Tag Archives: film

10.05.26
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Digger

Truly daring and polarizing works of narrative storytelling don’t come often at this scale. Alejandro G. Iñárritu seems to be embracing both his non-Hollywood roots and the grandeur of major studio production with Digger, a Trojan horse of a film that’s as baffling as it is thought-provoking and urgent. Tom Cruise gives a behemoth of a performance, playing a character meant to satirize the “expertise” and power our society creates around immense wealth. The surrounding cast is also excellent, including the brilliant Sandra Hüller and John Goodman in such a ridiculously angry turn as the POTUS that it actually works for how extravagant the film wants to be.

The film is also very bleak, pulling a trick on you that some viewers will love, others hate, and some won’t know whether it enhances or tanks the story. As it peels back the layers, it tests its luck as to whether the concept is truly effective or just too extravagant for the sake of it, but once it unravels the bigger picture for you, there’s a powerful statement about the depth of human selfishness and ignorance for comfort’s sake. However, it doesn’t know when to dial back the caricature of its characters and situations, even when much of it is intentional. Though I would love to rewatch it knowing what I know now, it also takes getting through a lot of more cringeworthy scenes to get to the unforgettable lightbulb moments. Though the satire is on-the-nose, it’s a film that will stick with you for a while for its ambition and completely jarring essence. Simultaneously difficult to recommend but impossible to skip, it’s got something to say about each one of us sitting in the audience, not to mention the stunning costumes, makeup work, score, and production design (the sets are out of this world).

05.02.26
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The Devil Wears Prada 2

Twenty years after the first film, Miranda Priestly reunites with Andy Sachs to revamp and reignite the future of Runway magazine. The first Devil Wears Prada is a modern comedy classic, though far from perfect, its got a distinct originality, conflict, and remarkable performance from the great Meryl Streep. Save for the great performances from an all-star cast, this sequel doesn’t have any of that fuel, or much of a reason to exist. Andy’s decision to return to Runway feels rather under-explained after her decision to leave Miranda’s toxic orbit in the last film, and the pace lacks some urgency or objective. Not many characters are given the chance to grow or feel multi-layered besides Stanley Tucci’s endearing Nigel; Andy is ambitious and devoted, Miranda is narcissistic and intolerant, and Emily is stuck-up and vindictive. Anne Hathaway is a delight and Streep is always great, but Miranda doesn’t possess the same strength as a character and icon as she did in the script the first time around.

The Devil Wears Prada seemed to have a lot to say about the temptation of glamour and the seduction of power and the ability to make decisions that have an impact, but the second film doesn’t approach it with the same critical lens, rather showing us excess for the sake of the image, in a way that doesn’t feel quite modern or relevant anymore. Viewers may simply enjoy those images on the big screen if they’re focused more on fashion and less on story beats, and it may be enough to see how great Streep, Hathaway, and Tucci are in these roles, but there wasn’t much of a real narrative reason to revisit this so many years down the line in today’s world, save for the sheer scale and the main cast’s availability.

04.20.26
by

Michael

A musical biopic about a monumental pop star is a whole lot of spectacle that spends too much time with the familiar beats and too little time allowing us to feel the impact of his journey and his discography. Every character feels one-note or like a simple vessel to move plot points forward, even Michael himself. Jaafar Jackson commits himself to Michael’s amazing stage presence and dance moves, but the movie doesn’t allow us to feel much for Michael as a person outside of his circumstances and talent. Colman Domingo is excellent as Michael’s emotionally cold, controlling, and abusive father Joseph, but the film spends way too many repetitive scenes trying to show us that Michael desparately needs to break free from Joseph and pave his own way forward.

Any other theme this movie attempts to go for feels painfully underdeveloped, whether his rise to fame, health issues, activism, or the trails he blazed for black representation in mainstream arts. The things that are special to this musician are touched on briefly, while the movie instead insists on hitting all the familiar beats we’ve seen in countless music biopics. The real star here is the sound design, which dials everything up to an 11 during the concert and performance scenes and make us feel immersed in them. That unfortunately only encompasses about eight minutes of Michael‘s 127-minute runtime, which feels incomplete and like the team in the editing room had an hour they should’ve cut and far more story that could’ve already been told.

Though Michael Jackson’s songs moved the Earth and changed the course of the world, the movie doesn’t reach deep enough into the magic of his music and the work that was put around it. The film seems interested in making the case that he is indeed the greatest popstar of all time but clueless as to how to convince us, even those of us who already believe it, instead presenting us with a few of those extraordinary moments from the King of Pop’s life, while the drama offers frustrating lack of nuance that becomes more and more tedious. This missed opportunity of a film that tries a whole lot of everything with not much of it sticking at all. We should’ve been soaring with the hits and left better understanding the human being behind the legend, instead we feel like we’re interacting with caricatures, and then one of the greatest songs of all time starts playing every now and then.

04.02.26
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Project Hail Mary

Ryland Grace awakens on the spaceship Hail Mary far, from Earth, and attempts to piece together how he got there and what his mission may be, realizing how much really lies in his hands.

A space epic as urgent in its stakes as Interstellar, Project Hail Mary is a stunning experience that makes use of every minute to move you. Ryan Gosling proves on an even larger scale his charming leading man skills, imbuing Ryland Grace with a deep cowardice, yet a purity and longing that coexists within his apparent weakness is what makes this one of his most lovable performances yet. He is not the only magic at the center of the film — the puppeteering behind Grace’s alien companion Rocky is magnificent and creates a beautiful connection between the creature and the audience. Sandra Hüller is excellent as well and her presence as the authoritative and calculated Eva Stratt, in charge of Project Hail Mary, a global effort to send an expedition to a solar system beyond ours to save Earth from impending extinction, gives the film so much. Hüller takes on something so unexpected yet essential by stripping Stratt of the coldness felt from the character in the novel, which here feels like a necessity rather than a foundation to her being, making the character not just a figure of control but of empathy.

The visual effects, cinematography, and production design are spellbinding and maintain grand scale while conveying the character’s sense of isolation and his dire circumstances. The film also has a loose and unpredictable sense of humor while maintaining its serious through line of stakes and objectives throughout its epic runtime. Despite the seriousness and tension at the center, there’s something life-affirming that Project Hail Mary discovers was always at its heart: from fear and uncertainty come the most powerful and beautiful forces in the galaxy. The film hits all the right notes, whether the buddy humor, sweeping space journey, or effortless direction from Phil Lord and Christopher Miller, who create something universal (no pun intended), hopeful, and impossible to miss on the big screen: one of the most resonant, wondrous, and flat out perfect blockbusters of the last few years that you might not want to end.

03.14.26
by

GOAT

GOAT is about a goat who wants to be, well, the GOAT. Will dreams of changing the game of roarball by becoming the first “small” animal to play on his favorite time, the Vineland Thorns, though he faces adversity from both teammates and rivals.

Continuing Sony Pictures Animation’s winning streak that began with Spider-Man: Into the Spider-Verse, GOAT embraces a similar fusion of animation styles as that aforementioned film and its sequel, as well as the studio’s The Mitchells vs the Machines and KPop Demon Hunters, to create another engaging and exciting adventure that defies tropes and stereotypes and amasses an all-star cast for a delightful time. Caleb McLaughlin is great as the titular leading role, portraying Will as a humble and hard-working young athlete who wants to make it big his own way, while encouraging other to be their best, even those who doubt him.

Gabrielle Union is wonderful voicing Jett Fillmore, a local hero who can’t seem to want to share the spotlight, though this doesn’t quite make her unlikable, rather it comes from Jett’s insecurities about getting older and being pressured to retire. It’s also noteworthy that in a family film like this, the male main character’s basketball idol is a female athlete, something that’s never questioned or called out. Other standouts include Aaron Pierre as an irresistible antagonist, as well as David Harbour, Nicola Coughlan, Jenifer Lewis, Patton Oswalt, Jennifer Hudson, and NBA legend Stephen Curry, who also produced the film, which somewhat mirrors his own NBA journey.

A film that fully embraces what makes the best sports movies great, but takes unique and mature directions, GOAT is a great watch for all ages that’s a love letter to basketball and the dreamers everywhere, that never stops being eye-popping and fun, and puts a big grin on your face.

02.25.26
by

Scream 7

In the words of Christopher Nolan’s great superhero epic The Dark Knight, all great franchises can either go out a hero, or live long enough to see themselves become the villain. Too many great franchises that haven’t concluded on their own terms find themselves in the latter trap, running out of steam because they went on too long for the simple reason of trying to make more money. A project that may have been doomed from the start after the departure of franchise leads Melissa Barrera and Jenna Ortega, Scream 7 feels almost like an apology for the freshness of Scream VI, trading everything that made that film exciting for more of the same that we’ve seen done several times, over and over again.

We’ve seen the series return to Sidney Prescott years later in Scream 4 and the fifth Scream, which also finally allowed the big three of Neve Campbell, Courtney Cox, and David Aqruette to give up center stage to new leads. At this point, not only does Sidney’s return feel stale, but Campbell and Cox’s leading performances feel rather boring and fail to carry the film. Meanwhile, Jasmin Savoy Brown and Mason Gooding’s characters are by far the most fun and not given much to do. The film does up the gore from past installments, but the small town set pieces aren’t that engaging and the ensemble cast doesn’t hook you in much either, providing for a far less exciting guessing game about who might be behind the Ghostface mask than before, and it’s never a good sign when I was able to guess the killer less than halfway into the runtime.

Nostalgia in Scream (2022) and Scream VI was cleverly used as a tool to flip expectations and actually satirize and deconstruct the idea of nostalgia itself. Now, Scream 7 feels too afraid to critique or even surprise its audiences any longer. The commentary on other horror film and franchise tropes that has become a staple of the Scream films feels groan-worthy and half-baked here, especially because the movie is just reusing the same old tropes like a checklist, resulting in an installment that feels like a whole lot of nothing and especially underwhelming compared to the great fifth and sixth films. It’s time Paramount learned that if you don’t have anything new to say, it’s best not to say anything at all.

12.26.25
by

Marty Supreme

The Safdies’ bold filmmaking style has reinvented storytelling since they entered the scene in their expert use of handheld camerawork and overlapping dialogue to build tension, and Josh Safdie’s newest film is not only his grandest, but also one of the year’s must-watch movies that subverts most modern categorizations. If you had trouble rooting for Adam Sandler’s lead in Uncut Gems, Timothee Chalamet’s portrayal of Marty Mauser is almost as slimy, smooth-talking, and utterly self-centered. Not to mention, it’s the best performance of his entire career, devoting so much physicality in every moment to a character who desires to not only be great, but to be celebrated for his greatness. That’s exactly what causes him to make choices that are hot-headed, self-destructive, and often awful to others. Chalamet is loud but oddly charismatic, energetic, and layered. So why, through it all, are we secretly hoping for our unlikable protagonist to get what he wants, even if we know he might just squander it? Marty hustles, lies, insults, and risks it all to reach his ultimate goal of being the best ping pong player in the world, and Safdie’s direction as certain scenarios open rabbit holes of crazy and unwanted situations captures the exhilarating and hysterical chaos of it all.

Odessa A’zion delivers a spectacular breakout performance, giving her character of Rachel a kinetic unpredictability and standing out as a pivotal role in the story that’s impossible to look away from. Gwyneth Paltrow gives much heft to her character, a lost and washed-up but passionate actress looking to be heard in what she feels is a stuck situation in her life, and Kevin O’Leary also shines in a role defined by authority, vanity, and a coldness that looks down on Marty as he approaches him. Tyler, the Creator also stands out as a friend of Marty’s who shares some of the craziest scenes of the film with him. Safdie does an outstanding job of capturing the dirty and rugged look of 1950s New York, with madness increasing as characters yell over each other with the camera up in their faces, or sometimes bad or desperate situations escalate to much, much worse. The script, camerawork, and editing are working together in unison in every moment to create an intense and nail-biting flow that never stops. Not to mention, Daniel Lopatin’s booming score and the brilliantly selected soundtrack enhance every moment in which they’re present.

Chalamet’s performance that vivdly brings the titular character to life is just as fascinating as trying to piece together the greater poetry of the story. The magnitude of Marty’s ambitions are underscored by his entitlement to his gifts and destiny, and his willingness to deceive and toss those close to him aside. This make it fun to predict whether or not he’ll find the success he’s looking for; if he does, at what cost? And if he doesn’t, which of his egregious mistakes will be his downfall? In expected Safdie fashion, it’s overwhelming direction and sound design contribute to a nail-biting watch that resonates as a wickedly structured character study, an absurdly shocking comedy, and one of the one of the most epic dramas of the year.

12.22.25
by

Avatar: Fire and Ash

James Cameron succeeds yet again in teleporting the audience from their seats into the lands, airs, and seas of Pandora and anyone who buys a ticket for Avatar: Fire and Ash may experience one of the most visually arresting things they’ve ever seen. The complexity of the water, the Na’vi people themselves, and the incredible settings are so detailed and breathtaking to look at, immersing you into an action sci-fi saga with epic scale that only Star Wars and Dune have reached recently. Every character is challenged to the brink to make the most difficult choices, and the child characters from the last film are even stronger here. Jake and Neytiri’s son Lo’ak earns a lot of spotlight he’s given, and Jack Champion’s performance has definitely improved. Zoe Saldaña is again a highlight as Neytiri and given much more to do, while Sigourney Weaver impresses in her strong performance as Kiri. Stephen Lang eats up the scenery as the ruthless and vengeful Quaritch. It’s interesting to examine his grievance against Jake, as they’re both once-human military men now in Na’vi bodies, but even more interesting is the dichotomy between Neytiri and new antagonist Varang, played fantastically by Oona Chaplin. She’s the leader of the Ash People, who reject the Na’vi belief in the goddess Eywa and is hellbent on spreading chaos.

The action sequences are brought to life with such a might and grandeur that it truly feels like the culmination of decades of blockbuster filmmaking. The journey is so stunning that you may not want it to end, but if anything holds the film back, is action set pieces feeling recycled from the last film. The similarities to The Way of Water, especially in the final act, are glaring, including numerous character dynamics/arcs and action scenes. The human characters get a lot of screen time and are rather annoying, especially Giovanni Ribisi, who is needlessly brought back from the first film. However, it looks so gorgeous, particularly a jaw-dropping final battle, and the emotional stakes are so high that the immersive adventure forgives much of its unoriginality and some narrative shortcomings. Those looking for another thrilling experience will be amazed by the sheer beauty of what may be one of the most intricate and astounding CGI achievements of all time. If you can forgive some familiarity, Fire and Ash will lift you out of your seat and take you to worlds away that feel so tangible that watching it in big formats like IMAX and 3D is a once-in-a-lifetime experience.

12.06.25
by

Jay Kelly

Noah Baumbach’s largest film in cast and scale isn’t his best work or even close, but certainly one of his most ambitious. George Clooney stars as the titular Hollywood actor seeking to reconcile with his daughters as he is about to be given a lifetime achievement honor in Europe. Jay’s relationship with his manager Ron is the film’s real heart here, with Adam Sandler not only stealing the entire film but giving one of the best performances of his entire career. Ron is torn between his devotion to his client and dear friend, and the heartache of missing out on time with his wife and kids. Sandler gives the character a dimensional charm, conflict, and vulnerability. Laura Dern is also outstanding as Jay’s publicist, also frustrated as she’s desperately trying to fulfill the impossible role of chasing Jay around and covering for him.

Many other familiar faces give very strong performances here, although Baumbach’s directing here stands out even more than his writing this time around. The film’s approach to memory and distance is very interesting, as is the idea of this “king” finally spending time with ordinary people who perceive him as a legend of sorts. However, the main storyline between Jay and his daughters doesn’t quite have the emotional weight that’s needed, with the themes being a bit too obvious and the film just lacking enough screen time with his youngest daughter to feel the way the movie wants us to about the main father-daughter relationship here. A performance moment and line delivery from Clooney in the film’s final moments, however, elevates the entire film and brings the themes full circle, even if it takes that long for them to really hit hard. Jay Kelly doesn’t live up to the excellence of Baumbach’s best storytelling like Marriage Story, but is still big yet introspective, with Clooney and Sandler standing out together, and the latter’s performance resonating in particular.

11.15.25
by

The Running Man

In a future ruled by an authoritarian government, Ben Richards joins a deadly game show to win money to support his family. There’s one catch: to win, he has to survive one month on the run from expert assassins who are trying to kill him.

The Running Man is not the first film adaptation of the Stephen King novel, but it’s also the rare reimagining that not only justifies its existence by taking a completely different and more faithful direction, but also tops the original film by far. Edgar Wright’s love of filmmaking shines through in all of his projects, no matter the scale or setting. This one is a lot more self-serious than his other works, but still enough irreverence and humor shines through to balance that out. Glen Powell’s action star material gives the film much flare and entertainment, making Ben Richards a fun character to root for, even when some of his characteristics don’t always add up (a subplot about his anger issues becomes rather irrelevant after the opening minutes). Colman Domingo is also a riveting standout as the host of the titular game show, giving the dialogue and performance his all. His scenes of commentary and theatrics elevate much of the film.

Though its themes have been explored in other films, including many recent ones, it still very intriguingly explores how capitalism and consumerism enslave the working class through sadistic entertainment. It hits both close to home while evoking something different from our reality. The pace is just fast enough for the audience to root for our hero and be interested in its vibrant world-building and energy. The action is bloody and creative without feeling overly cartoonish and fitting within the world of the film, and the directions it takes are thrilling while the humor and dark satire work perfectly together. This modern adaptation not only works far better than its predecessor, but it’s a winning ride for action fans and for the always charismatic Powell.