him into a criminal scheme he wants nothing to do with. Set against the gritty backdrop of 1990s New York, Hank finds himself caught up in a world of crime, betrayal, and survival. It's a simple premise, but Aronofsky uses it to craft something thrilling and a little unpredictable.

What really stands out here is the sharp, witty dialogue and the performances across the board. Austin Butler may have given my favourite performance of his so far, balancing humour, vulnerability, and intensity perfectly. The supporting cast all bring their A-game as well, injecting the story with energy and personality. The film is consistently entertaining, though I do think it leans too heavily into death and darkness at times, slightly dulling the fun energy it establishes early on. That said, it's a small complaint in an otherwise great experience.

Stylistically, the film is a blast. The editing is snappy, the humour lands, and Aronofsky's flair keeps even the simplest moments engaging. The fact that so much of the story revolves around a cat is both hilarious and oddly brilliant, adding a quirky touch to the dark crime tale. With twists, turns, and a strong sense of style, Caught Stealing proves to be another home run for Aronofsky, and one of the more entertaining films I've seen this year.

Freakier Friday taps right into my nostalgia for the 2003 Freaky Friday, a film I loved growing up and still do today. Seeing Jamie Lee Curtis and Lindsay Lohan return more than 20 years later feels right. They still have that perfect dynamic that made the original so special. I'm especially glad to see Lohan continuing her comeback. She brings warmth and charm that remind me of why I loved her performances in the first place.

The plot picks up years after the original, with a new generation introduced to the chaos of a family body swap. When another unexpected switch throws four lives into comedic and heartfelt disarray, both the returning and new characters must navigate each other's worlds again. The setup mirrors the original but adds just enough modern flavor to feel fresh without trying too hard.

One of the highlights for me was seeing familiar faces again. Especially Chad Michael Murray, who slipped back into his role effortlessly. Though he only appears for a brief 15-20 minutes, he brought the same energy and seemed to genuinely enjoy revisiting the character. The film balances eye-roll-inducing nostalgia with moments that really land, making the callbacks more charming than tired.

As a sequel, Freakier Friday doesn't break new ground, but it doesn't need to. It captures the spirit of the original while delivering a strong emotional payoff in the third act that feels earned, not recycled. It's a standard sequel in many ways, but a good one. The old cast shines, the new cast impresses, and overall, I had a genuinely fun time watching it, even though it's pretty standard.

I loved Zach Cregger's previous film, Barbarian, so I was eagerly awaiting his next writing and directing effort in Weapons. Catching the audience off guard is clearly what Cregger does best, and once again, he proves himself a master of tension, surprise, and atmosphere. The level of filmmaking craft here is on another level, especially in terms of horror. From the opening moments, the film establishes an unsettling tone that only deepens as the story unfolds.

The premise itself is simple: at exactly 2:17 a.m., every child in a classroom, except for one, goes missing. The eerie detail is that each child appeared to leave their home willingly, wandering into the night without resistance. This mystery sparks chaos in the town, leading to questions, suspicions, moments of dark humour, and sequences of genuine terror. Cregger balances the tone beautifully, weaving horror, drama, and comedy into a seamless whole. Still, the film doesn't shy away from gruesome moments, so viewers with a weaker stomach should be prepared.

The structure of Weapons is one of its strongest assets. The story unfolds over the same one-to-two-day period, but each time it rewinds to reveal different characters' perspectives. Julia Garner shines as Justine, the classroom's teacher, grounding the film with an emotionally powerful performance. Josh Brolin, as Archer, the most determined and investigative parent, brings his usual gravitas. Young Cary Christopher, playing the one child who does not vanish, delivers a surprisingly moving portrayal of trauma, as his work here is astonishing for his age.

For me, the most fascinating dynamic came from an unexpected pairing: Alden Ehrenreich as a police officer and Austin Abrams as a drug addict. Their cat-and-mouse story slowly converges in a way that is both funny and deeply revealing, adding another layer to the film. By the time the mystery resolves, the reveal may divide audiences, but it absolutely worked for me. Weapons is a wild experience, and whether you're a fan of horror or just looking for a gripping film, it stands as one of my favourite movies of 2025 so far.