Written & directed by Frelle Petersen, the first film of the Berlinale film festival is titled Home Sweet Home. In the film, Sophie, played by Jette Søndergaard, begins working as a career making home visits to the elderly. Soon, she confronts the harsh reality of the job. The film is a deep dive into the reality that often goes unrecognized to the public eye.
It’s quite clear that Peterson is using his technique a personal & effective story that he wants the world to better understand. While it does not have the same vibes, I would equate this to 2023’s Perfect Days. We are seeing what Sophie is going through on a daily basis. Over time, she connects and builds relationships with her patients. It makes her quite good at her job, but it can also be quite draining depending on the situation. On top of all of this, she also has to be there for her daughter as a single mother who has split custody.
I can understand where seeing foreign films where you have to rely on subtitles the whole time can be intimidating, but I always find myself connecting so much with movies made outside of the U.S. This takes a slow burn route that completely takes you through Sophie’s day-to-day life. At almost 2 hours long, it can be draining, but then again, that’s the whole point. You are supposed to feel as drained as the original character. Once again, there are similarities with Perfect Days towards the end that will get its point across.
I am also always interested in foreign films as I come across someone new. Jette Søndergaard is a star in the making. She is completely believable in this occupation as someone who physically takes care of these people, whether that be bathing them or just communicating with them. It’s an outstanding performance that shouldn’t go unrecognized.
Overall, the Berlinale is off to a strong start with Home Sweet Home. Jette Søndergaard gives an incredible, authentic performance that helps get Frelle Petersen’s message across. This is my first time covering the film festival and I already can’t wait to see what’s next.
The Gorge is a new film from director Scott Derrickson & writer Zach Dean. Viewers might be familiar with Derrickson’s work on horror films such as Sinister & The Black Phone, while viewers might be familiar with Dean’s work on films such as The Tomorrow War & Fast X. The film stars Miles Teller, Anya Taylor-Joy, and Sigourney Weaver. When two highly-trained operatives are appointed to posts in guard towards opposite side of a secretive gorge, they must work together to keep the secret in the gorge.
The concept around this film was intriguing, but I can’t say I was looking forward to it. I love the cast and I especially love Derrickson’s works. When I saw that I had the opportunity to see it early, I knew I had to see it ASAP. To be honest, I also kind of needed to see it due to the hectic week that I am having. I completely understand why Apple TV+ is releasing this on the streamer over a theater rollout. The film isn’t perfect, but this would have been so much fun to see in the theater.
The first act, which accounts for about the first hour of the film is strictly dedicated to developing the two main characters played by Miles Teller & Anya Taylor-Joy. These two have amazing chemistry together. It’s such an intriguing concept to have them separated for so long, but still see each other. That’s what makes their encounter where they truly meet each other so special. I believe some viewers may be turned away by how long this takes. Like I said, it takes about an hour to get through this. I suppose it’s fitting for the Valentine’s Day weekend that may appeal to a larger audience.
After the first act is when the film kicks into high great. There’s also a lot of intrigue and buildup to the second act that makes it all pay off. I honestly thought the film actually took place in the apocalypse. Instead, the second act feels like the apocalypse where you spend time in this new world for 45 minutes that goes on longer than what it feels like. The second act is a lot of fun. When you are familiar with Derrickson’s work, he’s able to effectively display the horror genre to this. He does a great job at blending the genres, but its during the second act is where the film shines the most. The creatures are mainly CGI, but Derrickson does a great job making them look life-like with the movie’s stars.
Then, there’s the third act that feels like it goes on longer than it needs to. It tries its best to tie itself up properly without the need of a sequel. I personally don’t think it was all necessary, especially when the film feels like it already ends at the end of the second act. It’s like “oh, we’re still going. Got it.” Look, it’s still a lot of fun that somewhat makes up for paying for the subscription service.
Those are my collected thoughts on each act, but there are both pros and cons throughout the film. The exposition and character development can be a bit awkward at times. The green screen is just about as good as what you would think for a streaming movie. The collection of different genres, while fun, can be exhausting by the end.
If you were to ask me to rewatch it, I probably would. Teller & Taylor-Joy carry the film. It’s fitting to have these characters be these two highly-trained operatives. The film has more than enough buildup that makes you care about what happens to them when things go south. The mystery is done incredibly well. This is the kind of movie you need to go 100% blind into. I can see this easily be a big hit for the streamer that may just put confidence in them again to start putting their movies back in theaters.
I am not joking when I say the music reminded me so much of Nine Inch Nails I couldn’t believe I was right when I saw that Trent Reznor & Atticus Ross composed the soundtrack. How do these guys do it? They consistently make energetic soundtracks that are fitting for the tone. They do it so much that I wouldn’t be surprised if they were doing it in their sleep.
Overall, The Gorge was a surprisingly good time even with its flaws. I loved the main duo between their amazing chemistry and dedication to the action. The film does have a little bit of everything that I think will appeal to a larger audience, but I’d be interested to see if everyone will like that. The way the film plays out will keep viewers at least inrigued by what could happen next.
On this week’s episode of Max’s The Pitt, so much more occurs here than ever before. It may just be the best episode yet. I think I am getting used to the shorter runtimes now, because they are truly making every minute count to feel longer. Let’s unpack the episode.
As per usual, the episode takes off where last week’s episode ended. I can’t say last week’s episode on the most intense note. At least not as intense as I think the show was trying to do, but when it takes off from the get-go, it does not stop.
The episode continues some plotlines that have been going on for a while. In particular, we get the parents of the son in the coma coming to terms with what’s going on. I still really enjoy this arc, but I can’t say it’s my favorite of the bunch. It’s nice to have this overarching narrative where Dr. Robby has to continuously change his demeanor towards the grieving parents.
On top of that, Dr. Collins is still trying to deal with the mother who doesn’t want her daughter to have an abortion. As we come to learn, the mother doesn’t want her to have an abortion as she had her daughter around the same age as her. She claims she’s the best thing that has ever happened to her even though it was rough at first. Dr. Collins finds a way to get through to her to help the family not be torn apart. Dr. Collins is really coming around to be one of my favorite characters. Based on where she ends in this episode, I can’t imagine what she has to go through for the remainder of this season.
With a plotline that started in the first episode, we see more of the woman who couldn’t speak English that got pushed in front of a train. The guy that saves her has an outstanding moment where he says he will help the police identify the person who pushed the lady. It’s a nice & sweet moment that shows that humanity will still care about others no matter what they are going through.
One of my favorite segments of this show is when it cuts back to Dr. Robby having flashbacks during COVID. We learn so much about him that makes us feel for the character. At one point, Dr. Collins claims he’s upset, because of the day being the anniversary of his mentor’s death. In reality, he still has PTSD from what he did, which makes his journey so isolating when he’s trying to take care of so many other people.
We learn more about Dr. King. I feel really bad for her. She clearly likes Dr. Langdon who seems to just be taking advantage of her. It’s clear she wants to be with him, but I don’t feel like he feels the same way. For anyone who hasn’t liked Dr. Santos, you’d think she’d learn her lesson from the last episode. Fairly quickly, she’s going back to her old self. There is a plot that gets her character involved leading towards one of the most satisfying moments of the show. If you haven’t liked her yet, you will love her after this episode. What she does is brave and goes to show what she has gone through in her past.
There are some other plotlines that come in that continue to make the show feel more intense. You can tell where everyone is exhausted. I can’t imagine how they are going to feel by the end. An older gentleman comes in with a heart attack. A girl with schizophrenia comes in and it actually gives Javadi some solid development. The rest of the side characters continue to find their place within the story that I believe will continue to have bigger moments going forward.
Overall, episode 7 has to be the best episode of The Pitt yet with some shocking and satisfying storylines. This is a perfect episode in my eyes where the 45-minute runtime is starting to feel like an hour. This is truly one of the best shows out there right now.
Captain America: Brave New World is the latest movie in the MCU to come out this weekend. It serves as the fourth installment in the Captain America film series, a continuation of the television miniseries The Falcon and the Winter Soldier, and the 35th film in the MCU. The film stars Anthony Mackie as the titular hero, Danny Ramirez, Shira Haas, Carl Lumbly, Xosha Roquemore, Jóhannes Haukur Jóhannesson, Giancarlo Esposito, Tim Blake Nelson, and Harrison Ford. The plot revolves around Sam in the middle of an international incident after meeting with President Thaddeus Ross (Ford).
The film more or less plays out like a carbon copy of Captain America: The Winter Soldier. In hindsight, that doesn’t sound like a bad idea to bring fans back in. The Winter Soldier is my all-time favorite MCU movie, but I was more cautious than I have ever been with a MCU movie. The trailers did absolutely nothing for me and the story didn’t sound that interesting. I believe this says a lot as someone who has been an avid supporter of the MCU post-Endgame. Let me tell you… I am feeling with this one.
When the film tries to be a carbon copy of The Winter Soldier is where the film shines the best. The first half does a great at feeling like a real political thriller. There’s intrigue and the tone is set perfectly. Anthony Mackie totally own this role as the new Captain America. What sets himself apart from Steve Rogers is his commitment to not taking the super serum. He wants to be completely genuine and prove the haters wrong. It’s quite admirable, especially when Mackie is paired up with Harrison Ford. The two actors are dynamic in every scene with each being able to show how much they can relate to each other.
The first half isn’t without its flaws. It has rushed exposition to get you caught up to speed. Giancarlo Esposito steals the show, but is heavily underutilized. Way to make us believe he was going to be the big villain. I didn’t believe it, but this film would have been so much better with him as the villain. The film also relies way too much on catchy tunes. The razor-thin dialogue also offers nothing of substance for its characters.
The second half sort of nosedives into a mediocrity. Just as we get past the good stuff, the film faulters into bland MCU territory. The CGI is noticeably bad. Nothing ever looks real or authentic. Forced MCU connections are placed that even had my friend confused. Sure, the film is action-packed and seeing it in IMAX was the right way to see it, but I am also too burnt out on big budget movies relying so much on CGI. The camera shots even look uninspired.
The film does a good job with its marketing, because it really does show all the good stuff. The big Red Hulk is barely in it, which is just another reason I avoid trailers. Way to hype something up that is barely utilized. Why not have the film rely around that? The film is so reliant on giving Sam Wilson the same old themes from his TV show that it becomes redundant here. Why not have his conflict with Thaddeus Ross lead to his decision to form the Avengers. That part is barely spoken of in the first half and then it’s never mentioned again. It’s like the film didn’t quite know what it wanted to be and how it should move the MCU forward.
If you going into thinking that Esposito plays the main villain, you’d be sadly mistaken. The movie essentially has three main villains, and I am not surprised as to who the main villain is since it was widely talked about before production. In case you don’t know, I will keep who it is under wraps and say it’s from a character from a MCU a long time ago. I love the actor, but did not like the character. The idea of his character coming back is intriguing, but his motives are ridiculous. His dialogue too is so unthreatening that it makes it like his actions are just happy accidents.
As for the other side characters, the film has plenty of them. Unfortunately, they are more likable just because of their screen presence without the film giving them much characterization. I don’t feel the same dynamic between the new Captain America and the Falcon as I did with The Winter Soldier. The film also establishes a U.S government official who is meant to be important, but I got nothing out of this. I don’t like hating on talent. It’s just the way these characters are written. They are meant to act like they are important, but I couldn’t tell you why.
I’ve been told to refrain from spoiling cameos, but I don’t think there is much to spoil. One surprise felt more fitting and less surprising. Another is one we knew a long time ago. The first one has this new characterization that left me puzzled to say the least from what they are doing new to how they got to where they are. The other is something that is meant to solely satisfy fans. Given how long it’s been, I couldn’t care less.
With the film relying so much on the tone of The Winter Soldier, I am unclear as to how this particular series should even move forward. For the first movie that Anthony Mackie headlines, it could have done more to give him a proper arc. His arc does come off cliche as he has to overcome letting people down. We’ve already seen that with him. I think making The Falcon and the Winter Soldier into a movie would have been far better to give Sam Wilson’s a better arc, especially if he does eventually lead the new Avengers.
Overall, I am incredibly mixed on this one. There is a lot to like as there is as much to dislike. I love the dynamic between Anthony Mackie and Harrison Ford as they both feel fitting in their roles. The supporting characters are just an afterthought. When the film feels like a copy of The Winter Solider is where the film shines. When it relies too much on MCU connections and green screens, is where it faults. This isn’t one I’d ever rewatch, but it’s fine for a first time watch.
Directed by Josh Ruben & written by Phillip Murphy, Christopher Landon, and Michael Kennedy, Heart Eyes follows a masked maniac with glowing, red, heart eyes who returns every Valentine’s Day to terrorize unsuspecting couples. The film stars Olivia Holt, Mason Gooding, Gigi Zumbado, Michaela Watkins, Devon Sawa, and Jordana Brewster.
I can’t say I was looking forward to a slasher anytime soon. I enjoyed them a lot more when I was a teenager, but in recent years, I have found them to be too bleak for my taste. To my surprise, this one was fun from start to finish. Due to how light-hearted and comedic it can be, I am not surprised to see where this isn’t for everyone. Coming from writer Christopher Landon as a writer, I am also not surprised by its tone. The film’s tone is what works best for the film.
Olivia Holt & Mason Gooding star in the lead roles, and I have not seen such strong chemistry between two leads in quite a while. They are so likable & charming. The casting department did a superb job putting these two together. Under Josh Ruben’s direction, he creates a foundation between the two before chaos ensues. That’s what helps us feel even more gravitated towards what happens to them. There’s a surprising amount of development between the two that may not be for anyone who wants straight up slasher, but to me, it helps it stand out amongst the rest of the slasher movies. I know what I said about slasher movies being bleak, and I did not feel this way at all.
It was refreshing to see Jordana Brewster & Devon Sawa here. Viewers might be most familiar with the two from Fast & Furious and Final Destination, respectfully. It’s nice to see Brewster have a big role outside of the popular franchise, and it’s nice to see Sawa in another horror movie. The Fast & Furious reference was also hilarious. I had that spoiled to me beforehand unfortunately, and I wish that wasn’t the case. This is the kind of movie that you need to go blind into.
As for the big twist, it’s unique, but it’s also somewhat predictable. When you go into a slasher movie wondering who the big killer is, you’re looking at everyone as a suspect. The film makes it clear with some big hints as to who it can be, but it also makes you second guess yourself, similar to how My Bloody Valentine did. It leads into a cliche third act where the villain speaks their motives before following through with their plan. I am tired of that trope where the villain has to explain everything, which gives the heroes plenty of time to overcome the villain. On the other hand, I thought it was quite fun. It felt like a homage to a lot of other 90’s slashers.
Speaking of homage, this is a film that respectfully homages other great slashers before it. There is a shot similar to The Texas Chainsaw Massacre that you may have seen in the trailer. One of the main reasons I try to avoid trailers as they spoil too much. On the other hand, I guess it’s a good way to convince people to see this. There’s also another scenes where the Heart Eyes killer is chasing Olivia Holt’s character, and the music choice reminded me a lot of Psycho. The film also acknowledges other romantic movies which can make it even more comedic and light-hearted.
There is a convenient plot hole that I know I am reading too much into. Without giving much away, the start of the film makes it clear that the killer has attacked other parts of the country. As it so happens, the same killer has attacked places that Mason Gooding has been to. First off, I have no idea how the killer made that work to set Gooding up. Second, you’d think Gooding’s character would not want to be romantically involved because of this. I honestly thought at one point it might be someone Gooding has a connection with, but that’s not the case. In the end, I think the film does a good job at explaining the motives, even if I would have liked to have seen the conception of this killer explored more.
From what I have seen, this film hasn’t been doing quite well. That seems to always be the case for any movie opening Super Bowl weekend. Maybe it will do better over Valentine’s Day weekend. If it does, I’d love to see a sequel of this that further explores the origins of the killer in other parts of the country. If not, I like how the film ends with something conclusive.
Overall, Heart Eyes exceeded my expectations to deliver something fun & unique with two charismatic leads and respectful homages to the genres. The tone may not be for everyone, but for someone who needs that, I can appreciate it even more. It’s far funnier than I could have ever imagined. I won’t be upset if a sequel ever happens, but I’m also satisfied with what we got here.
Directed by Christopher Andrews in his feature directorial debut, Bring Them Down follows two shepherding families who become hostile towards one another. The film stars Christopher Abbott, Barry Keoghan, Nora-Jane Noone, Paul Ready, Aaron Heffernan, Conor MacNeill, Susan Lynch, and Colm Meaney. The film premiered at the Toronto International Film Festival on September 8, 2024, but it jsut released this past weekend by Mubi.
I didn’t know much about this going in, which can be a blessing and a curse. I like going in not knowing much, but sometimes, it can be confusing as to what’s going on. The start of this film is vague, but it’s completely intentional. It’s slow, which may not be for everyone, but it establishes from the get-go that these people are neither good or bad. It’s about 20 minutes in is where I was locked in.
Just as the inciting incident occurs is where the movie really takes off. The first act follows Christopher Abbot’s perspective that ends on a note where you are not sure what’s going to happen next to him. The second act then follows Barry Keoghan’s perspective to fill in the gaps. This structure doesn’t do anything extraordinary for the plot, but it manages to make its point clear with how these two characters are neither bad or good. They are just a byproduct of their environment where they are just living in their family’s shadows.
The film works through its two lead actors, Christopher Abbott & Barry Keoghan. These two actors say so much with their facial expressions & actions over their words. It is sort of comedic how the film is mostly in English, but there are still subtitles, because of how thick everyone’s accents are. Maybe it’s a good thing that these two guys do so much with such little dialogue. The pair truly give terrific performances. It sort of feels like these two actors have done these types of roles before elsewhere, but their performances are fitting for this type of story. The supporting characters are great as well even if they more or less only serve as plot devices to help makes it message clear.
The film is in doubt what others would consider a slow burn. That may not be for everyone, but if you are looking for something deeply thematic that leaves you pondering on the film’s messages long after, I believe this is one worth watching. I was on the fence of where I was before the third act. Much like the beginning, the vagueness with the ending works better in the film’s favor. Everything is left to the viewer’s interpretation, leaving you thinking about your own morals if you were in the situation.
On a visual level, the film looks great. The film is slow to the point where it leaves you thinking about the mindset of these characters. When the film picks up, it pays off in these grand and nail-biting sequences where anything is possible. The film also captures the landscape in a beautiful way with wide shots. We get a clear idea of what this place is like and where everything is located. It’s abundantly clear writer & director Christopher Andrews was inspired by The Banshees of Inisherin thematically & visually with Barry Keoghan being the through line. Now, I need Keoghan to finish out his Banshees trilogy.
Overall, Bring Them Down offers a lot thematically with two incredible performances that help elevate it. I could see where the slower pace may not be for everyone, yet I promise you leaving thinking longer after watching it. I’d love to see what writer & director Christopher Andrews does next. In the meantime, seek this one out either in theaters or when it eventually comes to Mubi.
Paddington in Peru is the third installment in the Paddington franchise that started in 2014 and comes 7 years after the second entry. This entry find Paddington traveling to Peru with the Brown family to find his missing aunt. As they search for her, they soon find themselves in a greater mystery with antagonist foes trying to get in their way. The film stars High Bonneville, Emily Mortimer, Julie Walters, Jim Broadbent, Carla Tous, Olivia Colman, Antonio Banderas, and Ben Whishaw as the voice of Paddington under new direction from Dougal Wilson in his feature directorial debut.
If you know me, I am a huge fan of the first two Paddington movies. They took me completely by surprise. As much as a third one sounded appealing, I also had my reservations much like everyone else when Paul King & Sally Hawkins were not returning. Paul King directed the first two and Sally Hawkins was the heart & soul of the first two as Mary Brown who was the sole reason why Paddington has a human family. The third entry is nowhere near as good as the first two, but it’s still a solid addition in this franchise.
What director Dougal Wilson does so well is respecting the legacy of the first two films. Immediately, the film throws you back into that silly, sarcastic off-beat humor. It’s not quite as good as the first two, but it enjoyable. I could see viewers being turned off by this as it’s not the first two. I am coming at this from the perspective that there are new people involved who did the best they could, and I’d say they did an admirable job.
If things were any different, Colin Firth would have been the voice of Paddington from the get-go. It feels like everything worked out, because Ben Whishaw jumps back into the voice of Paddington like he never left. It’s impressive how he can still put in so much life in this character, especially after such a long wait for this one. His voice establishes a youthfulness to the character, all while still making him incredibly likable for viewers of all ages.
I would have liked more of Paddington’s arc in the beginning to double down on the conclusion’s themes. Without giving anything away with the conclusion, I believe the film could have started with Paddington having a sort of identity crisis. That would have made his journey even more impactful.
The film also has to deal with overcoming Sally Hawkins’ departure and having Emily Mortimer taking over her role. I am never a fan of actors replacing other iconic characters. If Hawkins could never come back, I would have been okay with the first two ending there. Hawkins brought so much soul to the first two movies, but Mortimer manages to take on the role gracefully. She has the same mannerisms that made me forget there was ever a difference. There is just one particular scene involving a flashback to when the character first met Paddington. It’s awkward, because they can’t show Hawkins. I would have been okay without this flashback.
As for the other characters, I have mixed feelings. Hugh Bonneville has one of the best stories as he has to prove that he has to be more fearless. It’s funny and entertaining, and I love how the films continue to raise the stakes for the character, yet it still feels similar to what we saw in the last entry. The film can even be redundant with Paddington having to get to his aunt. We got that with the last film. Instead, to get around Sally Hawkins’ departure, I think the film could have picked up after the last one and have Paddington and his aunt traveling to Peru. That would have been different and exciting. The middle portion also has a bit too much exposition that does feel forced to help us better understand what’s going on. Maybe that’s the film trying to overcompensate for what they lost, but it’s still entertaining nonetheless.
It’s quite clear the films don’t really know what else to do with the kids of the family anymore. Believe it or not, they are still played by the same actors of the first two. Judy Brown barely has a presence an Jonathan Brown serves more of a plot device more than anything else. It does feel like the film tries to rely on giving us what we saw before to keep within the same tone. Instead, it doesn’t give the characters the proper development that made them so compelling.
Viewers might also be mixed on the villains played by Olivia Colman & Antonio Banderas. They are both great in their roles as they embrace the insanity of their characters. It can be too much for viewers. I am not sure why the film wanted two villains as it doesn’t quite give them enough purpose for the story. Again, I still think they did a great job with what they are given.
Where I felt like the first two acts were passable, the third act not only gives us a lot of adventure, but it also gives an emotionally charged & impactful ending. Instead of going for bleak, it honors the journey that started from the first one. It reminded me why I became a fan in the first place.
Overall, Paddington in Peru was a great time through its flaws. It’s difficult to strike gold twice, but striking gold three times is nearly an impossible feat. Still, the film honors what came before to give us something that feels conclusive if they decide to end it here. If you are a fan of these characters or adventure films, I think you’ll have a good time. Just don’t expect a flawless masterpiece like the first two are.
Marvin Gable, played by Ke Huy Quan, is a successful realtor whose past as a violent hitman comes back to haunt him when his brother Knuckles, played by Daniel Wu, hunts him down. The film also stars Ariana DeBose, Marshawn Lynch, Mustafa Shakir, Lio Tipton, Rhys Darby, André Eriksen, Cam Gigandet, and Sean Astin. The film comes from co-producer former stuntman-turned-director, David Leitch. With the film capitalizing on violence and action, it seemed like an easy sell, especially with two Oscar winners in the lead roles. With only an 83-minute runtime, I had my reservations… and I’d say I was about half right on how the movie turned out.
This is in no means a bad movie nor is any good. I never thought to myself this should end, even when the runtime surprisingly made the film longer. The film feeling longer than what it actually is comes down to how the film throws you right into it. It wastes no time getting you right into it. Ke Huy Quan is such a super likable actor and I am thrilled to see him get his spotlight here. Unfortunately, it feels like the rest of the movie is banking on the success of the actor.
Anyone looking for something mindless who just want a good time, I don’t think you’ll have a bad time for it. If I spent money on it, I wouldn’t be mad, but I also wouldn’t pay money to see it again. The action is exciting with some top-notch bone-crunching action. It’s not until the third act where the film finally finds the right tone and leans into the kind of action I was looking for here.
The humor works about half the time. The supporting cast of characters are hilarious and keep the film engaging. There is a hilarious side plot involving Ke Huy Quan’s employee and a hitman that fully embraced the film’s holiday. Marshawn Lynch continues to show comedic range in his performance alongside André Eriksen, who gave as great of a performance. The humor outside of that can be so forced and unnatural. It comes off too silly to try to maintain the pacing. Instead, it comes off too cheesy, which is one of the reasons I had my eyes rolling.
I also had my eyes rolling based on how mediocre the script was. It was like the film was banking on Ke Huy Quan’s success that a script formed around him. The dialogue is corny and completely unrealistic. There way too many villains involved that it becomes too difficult on who you should care about. The plot is so convoluted that it needs to time to stop for heavy exposition. The film also doesn’t know what it wants to be at times. The music makes it sound like it’s set in the 70’s. The production design literally just looks like pristine movie sets that don’t even closely resemble anything realistically.
The chemistry between Ke Huy Quan & Ariana DeBose is also one of the film’s worst traits. You have two Oscar winners alongside each other. DeBose’s career post-West Side Story needs to be sutdied. She’s a talented actress and the script does no favors for her. The way she is even introduced in the film makes zero sense. I didn’t believe at all that these two characters were into each other, especially with that age gap.
Speaking on something that makes no sense is why this needed to be set around Valentine’s Day. Aside from one small storyline involving supporting characters, it makes no sense. It was like the film needed something to fit its release date. I am not mad about it, but I am just confused. There was potential here to make it more fitting to the themes. It’s not fun or exciting. The only love I see here is that it is a love letter to Ke Huy Quan as a stunt man and as an actor.
On a side note, that Goonies reunion was nice.
Overall, Love Hurts was a let down. I wanted more based on the talent in the movie. I’ll take it for what it was. I certainly didn’t have a bad time, but I also can’t see myself wanting to rewatch it. I can’t imagine this ending Ke Huy Quan’s career, but I do hope whatever he does next is better. It’s fun and mindless in the right areas, but also lacking in terms of writing, pacing, and tone.
Starting right where the last episode ended, we learn the teenage girl actually brought in her aunt for her abortion as her real mother storms in demanding the abortion, to, well, abort. This storyline is a real turning point with Dr. Heather Collins, played by Tracy Ifeachor. I haven’t mentioned about the character before. As great as she is, it feels like she hasn’t had her real standout episode until now. Dr. Collins is also go through a pregnancy. It’s easy to see where she feels sympathy for the girl who clearly isn’t ready to be a parent. It leads to an interest conclusion that makes me curious as to how this will set the stage for the rest of her character arc.
Aside from this particular storyline, she is also sent to help a college-aged boy. I am not even sure how to explain it without being explicit. It requires her to get very comfortable with the patient, which leads to some interesting and humorous dialogue with the patient’s mother. When the patient’s mother sees Dr. Collins for the first time, there is immediate trust as she sees the doctor as themselves. You can tell where it puts a smile on Dr. Collins face, which is something she needed in this episode.
When I first started watching this show, I would say it closely resembles 24 with its format. At this point, I am starting to see it also resembles Lost with the way it treats its characters. Each episode dives deeper into certain characters to give them proper arcs, and to show that these doctors are just as much people as their patients. This episode in particular how strong and the well-written the female characters are.
The two strong standouts here are with Isa Briones’ Dr. Trinity Santos, and with Taylor Dearden’s Dr. Melissa King. From what I have noticed, many viewers don’t like Santos. This episode will make you like her. You can hate the character, but you have to respect the talent for making you strongly like and dislike them at the right times. Santos screws up badly in this episode, which sets her on a path that begins to put her ego in check.
I have really liked King from the get-go. Her awkwardness is funny, but also relatable. In this episode, she spirals out from feeling like her patient’s daughter, and caregiver, ran away. She goes down a path between not saying anything at all to the patient or just ripping the band aid and being honest with her. It leads to a satisfying conclusion that also broke my heart as more is revealed about her.
We get more of the parents dealing with their comatose son, which leads Dr. Robby towards having to bare some bad news to the parents. It’s quite remarkable how Wyle can flip a switch with this character that makes him sympathetic towards his patients versus being hard on his colleagues. There’s a nice balance of a character who appears to have it all figured out, even though we know this is just his way of coping. On top of all of this, Robby has to deal with even more office politics that may lead to a drastic change for the future of his work.
The episode has more moments that will make you squirm with who comes into the E.R. While I found myself squirming at times, this one also felt a bit more slowed down to help develop more with these characters. We learn more about Robby’s backstory. McKay & Javadi’s core relationship goes through a nice change that may have McKay looking at Javadi differently. Whitaker finally has a break this episode. Langdon has great chemistry with Robby. Mohan is getting it together. Oh, and let’s not forget about the beating heart that is Dana Evans who is consistently checking on everyone. Good for her. She is so good to her team.
Overall, another strong episode that solidifies why it’s one of the best shows going right now. It keeps up the momentum both in pacing and character development. There are some strong standout scenes from the supporting cast that goes to show that this show has amazing female characters. The shorter runtime continues to be conflicting, but when you take the high-stake energy into account, it’s easy to feel like you’re right there with these characters.
Episode 6 of “The Pitt” premiere on Max Thursday night at 9pm EST.
Companion is a 2025 horror comedy starring Sophie Thatcher, Jack Quaid, Lukas Gage, Megan Suri, Harvey Guillén, and Rupert Friend. It’s crazy how there are two official synopses for the film. I am going to give you the better one. A billionaire’s death sets off a chain of events for a group of friends during a weekend trip to his lakeside estate. Boom! There you go. That’s exactly how mysterious the movie should have been promoted. While there are surprises, this is also a great example as to the marketing revealing too much. Similar to producer Zach Cregger’s latest film, Barbarian, this is a film best going into completely blind.
I’ve seen where this has been at the top of a lot of people’s most anticipated lists of the year. That’s crazy when we are only in January. With an IMAX run, it went to show how much promise there was in the film. I can’t say the IMAX screen enhanced the viewing experience, but the idea of such premium format helps heighten the importance of seeing the film. Given the surprises and the qualities this film holds, this feels like an event worth seeing in the theater.
Actress Sophie Thatcher has been absolutely crushing it since her theatrical debut in 2018’s Prospect when she starred opposite Pedro Pascal. Since then, she has been more recognizable in works such as The Boogeyman, MaXXXine, Heretic, and Yellowjackets. She has a likable presence that reminds me a lot of Anya Taylor-Joy just in their tone and their mannerisms. Thatcher puts on an acting class in her performance here. Considering this had more spoiled in the promos that what it deserved, I am going to treat this as though it hasn’t been spoiled. When we get to the reveal of who Thatcher’s character really is, you begin to realize just how locked in she is. There are moments that require her to consistently change her language and actions that is truly unbelievable to witness. Just one of the several instances where my jaw was on the floor.
My jaw was also on the floor with the amount of twists and turns that occur. The first act of the film does feel choppy with characters acting and talking in an unrealistic fashion. At first, it felt like the direction didn’t know how to create a realistic setting. When the main reveal occurs, you begin to see things differently. When the real nature of who these people are revealed, my jaw was once again on the floor. I don’t think I audibly gasped like that since Parasite.
By the time, we get to the middle portion of the film, everything is at a 10/10. The cinematography invites you into the isolation of the situation. The editing helps give each character the proper amount of screentime. The sound design transitions in and out perfectly. The visuals and makeup are also outstanding. Everything looks great. It’s clear this idea was born out of the pandemic, and what a more fitting way to do that by integrating themes that are relevant to today.
As much as this is Thatcher’s film, the film also spends a considerable amount of screentime with each character. Quaid has a meaningful character arc that tackles the nice guy trope. Lukas Gage is an easy standout. Between his work here and in Smile 2, the guy is going places. It’s also great to see Harvey Guillén getting such a strong role outside of television. Give him more roles! Megan Suri, a name I was not familiar with, does some great work. As for Rupert Friend, he effectively makes use of his time by creating a memorable character.
What’s so great about the storyline with these side characters is that it makes you rustle with their ideology. At first, I questioned why they could like each other given what we found out about these characters. Then, it becomes fitting, but it also makes you question who the real villain is. Anxiety will make you do crazy things. When more and more is revealed, you realize how easy it can be gaslit. This is a great film that helps you realize to always trust your gut.
The third act leans into some cliche, predictable plot points. It’s clear the film lingers on longer than it needs to. The situation just sort of drags. Character’s stories abruptly stop, the villain talks way too much about his plan before following through on his plan, and it’s clear the film is going to give you a happy ending. I loved how the film followed through on its themes where it made me say “good for her.” It just didn’t need to take the cliche route. For a film that was mostly unpredictable, I do wish the third act continued being unpredictable until the very end.
Overall, Companion is the first great movie that I think will satisfy nearly everyone. It is best seen in theaters, knowing as little as possible. Sophie Thatcher is a star in the making with a performance that will show why she deserves more roles. The film also has an impressive supporting cast that are so good at being unlikable. The film has many technical achievements that enhance the viewing experience. Definietely a movie you need to see as soon as possible.
The Creative Cinematic Collection 
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