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"What a wonderful day" indeed! Kingdom of the Planet of the Apes is yet another strong entry in the Planet of the Apes franchise. I was both relieved and thrilled by how much I enjoyed it, even compared to the last nearly-perfect trilogy. I pretty much loved Kingdom, an action-spectacle that's shockingly mostly about how history and myth can empower or destroy while probing what we'll do to survive. There are flaws, such as the pacing, but it still lives up to the quality of the Matt Reeves/Andy Serkis films. Between Rise, Dawn, War, and now Kingdom, this series continues to be one of the very best franchise reboots out there. Wes Ball wisely takes his time establishing the state of the planet set many generations after the last film, exploring how the Christ-like legend of Caesar has spread for both good and evil, and introducing us to new characters we grow to care about. Ball directed the hell out of this, balancing painterly postcard-style shots with handheld, allowing the scale, beauty, and depth of the world to make an impact while the verisimilitude of a reactive camera hooks you in. It's everything a VFX-heavy blockbuster should be and is a tremendous visual feat with the best visual effects seen in a movie since Avatar: The Way Of Water while never once wavering from its emotional core.

Ball is also an ace with casting and working with actors. It was abundantly clear in the Maze Runner movies (even if the movies themselves are so-so), and now the same is true here, too. Owen Teague gives his whole heart to Noa, and you can feel it. Freya Allan is a powerhouse as Mae, one of the most fascinating characters to track. And I truly can't imagine a better casting for Proximus Caesar than Kevin Durand. (The only downside to Durand being such a force in that role? I wanted more of him. In fact, I'd watch a whole prequel film covering how he developed his perception of humankind and came into power.)

Josh Friedman's script is really interested in exploring the legacy that Ceasar left behind, which I found very compelling. He's revered as a Jesus-type figure and I really liked how different factions interpret his legacy differently. Some for good, others for bad. It feels very reflective of our real-world history, and how leaders in our time and the past weaponize religion to fit their interests. This is an original story that feels like a natural progression of what came before. Setting the story hundreds of years after War was a brilliant choice. It's fascinating to see what's become of Caesar's impact on the apes, but it also ensures anyone can watch and enjoy this particular installment. I'm also a big fan of how intimate and character-first the events of the film feel, while still clearly conveying how deeply profound and significant they are. The biggest reason I love this film, even considering all of its technical brilliance, is the story- the core idea behind this movie is why it works. Kingdom of the Planet of the Apes takes place decades after the reign of Caesar in which we now see a complete societal role reversal: apes lead, humans follow. It's a simple premise that lends itself to so many subplots and narratives, one of which is the shadow of Caesar over the new generation of apes. I consider Kingdom to be a quintessential summer blockbuster- the set design, CGI, and rich storytelling is the exact type of film I'm looking for in an early summer release. It really feels like a classic Hollywood adventure flick!

Kingdom of the Planet of the Apes is a worthy successor to the throne. A bold leap into the future of this world that hooked me immediately. It's a genuinely exciting action adventure, perhaps larger in scope than the last films, but just as grounded in honest emotion. Of course, it's thrilling and filled with breathtaking visuals, but it's also full of fascinating questions about humanity, history, and what's next. It does have more of a "blockbuster" vibe than the artistry of Dawn and War, but that's not a knock. This is a great time. Kingdom feels like the start of an epic new saga. I need to see the next one ASAP! It's fitting that this franchise continues to find smart new ways to evolve, even or especially as the rest of Hollywood grows that much dumber around it.

Exhilarating. Energetic. Excellent.

Luca Guadagnino's Challengers is a riveting, pulse-pounding, thrilling sports romance-drama that blew my mind. I loved, loved, LOVED Challengers - didn't know what to expect, and walked out of the theater totally buzzing. It's smart and sophisticated while still poppy and propulsive. This is cinema that will carve new neural pathways and an essential reminder that film is the director's medium. Luca Guadagnino gifts us the most erotic, expressionistic mid-budget studio drama in years.

Challengers is electric. Every single second of this film is charged with a carnal passion for romance and sport. The chemistry between Zendaya, Mike Faist, and Josh O'Connor is utterly intoxicating, as is watching them navigate their pursuit of success in tennis as it becomes inseparable from their personal relationships. I must stress that all three are phenomenal in the film. Zendaya's work, however, is especially staggering. I will 100% be rewatching and overanalyzing everything in the film, but especially the brilliant subtleties in Zendaya's performance, ones that contribute to Tashi's poise and confidence, and how she formulates her strategy to finding the perfect match.

There is so much style in every frame. The cinematography is exquisite and really creative, especially in the final tennis match. It has some of the best camerawork I have seen in a very long time. Much like the plot, it's playful and clever and keeps you on your toes. That final ten minutes is flawless filmmaking. The energy of Trent Reznor and Atticus Ross' techno score brings the house down with its heart-pounding and electric pulse of energy (The Reznor/Ross score is riveting and purposefully over-the-top on occasion, as it plays an integral role in (brilliantly) evoking specific emotions - it meshes so beautifully with the way these tennis scenes are so brilliantly edited), and that sound design, man it was awesome. And the editing - the story volleys back and forth in time, but the brilliant editing keeps the drama high. Some sequences had me full-on levitating.

Challengers is sexy as hell with some Uncut Gems level stress and tension! The building and use of tension in the movie is masterful. The climax is powerful and leaves you wanting more but also gives you enough to know exactly what happens next. This movie is an ace. Absolutely insane filmmaking - Guadagnino is truly a master of his craft! The performances from the three leads are magnetic, the dual timeline storytelling is consistently engaging, and the tennis scenes are incredibly tense. The central trio here is astonishing with a complicated, messy, dramatic relationship that defies easy analysis - it is a love triangle on acid. AND it's an original film! Challengers is in the conversation for movie of the year. Game. Set. Match.

Alex Garland's Civil War is a modern-day Apocalypse Now. Just wow. Masterful stuff. Civil War is a stunning, mournful, riveting journey through a nightmare landscape that will leave viewers shell-shocked. Somehow - and I don't know how - this distorted reflection remains largely apolitical (or at the very least somehow completely avoids specific partisanship), which I think helps prevent it from preaching to the choir, and instead reaches much further with its critical messaging. It had me mesmerized throughout. I haven't had a movie emotionally affect me like this, or leave me thinking about it for days afterward in quite some time. It's beautiful, haunting, and had my heart racing multiple times. The film is truly horrific, especially given the current political landscape in the United States - the fact that this feels like a potential future for the United States is devastating... it isn't a stretch of the imagination and that's scary.

Civil War is brilliant. I've never felt such tension and dread during a movie before (especially during Jesse Plemons' horrific scene) - a sublime narrative on the false freedom of the press and the unyielding lust for violence and power. This is a movie that's more about the morality of documenting the horrors of our world than it is some deep political commentary - it's frankly stupid to even try to argue about the politics of it. It's a photojournalism film, and it's a damn good one.

Kirsten Dunst's character says at the beginning of the film in regards to the role of war journalists when it comes to witnessing the horrors of war: "We don't question - we document so others can question." This tells you all you need to know about the movie - it unlocks everything Garland is trying to say, about the press, about people, about the movie itself. Instead of choosing a political message, he instead lets the audience engage with the work and decide what it means to them. It is a really smart movie that lets you take what you want from it, it is extremely thought-provoking. Civil War doesn't soft-pedal its premise but it's the opposite of preachy or didactic - it's a muscular horror movie with real heart. I love Alex Garland - much like his debut directorial effort, Ex Machina, this film is not just thought-provoking as hell but also executed to near perfection. Civil War will provoke a lot of disturbing questions throughout the US and the world. But isn't that kind of the point of film?

I think modern audiences, especially in North America, have a hard time separating politics and partisanship. It really looks like a lot of people don't know how to process Civil War because it is less a direct political polemic and more like HG Wells' War of the Worlds in that it imagines events we usually think of as taking place in distant lands instead of happening here. Civil War is not partisan and it shows the brilliance of having a foreigner to the US like Garland to point the lens at the US as they have done with countless conflicts prior. The film is more interested in empathy and its relationship with objectivity. How abstraction leads to apathy. To challenge our increased desensitization to events that simply aren't normal. The point is to criticize our dispassionate objectivity; the very thing that will lead to our annihilation.

As Edgar Wright has said, this is powder keg cinema. An unflinching look at complete societal collapse and an ode to those who risk it all to tell the story from the frontlines (or perhaps a critique of their inaction). Powerfully acted (Kirsten Dunst is the best she's ever been and Cailee Spaeny is definitely the future of movies, she is a revelation after Priscilla and now this!), brilliantly directed, and a technical marvel on every level. What a movie.

(If you couldn't tell... this is not a fun/action-packed movie to enjoy on a Saturday afternoon... this movie will ruin your day and leave you thinking for days afterward. Cinema at its finest and most thought-provoking.)

Abigail is AWESOME! A brilliant, ORIGINAL horror comedy with odes to horror films that have come before it, creative new flourishes, a slick directorial style, and a memorable cast of characters! It's hilariously vicious and so bloody (pun intended) entertaining. Melissa Barrera and Dan Stevens are great in it -- but the whole ensemble wins you over from the beginning! The film is funny without ever sacrificing the horror or tone and has some really great twists that effectively change things up to keep the movie feeling fresh and alive. It's clever, ridiculous, and just fantastic. I jumped, laughed, and had a ball. Abigail is everything I hoped it would be - a relentlessly entertaining thrill ride that outdoes the gore of Radio Silence's first film, Ready or Not, with some impressively disgusting special effects. One of my favourite horror comedies in years - just had so much fun with this one! And if you're like me and always complain about the lack of original genre films in theatres these days... well put your money where your mouth is and get out and see this original horror flick!

Dev Patel's emotionally-fueled and violent directorial debut, Monkey Man, unleashes his intensity behind and in front of the camera. Not every punch lands, but it's hard not to be impressed by his commitment. This is a gritty, angry and straight-up action flick that swings for the fences. Patel being on all sides of the camera is obviously impressive, but especially in how Monkey Man doesn't just feel like a John Wick clone but actually has its own energy (honestly feels more like a Kill Bill to me). Definitely room to grow, but Patel is really gifted at crafting kinetic images. You feel the violence. Monkey Man is a rocking debut from Dev Patel, a visceral and politically muddled actioner (and therefore true to much Hong Kong action) that breaks bones, noses, and fingers one crisply lit space at a time. Peaks early and has a few pacing issues, and I wish I could see more of the hits, but this was good!

The worst thing that can happen to a good movie is festival hyperbole. When Monkey Man is seen as a fun Saturday Night Action Movie made by a first-timer it's a roaring success. When compared to the best of Wick, it falters. Some are holding it to a weirdly high standard, just let it excel on its own without the comparison! It's a very solid directorial debut - it's incredible what Patel was able to pull off with such a low budget and I can't wait to see what he does next!

Godzilla x Kong: The New Empire is exactly what you expect it to be: big, dumb, and loud monster fights. For some people, this might work - if you love some of that rock 'em sock 'em "Transformers"-like large-scale action, you'll get what you came for...eventually. Otherwise, this was a gigantic waste of time; a silly, pointless, illogical, and soulless film that is missing everything that makes these iconic characters special. It was like watching a kid play with their Godzilla and Kong toys, there's no substance to it. I loved Gareth Edwards' 2014 Godzilla film, with its excellent visual style and sense of scale and tone. But this is no longer that (no disrespect meant to director Adam Wingard) - it's visually incoherent and lacks any sense of scale or weight. It's almost like it's become a cartoon of what it once was. And honestly, I think Godzilla Minus One broke the Monsterverse for me. I'm more interested in deeper stories that use these creatures in more intelligent ways. Godzilla x Kong is mostly fine but it's cinematic junk food and the epitome of empty calories. The novelty has worn off and the sense of gigantic scale is lost with too much time in hollow earth. Plus I'm just really not into the "big monkey punches big lizard" fights anymore. Some will love this, but it's just not for me. If you liked the first Godzilla vs Kong, then you'll for sure like this! A little too dumb and mindless with nothing else really going for it. Heck, Godzilla and Kong only appear intermittently in the first 90 mins, which is bogged down with boring human exposition before our titans even share the screen. When they do it's one of the most ridiculous, anti-climactic, generic team-ups imaginable. Nonetheless, it's hard not to be entertained watching giant monsters fight, and at least they do this well. As Rotten Tomatoes summarizes: "Come to Godzilla x Kong: The New Empire for the sheer monster-mashing spectacle - and stay for that too, because the movie doesn't have much else to offer."

If Ghostbusters: Afterlife was the emotional family drama, Ghostbusters: Frozen Empire is the Saturday morning cartoon of the franchise! Personally, while I had a lot of fun with this one and enjoyed it quite thoroughly, it never quite reached the heights that Afterlife somehow managed to. It's not quite as cohesive, strong, or emotional of a film. That being said, it does feel a lot closer in tone to the original films and has a lot of creativity in its visuals, storytelling, and gadgetry to overcome its crowded cast and occasional obvious wink to the original classic. It did play it a little safe at times and took a while to get going, while also having an anticlimactic 3rd act, but this franchise has seen much worse. It's solid B+ movie fun! It has a great cast, fun moments, and some unique ghosts! While it may not be on the level of Afterlife, and I had a few nitpicks, it manages to capture the style of the original films really well and feels just like the kind of family flicks we used to get in the 80s and 90s! It's got issues, especially in the end, but Ghostbusters: Frozen Empire is such an unapologetic love letter to the DNA of the franchise and its potential that I didn't care. I smiled ear to ear from start to finish. So awesome seeing the new and old Ghostbusters together back in NYC!

Drive-Away Dolls is the best argument for why the Coen Brothers need to get back together. I can't fully explain it, but it truly felt like half a film. It was way too quirky and Ethan Coen clearly was missing what Joel Coen brought to the table, as well as had no one to stop him from going way too over the top. This film is fun but ultimately felt very quick and kind of unfinished. Drive-Away Dolls is designed by Ethan Coen to be a fun and breezy film, but perhaps it's TOO breezy. On top of this, the style of the editing was just too much and even erratic at times. The cast is great, but the film lacks enough flare to fully enjoy the ride. It is undeniably uneven and ultimately overshadowed by far superior Coen Brothers films that contain more profound depth, while still offering the deliciously witty dialogue, and over-the-top situations as found in this film. I just don't think the Coen's work as well for me on their own, this film just felt so light - it had no substance. I feel like there was just not enough to like, and not enough to dislike either. There just wasn't enough there - it was missing all of Joel's pieces!

Basically:

Drive-Away Dolls (Ethan Coen): I liked it but it felt a little half-assed.

The Tragedy of Macbeth (Joel Coen): I liked it, but it culminated in only a half-full experience for me.

Two halves. Hmmmm. Let me think on this for a moment...

Dune Part Two left me speechless. This is a cinematic experience I won't soon forget.

This is why we go to the movies.

Words cannot describe it.

But here goes:

Monumental

Colossal

Powerful

Epic

Thoughtful

Haunting

Exceptional

Staggering

Transcendent

Absorbing

Immersive

Unreal

Gnarly

Crazy

Audacious

Ambitious

Visceral

Technically immaculate

Gorgeous

Emotional

Profound

I truly don't think there is anything I can say that would do this movie justice. It's both high art and a massive blockbuster. I'll never know what it was like to see The Empire Strikes Back when it first opened in theaters but I imagine Dune 2 comes close. A staggering leap forward from what came before it while also feeling significantly more personal. Brilliant, huge, revolutionary sci-fi. This movie is a generational masterpiece. We are so lucky to be alive to witness this movie. I have never seen anything quite like it before. For years to come, we will all talk about the wonder we experienced when watching this for the first time.

Dune Part Two was vindicating. Like, less than five minutes into it, I sunk into my seat and thought "Ok, it's somehow different (and better) than I imagined." It kept that energy the whole film! My mind is scrambled with thoughts, so this review might be all over the place, but regardless the main takeaway is GO SEE DUNE 2! It's the cinematic event of our generation. Believe all the hype you see. It is the realization of everything I've ever dreamed genre filmmaking can accomplish, we haven't had a genre film quite on this level since The Lord of the Rings (or maybe ever). Within the first ten minutes, I knew we were within masterpiece territory. Once we got to the montage with Paul and Chani set to Zimmer's "A Time of Quiet Between the Storms" (my personal favourite scene in the movie), I knew the bar had been raised. And by the time we got to the third act, well, I can't even describe the feelings of excitement I had! The third act of Dune Part Two is perhaps the most staggering thing I've ever seen on a screen. I was in tears - I've never experienced anything quite like it in a cinema before! Dune Part Two is truly something special - it is the kind of blockbuster epic we don't see Hollywood make very often these days, and that is worth cherishing. I spent most of Dune Part Two slack-jawed in sheer awe of what was on screen in front of me. This movie is soul-shattering, and yet so exciting!

As I was watching the movie I realized in the moment I was likely witnessing cinematic history unfold before me - this film is a generational masterpiece on the level of The Godfather, Lawrence of Arabia, Star Wars and of course The Lord of the Rings. This movie raises the bar to a whole new level - this film stands head and shoulders about 95% of current Hollywood production. I feel so lucky to have experienced a film on this level.

Denis Villeneuve's vision is on spectacular display in Dune Part Two, a bold journey that dives deep into the colliding tragedy of love and destiny. The visual language and soundscape are mesmerizing. You could feel the weight of this world sink in. The ensemble of Dune Part Two is wondrous, especially Zendaya and Rebecca Ferguson, who command the screen and communicate so much with a single look. Timothée Chalamet totally raises the bar with his intriguing buildup of character, and Austin Butler relishes in sheer insanity. Everyone involved, from Hans Zimmer and his mesmerizing score, to Joe Walker and his terrific editing, deliver some of their most incredible work. Greig Fraser's cinematography, however, eclipses everything. The way his images characterize the world of Dune is absolutely breathtaking and the meticulous arrangement makes every single shot look like paintings with which I would gladly cover every centimetre of my walls.

Dune Part Two is a colossal action epic. The battle sequences don't take up a large chunk of time, but when they arrive, they're incredible. That final standoff between Paul and Feyd... tense doesn't even begin to describe it. This is a beast of a film, rewarding in both the thrilling setpieces and rich allegory. Denis Villeneuve's eye for action and iconography blends for a nearly flawless blockbuster, and an unforgettable cinematic experience. This is a transcendent cinematic masterpiece that demands to be experienced on the largest screen possible. Denis Villeneuve has created one of the best sequels of all time. One of the greatest sci-fi films of all time. Hell - one of the greatest films of all time. This is the Lawrence of Arabia of science-fiction epics.

Dune Part Two is triumphant. A masterpiece that has to be seen to be believed. I never wanted this to end. Denis Villeneuve has crafted a brilliant, bleak, and meaningful epic that further proves he's a master of his craft. This is a sequel that takes everything that was great from the first film and somehow manages to improve upon it. And I LOVED the first film. Villeneuve has a deep understanding of Frank Herbert's iconic novel. He understands the world, tone, characters, and ideas, and yet still makes changes where necessary that I found to improve upon the book. Even more immense than the first, but much more intimate - Denis Villeneuve manages to streamline the more alienating second half of the book into a riveting, action-packed epic. For me, the whole occupies a rarified place alongside The Lord of the Rings as the definitive version of a seminal text. I think Denis Villeneuve, along with Peter Jackson, is one of the very few filmmakers to ultimately improve upon the source material. It's a too-rare blockbuster with proper meat on the bone - practically a satire of religious fanaticism at points.

So rarely does blockbuster filmmaking feel this personal. You can feel Villeneuve's touch on every frame. It doesn't behave like a typical blockbuster at all. To be honest my favourite aspect of Dune Part Two is how aggressively "anti-blockbuster" it is. Every aspect of the standard Chosen One narrative here is filled with portent and dread. The movie doesn't want Paul to become the One. Once he does, even the "epic final battle" intentionally feels wrong. This is kind of the hallmark of a great sequel: Upend the audience's expectations and make them feel defeated. It is bleak - perhaps one of the most bleak blockbusters I've ever seen from a major Hollywood studio. You leave the movie feeling very somber. The film also handles its themes and characters with intent and complexity; themes of religious fanaticism, imperialism, colonialism, cultural appropriation, the hero myth exposed, the dangers of a messiah complex, fate vs free will, revenge, and ecology.

Dune Part Two is an astonishing sci-fi epic that surpasses Part One in every single way. Denis Villeneuve has realized his dream of adapting Frank Herbert's masterwork to the big screen with the depth and scale it deserves in a tour de force we rarely see anymore. Truly in awe of all its craft from top to bottom and the perfect cast who bring these characters to vivid life. Timothée Chalamet gives one of his most captivating performances to date, certainly his darkest. He commands the screen like never before. Zendaya is the heart of the movie, while Austin Butler relishes in playing pure psychotic evil. But the scariest performance of all might be Javier Bardem who perfectly captures the novel's dangerous message of fundamentalism.

In the end, Dune Part Two is a remarkable work of art. It's everything I want from cinema and sets a new standard for what we should expect from our blockbusters. It absolutely blew away my expectations and I can't wait to see it again. I don't have the words to accurately describe just how much I adore this movie. It transports you to a world of pure immersion for 3 hours and the performances are life-altering. I may see this 10 times in theatres. I can't stop thinking of how much I love Dune Part Two and how it fills me with gratitude for what cinema means to me. This is what the movies were made for. This reminds me of why I love movies. We don't get films this good as often as we ought to, so savour it. Never has a movie transported me to another planet like Dune Part Two. It is as immersive of an experience as I have ever had in the theatre and will go down as one of my all-time favourite cinematic experiences. I hope everyone gets an opportunity to see this on the biggest screen possible. There is truly nothing else like it. I LOVE this movie. Not only is Dune Villeneuve's magnum opus; it's the definitive sci-fi epic of a generation. A tragic tale of blind fanaticism and corruption. A spectacular, soulful, awe-inspiring masterclass of aesthetics and mood beautifully echoing Paul's turbulent journey, that left me utterly speechless! I can't believe we are lucky enough to have a movie like this! It left me with this beautiful feeling that I had just experienced something truly special. I teared up realizing that Villeneuve's Dune is real, that I got to see it, and it's a masterpiece.

There is before Dune Part Two and there is after Dune Part Two. I don't know if the world is ready for this movie. It is gnarly. It is crazy. It is audacious. It doesn't hold back. Wow. I can't believe it exists. But it does. And it's here! Bring on Dune Messiah!

Long live the fighters.

Long live Denis Villeneuve.

Long live cinema.

Jonathan Glazer's The Zone of Interest is a feat of filmmaking that challenges its audience. Only a director with the control and vision like Glazer could pull this off, as this is truly an experimental film. It isn't quite like anything I've ever seen and will be hard to forget. It's like Glazer just turned on some objective CCTV cameras and pointed them at something happening right now. Except it's not right now, it's 1940s Auschwitz with all the comfortable glass walls of historical artifice and mythology stripped away. The most horrifying and wretched fact is that these people are not distant boogeymen. They are us. And we've turned a blind eye to it.

I've been thinking a lot about the banality of evil in many of 2023's biggest movies. You see it in the casual misogyny of Elvis in Priscilla. You see it in the US official taking Kyoto off the list of targets in Oppenheimer because he went there on honeymoon. You see it in Leo's complete inability to understand or accept the massacre he's personally helped accomplish in Killers of the Flower Moon. You even see it in the suburban life of Gracie in May December, a woman desperate to convince her critics that a deeply disturbed relationship is Actually Fine And Normal. I'm still trying to understand why this idea felt so prominent last year. The Zone of Interest, though, is easily the most blatant in its thesis: atrocities are carried out through the passive acceptance of normal, everyday people-not monsters from another planet. It's a fact that rings true on a deep level at this moment. Evil has never felt so natural and I don't think I've been more horrified.

In terms of the movie itself-it works more as a harrowing tone poem than a sequential narrative, and after about 45 minutes, you've pretty much understood what it's saying. I started to feel the static nature of that message as the runtime ground on. Nonetheless, it's affecting - especially when it comes to the horrific sound design. I wanted to turn it off several times. I felt sick to my stomach. I don't think I'll ever see this one again.

To be perfectly honest, this is a well-made arthouse film that has some truly important messages and is a must-watch, but the experimental nature of it didn't really work for me. Regardless, it still was an interesting and harrowing piece of filmmaking. I don't think it is too ac.

Usually writing reviews doesn't feel like work. Usually, I am excited to go home and write down all my thoughts on the movie I just saw. However, after seeing Bob Marley: One Love, writing the review felt like work.

Why, you may ask?

Because I saw the movie, and as soon as I left, I had absolutely no thoughts about it. That isn't to say it's bad - it isn't bad by any means. It just has nothing to it. It's fine, it's about as watchable as any musical biopic, but as a film it had almost nothing to offer. It's let down by a screenplay that claims to be about something, but never actually explores Bob Marley's life in any meaningful ways. For instance, at the start, there seemed to be the promise that this would have a political element to it. But that never really materialized. Instead, we get a few conversation scenes and a line of text in the coda of the film that relate to this but never explore Marley's perspective besides how he wants peace. He and his wife both get shot early in the film, and yet a few scenes later it's like they forget about it. When the movie began, I was overcome with surprise at how it actually seemed to be more interesting than the average biopic, and yet by the midpoint I was left sitting in disappointment after coming to the realization that this movie was really just looking at Marley on the surface level, never daring to make artistic statements or go deeper into the subject. Like most musical biopics now, it played it way too safe, which resulted in a film so forgettable I was done thinking about it the second it ended. It's just dull - it felt empty in a way.

Every little thing is not all right for Bob Marley: One Love. Another entry in a long line of formulaic musical biopics with no clear voice in the filmmaking to help distinguish it. Kingsley Ben-Adir was good here as he fully disappeared into the role. Still, he and the equally talented Lashana Lynch struggle to elevate the film's overall lack of tension, depth, and momentum. I went in with low expectations and still managed to leave disappointed. Maybe bigger Bob Marley fans will enjoy it, as it's an okay film mostly let down by its script. The music is still great though!

Irrational anxieties, existentialism, a time-skipping narrative, and a generational metaphor for either embracing your fears or letting them overtake you... yup, Orion and the Dark was definitely written by Charlie Kaufman. For most of Orion, I was along for the ride, I liked the character of Dark, and I liked feeling Kaufman's pen all over this. I thought the movie was heading towards subverting my expectations about what the message would be, but it doesn't really. Embracing your fears leads to good outcomes. Cool, fine. Who could disagree? Kaufman's curious style made me enjoy the film. I liked hearing what he felt was worth exploring in this story. Some of the specifics are interesting but I think that specificity is a bit lost by the end. The metaphoring was a bit relentless and ultimately I didn't think it was deep enough to merit that. It just fell a little flat as a whole. Plus the animation and direction aren't up to the same level of ambition as Kaufman's script, leaving the film to feel quite cheap. It was fine, but it would've been better if DreamWorks produced it in-house and didn't outsource it and let Netflix distribute it. It's a cute movie families with young kids will like - a great way to get introduced to Charlie Kaufman's work!

Lisa Frankenstein is what I imagine would happen if John Hughes and Tim Burton ever worked together in the 80s, and I mean that in the best way! Luckily, we have Diablo Cody and Zelda Williams, who just made what I think will soon be a cult classic! Diablo Cody's script is so funny and charming, Zelda Williams' direction is on point, while Kathryn Newton and Cole Sprouse are such an electric duo on screen. They knew exactly what movie they were in - this is a very (intentionally) campy, unserious horror teen comedy, and I loved it for that! Lisa Frankenstein really is the real deal for this Valentine's Day - a morbid, twisted, gothic, cheesy, unserious, and very enjoyable love story with a terrific cast!

When it comes to Argylle, I'm of two minds on the movie. For most of the movie, I couldn't tell if was plainly one of the worst movies I've seen in a long time... or just dumb fun. My verdict?

Argylle is a very (VERY) goofy, but undoubtedly fun film. What can I say? It's dumb... but I kinda liked it. It's a celebration and send-up of the spy genre, but taking things to over-the-top extremes - it's excess is its biggest asset and also its biggest liability. As a certified Kingsman fan, I had some hope for Argylle. Was it fun at times? Sure. Was it also convoluted and sluggish? Absolutely. It lacked the charm of your usual Vaughn film - frankly, everything I loved about Vaughn's style seemed to either be missing or just feel lifeless and hollow here. For instance, the action LOOKS like what we have come to expect from Vaughn, but has none of the stakes, intensity, or emotion. Instead, we get a tonal mess where I wasn't sure whether I was supposed to take the movie seriously or not. It just felt like a lot of wasted talent at times. Argylle is fascinating because it's a decent movie wearing about four other movies worth of baggage. There's a super fun energetic scene followed by a huge lull, a great twist followed by a long exposition, etc. It felt both overproduced and undercooked at the same time. Wildly uneven, much too long, but still enjoyable enough. It worked for me despite not being fantastic. It fits in alongside forgettable streaming films like Red Notice, Ghosted, and The Gray Man (even down to its bland visuals)... but this is certainly the most entertaining of the bunch, at least for me! Basically - if you liked the trailer, you should have fun. If you thought it looked too goofy, you'll think the movie is too goofy. For most, as much as I love the theatrical experience, this movie will work better once on streaming. Unfortunately, it really is what you'd expect from a Matthew Vaughn streaming movie.

To end on a positive note, I know this is technically a "bad" movie. But I liked it to some extent. So here is my unapologetic final thoughts on Argylle:

Argylle is a film that's both dumb and smart at the same time. It's pure silly spy shenanigans but also has some deceptively smart subtext about the writers-process. It's vibrant, playful, humorous, sexy, and ridiculously entertaining. It is a super fun, slick, subversive action romp. Never taking itself seriously, its fantastic cast absolutely let loose. (LOVED Sam Rockwell!) There are so many twists and turns, most of which are somewhat predictable, but still managed to be fun. I just wish the reveal of who the real agent Argylle is wasn't spoiled for me by a 3-year-old tweet announcing the production of the movie!

So did I like it? Yes. Did I think it was terrible and really dumb at times? Also yes.

Sorry... guess I'm not much help for this one!

Oh, also, can Matthew Vaughn PLEASE make Kingsman 3 already??

All of Us Strangers had me from its first shot, a heart-crushing tone poem where fantasy and reverie drip into one another like a delicate but beautiful dream. It probably shouldn't work, but Andrew Haigh's images and Andrew Scott's performance make this cinematic haunting real. The movie does this slippery thing where it has this extremely conceptual (bordering absurd) premise, bound only by emotional logic, yet still feels incredibly physical and immediate. You're pulled into its emotional vortex - watching Mescal and Scott together is magic. And not for nothing, it's a beautifully shot movie. The film is an enormously satisfying and affecting experience. A powerful, intimate, and emotionally devastating meditation on grief, loneliness, and learning to move on.

I swear if I heard Jason Statham say "I have to protect the hive" one more time, I was about to walk out. The Beekeeper has the most bee-related puns since The Bee Movie, and that is not a good thing. The movie will be entertaining for some, but if I'm being honest, we've all seen this movie before. It's a Jason Statham action movie and does not deviate from the pattern. Heck, it's a lesser John Wick. And yet, yeah... the action is good. It's a mindless popcorn flick that escalates quickly, and some will love it for that, however, I see it maybe only being fun after having a few drinks and putting it on with a group of friends - it's pretty silly and very undemanding of its audience. Yes, The Beekeeper is indeed a very mid-January film - lots of cheap thrills and corny one-liners.

I. S. S. Is an aggressively okay movie. It's entertaining enough, but with such an interesting premise I expected more. While it did have a few intense moments, it felt like the movie was unraveling as it went along, and the movie could have used a higher budget. It's entertaining enough, but feels right at home as a mid-January released movie, could've even been a streaming film. Decent script and premise, lacklustre execution. The definition of "meh".

Great idea, poor execution.

Tensions flare in the near future aboard the International Space Station as a conflict breaks out on Earth. Reeling, the U. S. and Russian astronauts receive orders from the ground: take control of the station by any means necessary.

Self Reliance definitely wasn't what I thought it was going to be, and ultimately seems a bit of a missed opportunity. But considering it was Jake Johnson's directorial debut, it was actually okay. Some laughs, not as unhinged as it could have been but with a script that had major potential it felt super underutilized, especially thematically. Not disappointed though, it just never really added up to anything in the end - I wanted a bigger payoff. It had its moments, but left me unsatisfied.

Still, an interesting watch, and I would love to see more from Jake Johnson as a director in the future!

Where is the Dan Levy I know from Schitt's Creek?! Because based on this movie, which he wrote, directed, and starred in, I see a completely different storyteller. And not really for the better. Good Grief is an overwritten, yet authentic debut film that tries so hard to say something, to make you feel something, that it ends up doing neither. Instead, it felt very surface level, as in it told us what the characters were feeling rather than showing us, making it nearly impossible to emotionally connect to the material. I love Dan Levy and what he did with Schitt's Creek... but this just felt like it was a vanity project for him. I felt like he took on more than he could chew here, and his inexperience won out. You can tell he is trying too hard to make it all work, but unfortunately, the film is just missing something. The gaping hole sitting at the heart of Dan Levy's directorial debut film is hard to pinpoint exactly, but if I had to put a finger near that button, I'd say that for a film about grief, even with "grief" in its title, the film talks about grief - the idea of it and the emotions surrounding it - much more so than letting us in and feel said (titular) grief. Once again, I never really "felt" anything. Levy and his wonderful cast, his sharp, smart writing, and the warm interior designs and artwork featured make this more than amenable as a sorta bougie, sorta indie Netflix exercise, but the film can't seem to wear its heart on its sleeve like it desperately wants to and therefore keeps us at arm's length the entire time. It pains me that this film is somewhat hollow because I love Dan Levy and he deserves all the success life, the universe, and everything can give him, but this film is unfortunately a bit of a stagnant step forward in hopefully what will be a successful directorial career for him.

There's no Mean Girls quite like the original Mean Girls, but I can't deny that I had a lot of fun here! I don't see a scenario where you don't enjoy this if you loved both the original movie and the musical. Sure, it doesn't change anything much from the original material's storyline, but it honestly doesn't really need to. It's a fun watch with a fantastic cast - Auli'i Cravalho and Jaquel Spivey steal the show! Reneé Rapp and Angourie Rice were also excellent, I genuinely thought everyone fit their roles really well. Unfortunately as good as the cast is, they pale in comparison to the original cast. The movie as a whole could be read as a pale imitation of a better movie - it's basically the original with musical numbers added in. It's goofier and less incisive than the original, lacking a lot of the bite the 2004 films had, but still has some fun moments. I love Tina Fey, but damn she just recycled exact dialogue. It was like 80% identical, including a lot of the jokes, spoken by actors who are too aware of the original material to be able to deliver it in any way that can be considered fresh. The movie worked best when it wasn't trying to just recreate iconic moments from the original and instead just did its own thing. I think my biggest issue with the movie is that it avoids doing any of the character work the original did, instead opting to assume the audience knows these characters and what they want already - just going through the motions of the story, iconic moment after iconic moment.

But what the hell? You know me, I love musicals! I had fun! I thought it was good! I've had the songs stuck in my head since I saw it! People in the theatre were laughing and enjoying it! Sure at times I saw the streaming film it was intended to be, but I am so glad it got upgraded to a theatrical release as this is a movie worthy of seeing on a big screen with an audience!

Not since Rob Marshall and Chicago has a feature film debut shown such a confident, innate understanding of the musical genre and how to make it cinematic for a modern audience. You can tell this is the directors' first feature, but it's a good first feature, with a lot of creativity especially with the camera, lighting, and staging of the musical sequences. Coming from the perspective of someone who adores the 2004 film but never got the chance to see the Broadway show - I was really blown away by the music-such memorable songs and so well woven into the story. I wouldn't say it's the best musical out there, but it worked for this! The film feels charmingly familiar but also alive in a fun, fresh way. I liked it; Mean Girls (2024) is a fun, fetch way of rewatching the original!

American Fiction and Barbie have one very key element in common; their abilities to tell a story with biting social commentary while packaged in such an entertaining package! Yes, American Fiction is quite a hilarious film! But, it is also a wicked satire about the commodification of marginalized voices and a portrait of an artist forced to re-examine his integrity. It boasts one of the sharpest, tightest, most clever screenplays of the year - the writing is what makes this movie a blast. It's a film filled with many ironies, contradictions, and food for thought about how black stories are told and how black voices are exploited. I do wish it could have challenged the character even more but there are some narrative risks and layers that are pretty thought-provoking! Plus, Jeffrey Wright perfectly portrays this layered, withdrawn character - giving us one of his best and most beautifully nuanced performances blending comedy and drama in a clever film with tons of broad appeal. Cord Jefferson is a filmmaker to keep an eye on, his direction and writing here are incredible and I can't wait to see what he does next! Trust me, this movie is GOOD! I loved it and couldn't stop laughing while watching, and now I can't stop thinking about it! It's just such a perfect combo and such a great film! Highly recommend it, it's one of my favourites of 2023!

I'm honestly shocked! Migration is a really wholesome, loveable movie! What looked like a painfully average Illumination movie turned out to be one of its best! We got a well-written family story from Mike White about getting out of one's comfort zone and accepting change with likeable characters, solid humour, and beautiful visuals. It even had some good tension and suspense! Migration isn't your usual fare from Illumination, in fact, it might very well be the antithesis to the claims people (including me) make about Illumination. There are no pop culture references. The humour is character, visual, or slapstick based (I actually laughed a lot) and the characters are really lovable. It's very sweet and the animation is stunning and extremely expressive. The visuals are really stellar - a massive step up for Illumination. It's easily their best animation. The musical score was fantastic too - John Powell did not have to go that hard with his score. The music is so fun and inventive. And the voice cast turned out to be really awesome! Migration is a wholesome, charming film for the whole family that is very funny and has a lot of heart. Went in expecting a dumb, pop culture romp and got a funny, sweet, entertaining, and gorgeously animated family adventure. Illumination created an underrated gem with this one!

Poor Things simply just wasn't for me. I really don't like to say I hate a movie... so we'll just go with "it wasn't for me". I did appreciate the production design and performances, but a lot of the cinematography and writing/directing choices just didn't work for me. Just a little too weird for my tastes. And felt way too long. I wanted to like it so bad, and was so disappointed to find myself disliking it so much.

I know it's been getting good reviews from most people - I'm in the minority here! So if you're interested, definitely check it out! I'm a huge supporter of going to see a film if you are interested in it and deciding for yourself how you feel!

I found Ferrari underwhelming. Perhaps it is this year's biggest disappointment - not because it is bad, but because it has all the ingredients of a great movie that never materializes. It has good moments but struggles to kick into the next gear. Good performances, especially from Adam Driver and Penelope Cruz, but the story drags limply along. The racing sequences are only exciting in fits and starts, and I kept wishing for more.

Driver and Mann are both firing on all cylinders here but they truly hold the film together in its lackluster moments. Mann's film is ambitious in the ideas it presents and some of the subtext, but the script holds the film down so much it's almost annoying. The tone is a bit inconsistent as well and overall the ending comes as an afterthought. The cinematography is extremely crisp and slick though. The wide shots of racing and the scenery within the shots are just so clean and amazing to see between the moments of dialogue and little action. Overall the film is worth the watch simply for Driver and Mann. The idea and planning of Ferrari seemed like an excellent choice for Mann, but the execution just wasn't on par with his other films. At least watch it for the sake of seeing a new Michael Mann film.

The Boys in the Boat is the definition of "it was just okay". It's a perfectly fine movie - what you see is what you get. There's not much to it, it's a watchable underdog sports film that you've definitely seen before. There are not many surprises or anything special/remarkable about it, but there's also nothing bad about it at all - it's just good. George Clooney's direction is fine, the script is fine but forgettable, the acting is fine, the visuals are fine and the sound is fine. Your parents and grandparents will love it, but there's really nothing about it that makes it stand out from any other movie like it.