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One Battle After Another is a new action thriller, directed, written, and partly produced by Paul Thomas Anderson, known for Boogie Nights and Punch-Drunk Love.

Bob (Leonardo DiCaprio) and his girlfriend Perfidia (Teyana Taylor) were once part of the rebel group French 75, which fought for equal rights for all citizens. Their fight was anything but peaceful: through violent attacks they targeted corrupt figures of power, including the ruthless Colonel Steven J. Lockjaw (Sean Penn).

Over time, Bob withdraws from the rebellion to take care of his daughter Willa (Chase Infiniti). When she suddenly disappears, Bob suspects Lockjaw is behind it. Forced by the circumstances, he must once again rely on his old skills to rescue her before it's too late.

The film clearly ties into the current debate around migration and the ways governments and societies respond to the influx of people from other countries and cultures. The clashes between groups who are either in favor of or opposed to these people create chaos and conflict within the story. This makes the theme timely and relatable, although the film becomes somewhat predictable due to promotional material such as trailers. You can often already guess how certain situations will unfold. For the best experience, it's advisable to watch the film with as little prior knowledge as possible.

That said, the story is not always tightly told. Unnecessary characters and redundant decisions stretch the runtime without adding much substance. With more focus, the film could have been stronger and more compact.

DiCaprio delivers a convincing performance as a man who is forced to once again embrace his rebellious side in order to find his daughter. Alongside Benicio Del Toro, who also portrays a member of French 75, he comes across as a believable fighter for those who are treated unequally. For Chase Infiniti, this is her very first film role, yet she shows no trace of inexperience-she makes a powerful impression. Sean Penn, however, steals the show as Lockjaw, an antagonist who only treats people as equals when it serves his own interests.

Him is a new sports-horror film, directed and partly written by Justin Tipping, the director of Kicks.

Cameron Cade (Tyriq Withers) gets the chance to become the next top quarterback in the rugby world. To achieve this, he must successfully complete a training period under former star quarterback Isaiah White (Marlon Wayans). During these training sessions, however, he begins to notice that everything is becoming increasingly darker and stranger.

The film effectively shows how difficult it can be to become the best in the sports world. It demands huge sacrifices from the athlete himself: he must keep his career, his team, and his fans satisfied-something that can push you to the breaking point. It also highlights how sports and faith can intertwine. Some fans pray for the best results or make the sign of the cross, hoping their player or team will win.

In the second half of the film, however, this turns into somewhat misplaced body horror, with bloody scenes showing how brutal training can physically destroy an athlete, even as he pushes on for the sake of his team and fans. The transition from sports drama to horror is clumsy and sometimes feels odd or unclear. The body horror itself is weak: for much of the film, we see little more than blood splatters. Most victims or bodies are never clearly shown. Only at the end do they reveal more, but then in an over-the-top way, making some scenes feel closer to Scary Movie than actual horror.

The sports elements work better and are more enjoyable for rugby fans. Still, the sudden switch from sports to horror can feel disjointed, as if they are suddenly watching a completely different film. The two genres are awkwardly placed side by side, and at times, misplaced humor is thrown into the mix as well.

The messy script also prevents most of the actors from truly standing out. Marlon Wayans, however, does manage to convincingly shift from the comedic roles he is best known for to a more menacing presence-a transition that comedic actors often surprisingly excel at.

Downton Abbey: The Grand Final is the third film in the series and is directed by Simon Curtis, who also directed the second Downton Abbey film.

Humanity is about to enter the 1930s. The family will soon be led by Lady Mary Talbot (Michelle Dockery), but when she becomes entangled in a public scandal involving a divorce and the family faces financial troubles, it seems the Crawleys are on the verge of losing much of their respect and status.

As the new bearer of the family scepter, Mary must guide her family successfully into the future. To achieve this, however, the family-like the rest of the world-may have to adapt to new ways of life.

The film portrays well how change in the world and in life is necessary, yet remains difficult for some to truly accept. This is also a theme that still resonates strongly in today's society.

With this third Downton Abbey film, they once again deliver a delightful experience, especially for fans and followers of the series and previous films. These viewers will more easily recognize references and details, and it will be enjoyable for them to continue following the familiar characters and witness how many of them bring their time at Downton to an end. The roles are once again played by the returning cast, who manage to give most of the characters a fitting farewell.

This is certainly true for the character Violet, portrayed in the series and earlier films by Maggie Smith, who sadly passed away last year. Despite her real-life absence, the filmmakers manage to conclude her character's story in a respectful way. In this film, a portrait of her character can be seen, giving the impression that she is still present in this final chapter.