06.27.25
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F1

Brad Pitt leads F1 with his signature leading charm that’s effortless and likable, even when character makes selfish decisions. Together with the rest of the cast, and the film’s commitment to in-camera racing and massive scale, this sports drama has all the right ingredients, even if the story is rather standard. The cinematography in the racing action is beautiful, and the sound design is impeccable and immersive. Hans Zimmer’s score is a standout, as is the soundtrack that includes celebrated contemporary hip hop artists. This exciting energy elevates the film and makes what you’re seeing feel so real.

However, the character beats are almost all formulaic (no pun intended) — the reluctant veteran thrown back in, the cocky rookie and the rivalry between them, the antagonistic businessman, and so on. It’s never hard to tell where the story is going, and we’ve seen similar arcs before, even in Joseph Kosinski’s own Top Gun: Maverick. That said, the aforementioned rivalry between Pitt and Damson Idris is admirable and complex, and the experience is elevated by knowing they’re actually driving those cars. Idris and Kerry Condon are standouts from a performance perspective. Idris’ almost vain excitement to be in the big leagues contrasting Pitt’s strategic mind who’s also a bit worn out and not sure he’ll ever find that spark he once had for racing again. Condon makes us root for her part just as much, a brilliant technical direction behind the scenes who’s also in pursuit of a complete victory.

F1 packs few surprises in its script, but it more than redeems itself with the exhilarating scope that justifies the theatrical experience. Best of all, it celebrates not just the grandeur of the sport in its highs, lows, and the ambitions of those behind the wheel and the pit stop, but the potential of the blockbuster, especially with practical effects. It completely delivers on its promises with astonishing action and cinematography, and the familiarity is more than redeemed by the entertaining cast and the stunning technological accomplishments.

06.21.25
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How to Train Your Dragon (2025)

Out of all the live-action remakes of animated films to be released in the last few years, How to Train Your Dragon is the one that sounded too soon, and too perfect to touch more than any of the others. However, it winds up standing out among many of the other remakes that come to mind. Director Dean DeBlois sets out to retell the story of Berk and its vikings and dragons in realistic glory, but also sticks so closely to his original film’s visual palette that there almost isn’t anything new here. Large amounts of dialogue, if not the entire script, are also beat for beat exactly the same, so if you remember the original film quite well, it’s like watching a film you’ve already seen be enhanced and remastered. Though the first film is so wonderful that it doesn’t leave much need for improvements, making a new film should be justified by making some changes and additions to the story, not to mention much from the source material that the film was based on that we haven’t yet seen.

Mason Thames manages to make the role of Hiccup his own, while Gerard Butler is a standout reprising his role as Stoick from the animated trilogy. His hard exterior and brutal attitude towards dragons that develops from his fear and desire to protect his son and tribe are prominent. The production design and CGI effects work very well to form engaging action scenes — even if it takes a lot of getting used to that Toothless looks the exact same as he did in the animated version but is now interacting with live-action settings. Nico Parker is wonderful as Astrid, and her bond with Hiccup also stands out, particularly his earning of her trust. The supporting teen characters unfortunately feel like they’re doing imitations of their previous version, though Nick Frost entertains as Gobber.

Some scenes manage to carry the beauty over into this version, including Hiccup and Toothless’ initial bonding, and the former’s romantic flight with Astrid. Still, you’re sometimes left to wonder why it wouldn’t have hurt to change some more lines or backdrops, or even some add in some new story beats when you’re making a new film, after all. The real magic here that holds it all together is John Powell’s score. His themes enrich the world and the tone when they could’ve lacked in this new iteration otherwise. The movie’s insistence on staying so close that numerous scenes are a shot-for-shot copy and paste can frustrate, but its lack of originality doesn’t fully take away from the heart and vibrance that’s still here, even if in a lower capacity. For those discovering the story for the first time, though, it will certainly deliver with its themes of empathy and teamwork.

06.11.25
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The Life of Chuck

Imagine peeling back the complex layers of Mike Flanagan’s thematic tissue for a uniquely human tale, devoid of all of his beloved horror and thriller conventions. That seems to be The Life of Chuck’s concern; it’s a cleverly structured film that has the soul of his past works intact, while working more as a psychological drama that has a beautiful wave of positivity rising above some of its bleakness and tragedy. It’s by far his most hopeful work, balancing a great ensemble cast that includes Tom Hiddleston, Chiwetel Ejiofor, Karen Gillan, Mark Hamill, and nearly all of Flanagan’s other regular actors.

The film is divided into three acts, each of which creates an intriguing vignette on its own while brilliantly complimenting the full story as a whole. It finds ways to surprise you with its reflections on human connection — to others and the world — and creating one’s own joy. Each of the three acts recontextualize one another, and it leaves you with poignance while presenting lots of heart. Moments that Flanagan usually plants as a setup for horror can often become bittersweet here but also rather empower and charm. There’s hope, melancholy, sweetness, humor, and dread, yet it stays distinct from the director’s other works in its emotional effectiveness while still remaining something that can please lots of fans of his and Stephen King’s works and adaptations.

06.05.25
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Ballerina

Ballerina isn’t just another action movie: it’s got a madness and energy that only this franchise has. But it doesn’t just fit perfectly into the John Wick universe, it elevates its world-building and makes a strong case for this new protagonist Eve and her potency. Much of that is thanks to Ana de Armas, who is a powerhouse and gives Eve a deep pain that is weaponized into her expertly brutal assassin skills. That’s quite the main theme here and an interesting one — hate and trauma being weaponized into violence and vengeance, and the illusion of fate and a lack of choice. The actress wonderfully takes on action scenes and stunts so intricate they give some scenes from the main John Wick franchise a run for their money. Best of all, it never feels like its recycling too much from those films, whether from a visual or choreography perspective, even if the settings and musical score aren’t trying to hide that this is a Wick movie, and the character tie-ins may feel like a bit much.

As for the supporting cast, Anjelica Huston gives a strong reprisal of her supporting role from John Wick: Chapter 3 – Parabellum, while Gabriel Byrne is well-cast as the villain, though his dialogue becomes one-note and over-the-top rather quickly. Catalina Sandino Moreno is great to watch; it’s nice to see her finally given such a prominent role in a big film like this so long after her amazing turn in the Oscar-nominated Maria Full of Grace. Due to the film being set between the third and fourth main films, Keanu Reeves’ inclusion as John Wick is fun and justified, thought the excitement of having such an iconic star around may overstay its welcome for a film that isn’t about him. Even if the story uses familiar elements such as a revenge plot or an assassin groomed to kill from a young age, they all fit in the amazing action and scenery here, which keep one-upping themselves and the audience’s expectations. It’s an exciting and stylistically top-notch action movie that rewards its crowd, even if the story itself doesn’t pack many surprises.

05.24.25
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Mission: Impossible – The Final Reckoning

One of the most notoriously enormous franchises ever in scale comes to a close with its most ambitious installment yet. Tom Cruise’s practical commitment to the action is again breathtaking, especially the set pieces including planes and submarines. Christopher McQuarrie and Cruise are again dedicating everything to creating something gigantic that warrants the moviegoing experience, with nail-biting stakes, jaw-dropping sets, and stunning direction. It’s got a genuine feeling of danger, that the team’s loss could result in truly destructive consequences. It also pushes Ethan to the brink of his values and abilities, as each last film before it has challenged how impossible of a mission he can actually go up against, as well as personal decisions he is faced with. The ensemble cast surrounding him is great, particularly Simon Pegg, while Hayley Atwell sometimes feel pushed too far into the mix to stand out as much as she did in Dead Reckoning and Esai Morales’ villain this time lacks the presence that was felt from him in that film. The standout from the supporting players is definitely Angela Bassett as President Erika Sloane, whose relationship with Ethan Hunt becomes deeper and more complex with their new dynamic of power and the situation at hand.

In an attempt to tie past installments into this finale, the editing does become bloated, with excessive flashbacks to clips from those past films to clarify details most viewers either already know or didn’t need to be shown. Sometimes a quick dialogue exchange or even context clues can give viewers who don’t remember 7 films worth of lore the background they need, but though at times this method is excessive, it becomes rather disorienting. Not to mention, the script is also at times hard to follow, with the logic that needs to be pieced together to follow the story sometimes happening at light speed and may only be completely taken in on rewatches,. Some plot threads feel under-explained when others are given too much explanation. Despite these story and editing issues that are especially prominent in the first hour, the second half is so incredible to watch and some of the stunts feel like a once-in-a-lifetime moment in their realism and scope, and the story arcs continue to escalate until they finally come to a hard-hitting close. It’s ultimately an exhilarating and satisfying conclusion that may not be the best Mission ever, but it’s certainly the biggest and a must-watch on the most massive screen you can find.

05.02.25
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Thunderbolts*

After being lured into a deadly trap by CIA director Valentina Allegra de Fontaine, a group of antiheroes form an unlikely team to bring de Fontaine and her destructive plan down.

Thunderbolts* is oozing with energy and a deep care for its characters, with a darker edge of corruption and death to its subjects. Contrary to this February’s Captain America: Brave New World, Thunderbolts* thrives by allowing its cast’s charisma to roam freely, led by the incredible Florence Pugh. This time around, Yelena is the film’s lead, and Pugh taps into the character’s core of depression and emptiness, including her tumultuous relationship with her father, former Soviet super soldier Red Guardian, played by the vivacious and hysterical David Harbour, longing for glory again. Wyatt Russell and Hannah John-Kamen are also utilized very well, while Sebastian Stan returns as Bucky, who leads many of the others through a similar emotional arc he’s learned his way through. Geraldine Viswanathan is also a standout as Mel, assistant to de Fontaine — played in such a juicy performance by Julia Louis-Dreyfus as a menacing figure who will stop at nothing to gain absolute power and avoid all consequences for it. Though Lewis Pullman’s performance doesn’t have the same loose charm we may have felt from him in Top Gun: Maverick and Lessons in Chemistry, he also well portrays Bob’s awkwardness and the darkness enveloping his character.

The best part about the film is how the characters interact as a team — their action and combat scenes are awesome, the way their differences interact through banter and humor is greatly entertaining, and the way they utilize their strengths to solve problems (albeit reluctantly) makes them unique. Some characters’ arcs could’ve used more closure, and the final act and climactic battle could’ve hit harder, and it’s not as stylistically irreverent as Guardians of the Galaxy or The Suicide Squad, but like those films, it’s about people who want anything but to be heroes learning to find redemption by embracing one another’s differences and company, and stepping up and do the right thing. It may not be one of the MCU’s most visionary installments, but also may prove to be one of their more rewatchable in the future, as its cast of misfits and contagious energy stand out. If these characters weren’t your favorite in the MCU or anything close, that may just change for good after Thunderbolts* — an extravagant action/comedy that may be short on some wildness or development in certain aspects, but is certainly big on the excitement and reward.

05.01.25
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The Accountant 2

Christian Wolff (Ben Affleck) recruits his estranged brother Braxton (Jon Bernthal) to join him on a dangerous mission down a web of secrets after an old ally is murdered.

The Accountant 2 embraces much what worked in the first film, even if its slow pace and complicated conflict threaten the runtime. The clearest difference between the two is the prominence of the bro-mance between Ben Affleck and Jon Bernthal, who get much more humor and fun together — all while the film fully acknowledges that Bernthal’s character is still a psychopath, even though we’re rooting for him to find his way. The action scenes are great, with strong sound editing and gritty choreography, but the slower drama will sometimes leave you aching for more action, especially when there’s maybe too much exposition for its own good. Cynthia Addai-Robinson is also strong reprising her role, and the main character’s disability also proves for interesting and unique ways of seeing the main case, while also playing into his daily life in fun ways. The film has trouble establishing stakes as to why we should care about certain characters who are in danger, but also balances taking its story seriously with its loose banter between the two leads, while the humor never comes at the expense of letting its dark mystery breathe, and vice versa. The action and pace are on par with the first film with a different but similarly enticing mix of elements, even if it’s occasionally predictable and leaves a few plot threads unresolved, there’s also some exciting twists and turns for fans of more patient and sophisticated action and thriller films.

04.16.25
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Sinners

Twin brothers Smoke and Stack return to their hometown to open a blues club for a fresh start, only to discover that an even greater evil is waiting to welcome them back.

Ryan Coogler, one of the most impactful filmmakers to come out of the last decade, creates his most original, commanding, and dazzling film, a kind many have been waiting to see for a long time. Coogler gets free reign to blend genres with unique storytelling on a larger scale than we’ve seen before. The characters leap off the page and screen with their wonderful portrayals from Michael B. Jordan, Hailee Steinfeld, Wunmi Mosaku, and Delroy Lindo, as well as a more menacing turn from Jack O’Connell. As both Smoke and Stack, Jordan plays characters who aren’t free of moral question marks but still worth rooting for, and have excellent romances with Mosaku and Steinfeld, while Lindo has brilliant moments of reflection, strength, and humor.

The film portrays America in the 1930s as a place of difficulty and strive, with a system built to oppress black Americans, but in the main characters’ blues club, a dazzling, one-of-a-kind portrayal of black culture and music in a safe space of untouched, booming joy. The music is a language of its own in the film, not just another magnificent score by Ludwig Goransson, but the way music inspires and drives the characters across generations of their history. Music in the film is its own plane of sacred storytelling and unity, and it’s brought to life with roaring energy that the audience can enjoy yet by moved by. The cinematography by Autumn Durald Arkapaw, who also collaborated with Coogler on Black Panther: Wakanda Forever, also takes the film to another level, with distance between objects, characters, and backgrounds — or mere darkness — creating a weight in its shock. The film develops its characters in a world that’s breathing and moving around them in unexpected and exciting ways, even before the blues kicks in, and far before the horror action elevates the film to yet another level of mastery. The bloody violence is unpredictable and riveting to look at, and balances the line between horrific and irresistibly fun.

Though an ending scene stretches out and explains the themes too excessively, Sinners brings together genres and a remarkable cast full of life and heart that spreads to the audience. The visionary cinematography, music, and costume design compliment a story that’s filled with as much adoration for the immersive settings it creates as it is deeply hinting at themes of the system’s attempts to appropriate and erase black culture and history, and much more beneath the surface. Not only does it work for action, horror, or thriller fans, but it’s a beautiful piece of storytelling that only comes every few years. Not quite like any blockbuster we’ve seen, Sinners is a journey of pride, terror, and legend that needs to be experience on the big screen, solidifying Ryan Coogler as one of our great modern filmmakers who deserves all the more creative freedom and spotlight that’s coming his way.

04.12.25
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The Amateur

After losing his wife in a terror attack, CIA analyst Charlie Heller blackmails his superiors into letting him go after the men responsible for her death himself.

The Amateur is well-directed, with an engaging enough visual look to keep the runtime going, as well as a strong score by Oscar winner Volker Bertelmann. However, it settles for mediocre as often as it becomes thrilling. Rami Malek is excellently cast in the role, but in earlier moments in the film, his performance still feels distant, and gets to shine more later, or sometimes the editing is to blame for not letting us sit with Charlie’s grief and pain for longer in certain scenes. Holt McCallany is especially memorable as the tough CIA Deputy Director, as is Laurence Fishburne a resourceful yet more empathetic CIA operative.

Despite the packed cast, the story itself sometimes feels muted, including a lack of true exploration of the idea that this hardly trained man is committing elaborately planned out killings that would be viewed as sadistic if the men he was killing weren’t murderous terrorists. The dialogue also sometimes falters, but the elements of the formula of a smart fugitive looking for justice on the run from the law do often work, and the action-heavy scenes themselves work well. Though the resolution leaves a bit to be desired from an emotional point of view, the third act subverts some expectations, and a character that enters the film in the latter half creates some very interesting developments. The movie’s entertaining enough for fans of action and espionage films that are more patient and let their stories breathe, but it also doesn’t stand out from the crowd of similar films or demand audiences to rush to the theater.

04.11.25
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Warfare

Warfare is about a platoon of Navy SEALs cornered during a confrontation with insurgents during the Iraq War. The film is raw and immersive, the camera knowing when to immerse you into the “action” while at other times when to simply stay put and observe from afar. Similar to Alex Garland’s last film Civil War, the film is devoid of the romanticization of violence we see in many films about war and combat, rather a film about what happens when conflict and death become a daily reality for young men, including the bond and language it creates for them out of necessity for survival.

The excellent ensemble cast shines, particularly D’Pharaoh Woon-A-Tai, along with Will Poulter, Joseph Quinn, and Cosmo Jarvis. The sound design in particular is stunning and adds to the immersion of what unfolds in this film, trying its very best to bring its audience into a battlefield where certain doom is only meters or seconds away. It doesn’t relent when it comes to the intensity and terror of battle, including the gore and stakes which are upped, while using every minute of its 90-minute runtime wisely, having something to say in the quietest and loudest of moments about its lead soldiers, as well as through a family whose home is forced to become a surveillance spot for the SEALs. The final shot in particular is chilling and unforgettable, and it’s a difficult one to shake off for those ready for a swift yet powerful film experience.