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“Predator: Badlands” Review: The Latest Entry Refines a Classic Villain

November 4th, 2025

Predator: Badlands is a new film in the Predator franchise set to release in theaters November 7. From a story by Dan Trachtenberg & Patrick Aison and directed by Trachtenberg, the film stars Elle Fanning and Dimitrius Schuster-Koloamatangi. Cast out from his clan, a young Predator finds an unlikely ally in a damaged android and embarks on a treacherous journey in search of the ultimate adversary.

Like many action fans, I grew up on Predator — a flawless classic that has aged remarkably well. For years, it seemed nothing could match the heights of that original film. Then in 2022, Dan Trachtenberg revitalized the franchise with Prey, a gripping prequel that breathed new life into the Predator universe. Fortunately, the higher-ups recognized both its success and its potential, paving the way for more stories under Trachtenberg’s direction. Now, with two new films — Killer of Killers and Badlands — arriving this year, the excitement is palpable. The decision to explore the Predator’s perspective felt bold and refreshing, and the film more than deliver on that promise.

Dimitrius Schuster-Koloamatangi on the set of 20th Century Studios’ PREDATOR: BADLANDS film. Photo courtesy of 20th Century Studios. © 2025 20th Century Studios. All Rights Reserved.

Going into this, it’s natural to feel a bit of hesitation. Can a PG-13 Predator film really work with only one human lead? Surprisingly, yes. At no point did I feel it needed an R rating. In fact, I was impressed by how much it pushes the limits of PG-13 — the action gets downright gnarly and intense, yet the lack of human blood keeps it within bounds. Action-heavy films often risk feeling repetitive or exhausting, but that’s not the case here. With a tight 107-minute runtime, Trachtenberg makes every minute count, delivering relentless, pulse-pounding sequences that never overstay their welcome.

I was lucky enough to catch this in IMAX. While the IMAX ratio expansions are used sparingly and don’t fully capitalize on the format, the overall experience is still spectacular. The camera work is astonishing, seamlessly blending practical and visual effects to create truly immersive action. There are even two standout one-take sequences — subtle enough that you might miss them unless you’re watching closely — and as a fan of that technique, seeing them pulled off so well made me appreciate the film even more.

Elle Fanning as Thia in 20th Century Studios’ PREDATOR: BADLANDS film. Photo courtesy of 20th Century Studios. © 2025 20th Century Studios. All Rights Reserved.

While watching, I couldn’t help but feel that this is exactly what major franchises like the MCU have been missing — a truly standalone story. Killer of Killers works entirely on its own, yet still weaves in connective tissue that honors what came before. You don’t need to revisit the earlier films to understand it, but longtime fans will appreciate the respect it shows to the franchise’s legacy. At this point, though, it’s hard not to worry about the series’ future without Trachtenberg. It’s taken this long to get Predator right again, and it would be a shame to see it slip back into mediocrity.

What Trachtenberg achieves here is remarkable — he brings emotional depth to a character we were never meant to root for. This particular Predator’s journey humanizes him in ways that feel both unexpected and earned. For a franchise literally called Predator, experiencing the story from his perspective feels fresh and long overdue. Dimitrius Schuster-Koloamatangi’s performance is extraordinary, capturing a surprising range of emotion beneath layers of creature design — a career-defining turn that should put him firmly on the map.

Elle Fanning also delivers a standout dual performance that showcases her range as an actress. In one role, she embodies the humanity and humor that teach the Predator what it means to feel; in the other, she mirrors the destruction and darkness of human nature itself. The contrast between the two makes her work all the more impressive and adds real emotional weight to the film.

(L-R) Thia (Elle Fanning) and Dek (Dimitrius Schuster-Koloamatangi) in 20th Century Studios’ PREDATOR: BADLANDS film. Photo courtesy of 20th Century Studios. © 2025 20th Century Studios. All Rights Reserved.

When I think about the best film scores of the year, this one easily ranks among the top ten. It didn’t need to go as hard as it did, but I’m glad it did. Experiencing it in a theater with IMAX speakers roaring made the music feel almost alive — it’s impossible not to get swept up in it. Combined with the intensity of the action, it proves once again that Dan Trachtenberg has a rare talent for transforming material that might seem conventional into something electrifying. Honestly, it made me believe he could pull off a Doom adaptation and make it work.

As for flaws, they’re minimal but worth noting. In retrospect, some of the dialogue leans a bit too heavily into crowd-pleasing lines. While they sound cool in the moment, they occasionally break the film’s dark, immersive tone. Similarly, a few visual effects shots don’t blend quite as seamlessly as the rest of the film’s stunning presentation.

And then there’s the ending. The film closes perfectly — exactly where it should — but a post-credits stinger immediately teases more to come. I’d love to see this Predator return, though I’m not entirely sure a direct sequel is the right move just yet.

Dek (Dimitrius Schuster-Koloamatangi) in 20th Century Studios’ PREDATOR: BADLANDS film. Photo courtesy of 20th Century Studios. © 2025 20th Century Studios. All Rights Reserved.

Overall, Predator: Badlands delivers exactly what I was hoping for with its concept. It transforms a traditionally villainous character into a surprisingly heroic one, giving him meaningful depth and nuance. The film packs non-stop action from start to finish, yet still manages to layer its story and characters with real substance. While a few minor flaws are present, they never diminish the overall impact of what is, ultimately, an outstanding film.

VERDICT: 4.5/5 – Amazing
“Die My Love” Review: Jennifer Lawrence Reminds Us Why She’s One of the Greats

November 3rd, 2025

Die My Love is a new film set for theatrical release on November 7. Before its wide debut, the film premiered at this year’s Cannes Film Festival, where it was nominated for the Palme d’Or. Co-written by Enda Walsh, Lynne Ramsay, and Alice Birch, and directed by Ramsay, the film stars Jennifer Lawrence, Robert Pattinson, LaKeith Stanfield, Nick Nolte, and Sissy Spacek.

The story follows Grace and her partner Jackson, who have recently moved into a remote countryside home. Determined to write the Great American Novel, Grace embraces her new surroundings, and the couple soon welcome their first child. But as Jackson grows increasingly—and suspiciously—absent, the strain of isolation and domestic life begins to take its toll. Grace’s fragile sense of reality starts to fracture, propelling her down a dark and destructive path.

Going into this, I already knew how well-received it was—and it’s no surprise, given the talent involved. When you have a filmmaker like Lynne Ramsay and two of Hollywood’s biggest stars, success feels almost inevitable. I love that, no matter how big Jennifer Lawrence and Robert Pattinson become, they continue to embrace indie projects like this—films that not only deserve more recognition but also benefit from their presence. It also says a lot about their artistic ambitions: by collaborating with someone like Ramsay, they’re choosing roles that push their abilities and showcase their range—especially in Lawrence’s case.

Since I received a digital screener, I had the chance to watch the film at home. In many ways, that’s the ideal setup for me—I can jot down my thoughts in real time and spend less time drafting my review afterward. Still, even as I watched, I found it hard to organize my thoughts, because the film constantly subverted my expectations. It’s a rare kind of slow burn—one that keeps you guessing where it’s headed while steadily deepening its exploration of character. Rather than telling the audience how to feel, it invites us to understand why this character is the way she is.

While Jennifer Lawrence has been a major star for most of my life, few performances have impressed me as much as her work in mother!. This film reminded me exactly why that performance resonated so deeply. When Lawrence commits, she gives everything—never letting go. Die My Love simply wouldn’t work without her. Her performance here is easily among my top ten of the year: raw, devastating, and fearless. What she achieves in this role reaffirms her place as one of the greatest actresses working today.

It’s interesting to see Robert Pattinson take on a role that places him more in the passenger seat, especially after so many recent projects where he’s been firmly in control. Few of his performances come to mind where he’s played such a restrained, supporting presence. The fact that he chose to be part of this film says a lot about what he saw in the material. His character is every bit as complex as Lawrence’s—his story may not be the one being told, but you can still feel the emotional weight he carries in every scene.

Over its two-hour runtime, the film commands your full attention. Without Lawrence, I suspect it might have fallen apart; her performance is what anchors the film and gives it heart. Because she’s already such a naturally compelling and empathetic performer, it’s no wonder her work here feels so hypnotic. I went in expecting something more overtly thrilling than dramatic, but I came away with much more to reflect on. In many ways, it feels like the antithesis of Perfect Days—a film intent on helping us understand a person at their most fractured and volatile. As someone who fell in love with the slow-burn genre through films like Burning, I can imagine this one giving new viewers a deeper appreciation for that kind of storytelling the more they sit with it.

I’ve only seen one other film by Lynne Ramsay, You Were Never Really Here, but even with that limited exposure, I can see a clear through line in her work—her ability to capture the human spirit through deeply complex characters. While Lawrence’s character here is profoundly flawed, she’s also intensely relatable. Ramsay’s editing style mirrors the protagonist’s fractured state of mind, allowing us to experience her perspective and understand the motivations behind her actions. The film is also elevated by an incredible score that wrings every ounce of emotion from the story.

That said, I can’t deny that certain flaws stand out. I don’t think the rest of the ensemble is used to its full potential. It’s surprising to see LaKeith Stanfield in such a limited role—one that easily could have gone to a lesser-known actor given the brief screen time. Nick Nolte also feels underutilized, leaving little lasting impact. The visual effects, meanwhile, are noticeably uneven. The green-screen work is distractingly obvious at times, pulling you out of the otherwise grounded atmosphere. In moments, the visuals verge on music video territory—stylized, but not always in a way that serves the story.

Overall, Die My Love is a haunting exploration of a woman consumed by her own mind, anchored by a powerhouse performance from Jennifer Lawrence. It’s hard to imagine anyone else embodying this role so completely—Lawrence once again proves why she’ll be remembered as one of the greats. While the film’s slow-burn pacing and absence of certain narrative elements may leave some viewers wanting more, its emotional intensity is undeniable. In the end, this is a film carried by Lawrence’s phenomenal work—one that deserves serious awards recognition.

VERDICT: 3.5/5 – Pretty Good
“Bugonia” Review: Jesse Plemons Steals the Show in a Strange, Funny, and a Bit Underwhelming Film

November 2nd, 2025

Bugonia is a new film now playing in theaters, following its premiere at this year’s Venice International Film Festival. Written by Will Tracy and directed by Yorgos Lanthimos, the film stars Emma Stone, Jesse Plemons, Aidan Delbis, Stavros Halkias, and Alicia Silverstone. The story follows two conspiracy-obsessed young men who kidnap the powerful CEO of a major corporation, convinced she’s an alien intent on destroying Earth.

I first encountered Yorgos Lanthimos’s work with The Killing of a Sacred Deer (2017), which left a strong impression of his distinctive, unsettling style. Since then, I’ve found his filmography to be a mix of highs and lows — though even his weaker efforts remain fascinating in their own way. Recently, I saw one of his earlier works, Dogtooth, a film I still struggle to rate. It made me reconsider Lanthimos’s approach, as if his main goal were to make audiences uncomfortable, sometimes at the expense of deeper meaning.

With that in mind, I didn’t go into Bugonia with the highest expectations. Still, I was intrigued by the cast and the fact that Lanthimos wasn’t the screenwriter this time. To my surprise — and relief — the result was far more engaging than I anticipated.

The film’s approach was far different than I anticipated. While Emma Stone receives top billing, it’s really Jesse Plemons whom we follow most closely, through his perspective. It’s easy to see why he’s being considered for Best Actor rather than Best Supporting Actor this awards season. Just when I think Plemons can’t impress me any further, he continues to outdo himself. He has a remarkable ability to inhabit his characters in a way that makes them endlessly compelling and impossible to look away from.

Emma Stone delivers a solid performance within the film’s framework, but the script doesn’t do her many favors. Instead of creating tension around who is “right,” the narrative makes the outcome abundantly clear from the start — it feels like a lesson in scriptwriting 101. The film might have benefited from a different approach, one that lets us see both perspectives throughout, heightening the suspense and making the conclusion even more surprising.

Speaking of surprises, the film thrives on them. In my packed theater, there were audible gasps at moments that I personally found predictable — whether it was someone showing up at just the right time or saying something odd, I often felt a step ahead of the story. That said, the humor genuinely caught me off guard. It was more unpredictable than the plot itself, showcasing the kind of dark, absurdist comedy that makes Lanthimos’s involvement feel so fitting.

I was also intrigued to see Stavros Halkias in the cast. Having only seen him in the Netflix series Tires, I never imagined him in a Lanthimos film. To my surprise, he really rises to the occasion, delivering a role that feels fresh and against type. His character helps illuminate aspects of Jesse Plemons’ character, giving the audience insight into why he behaves the way he does. That said, beyond this function, his character adds little, and the story might have benefited from trimming him out — improving both pacing and budget efficiency.

With a budget of $45–55 million, Bugonia is Yorgos Lanthimos’ most expensive film to date — a surprising leap, especially when something like Poor Things cost less. Once marketing is factored in, the film would need to earn around $80 million to break even. Having made only $7 million so far, it would take a near miracle for it to reach that threshold. Presumably, the film aimed to replicate the financial success of Poor Things. In terms of the story’s ambitious third act, a higher budget might make sense, but there’s not enough here to justify the expense. Rather than going bigger and bolder, it ultimately feels restrained, even if it leaves the audience with something to ponder.

Despite its flaws, the film stuck with me long after the credits rolled — and I’ll do my best to avoid spoilers here. There’s much to unpack about how grief and desperation can drive humans to unspeakable actions, and the ending feels inevitable in that light. At one point, I even considered framing the story in terms of immigration: what if, instead of immigrants being the so-called “aliens” — a term I find distasteful — it’s the billionaires who are the true outsiders, wielding ultimate control over civilization? At the same time, the film explores the extremes we’ll pursue for a better life, even when those pursuits threaten to doom us, highlighting a bitterly ironic truth about human obsession.

Overall, Bugonia offers plenty to ponder, anchored by strong performances, particularly from Jesse Plemons. Yet the film doesn’t push as boldly as it could. The unusually high budget feels hard to justify, several plot points are predictable, and the third act is both underdeveloped and rushed. Still, it’s easy to see why many viewers are enjoying it. While it may struggle to recoup its costs, there’s a good chance it will develop a devoted cult following in the years to come.

VERDICT: 3.5/5 – Pretty Good
“Nuremberg” Review: A Masterclass in Historical Drama

November 1st, 2025

Nuremberg is a new film set to release in theaters on November 7. It made its debut at this year’s Toronto International Film Festival, where it received a four-minute standing ovation—one of the festival’s longest in history. Written and directed by James Vanderbilt, the film stars Russell Crowe, Rami Malek, Leo Woodall, John Slattery, Mark O’Brien, Colin Hanks, Wrenn Schmidt, Lydia Peckham, Richard E. Grant, and Michael Shannon. Set in postwar Germany, it follows an American psychiatrist tasked with determining whether Nazi prisoners are fit to stand trial for war crimes. In the process, he finds himself embroiled in a high-stakes battle of intellect and ethics with Hermann Göring, Hitler’s right-hand man.

Leading up to Nuremberg, nothing about it immediately grabbed me. Ensemble casts in historical dramas are hardly new. Looking at the filmmaker’s previous works, I especially didn’t think of much. I initially assumed it might be a remake or spiritual successor to Judgment at Nuremberg—a film I recently watched and loved. Combine that with the movie’s lengthy runtime, and I went in with low expectations. I couldn’t have been more wrong.

Going in expecting Nuremberg to be some kind of remake of Judgment at Nuremberg was the wrong mindset from the start. This film is its own entity, taking a far more psychological approach to the historical events while maintaining a riveting pace—something rarely seen in modern dramas. Movies like this simply aren’t made anymore. While there was a time when films of this caliber were more common, that sort of cinematic magic—those moments that remind you why you love film—is impossible to replicate.

Looking at James Vanderbilt’s previous work, it’s clear he’s primarily a writer rather than a director. His only prior directorial effort was 2015’s Truth. Outside of that, he’s mostly been involved in commercial hits, none of which hint at the level of craftsmanship he brings to Nuremberg. Here, Vanderbilt demonstrates a distinct vision, knowing exactly what this story needs. With a script driven largely by dialogue, he navigates long conversations with remarkable ease, placing the camera with precision—whether it’s capturing a character pouring a drink or shedding a tear.

Vanderbilt assembles one of the year’s strongest casts, many of whom haven’t had a film that truly showcases their talents in a while—until now. With the film so meticulously mapped out, he draws out each actor’s full range. It’s easy to be reminded why Russell Crowe and Rami Malek are Academy Award winners. I didn’t think Crowe could convincingly deliver dialogue in German, nor did I expect Malek to convey such raw emotion, yet both performances are nothing short of extraordinary.

Despite the film’s considerable length, I wasn’t sure I could get through it so late in the evening—but once it started, I couldn’t look away, finishing it the same night. Courtroom dramas rarely feel this riveting, and Nuremberg easily stands as the best of its kind since Oppenheimer. Clocking in at around two and a half hours, the film flies by, propelled by a clear three-act structure and relentless momentum. Dialogue is almost constant, yet in the rare moments of silence, your attention never wavers. There are also sequences that play out as though you are watching a play in one singular location with countless amounts of dialogue. One particularly chilling sequence without a single word stands out as one of the most powerful scenes in the entire film.

Although it’s a drama releasing in November, Nuremberg feels every bit like a blockbuster, thanks to its sweeping score that’s as emotional as it is grand. The production design draws you fully into the realism of each scene, making the emotional beats hit even harder. Despite the darkness of the story, there’s a surprising amount of humor that deepens your connection to certain characters. Vanderbilt clearly wants the audience to better understand these long-gone historical figures.

It’s difficult to find fault with this film. It exceeded all my expectations, leaving little to critique. Everything I thought might fall flat turned out to be fantastic. That said, some viewers might find the dialogue overly theatrical. If I had to pinpoint one minor flaw, Rami Malek’s introduction feels slightly too staged, lacking the natural, organic quality of his otherwise remarkable performance.

Overall, Nuremberg stands out as one of the year’s best films. Every element—from the dialogue and visuals to the direction and casting—works at 100%. This is the kind of grand, immersive drama that rarely gets made anymore. While firmly rooted in history, it also serves as a powerful reminder of the past, urging us not to repeat the atrocities that once occurred.

VERDICT: 4.5/5 – Amazing
“Violent Ends” Review: Revenge, Family, and a Standout Performance

November 1st, 2025

Violent Ends is a new film now playing in theaters. Written and directed by John-Michael Powell, the film stars Billy Magnussen, James Badge Dale, Kate Burton, Ray McKinnon, Nick Stahl, and Alexandra Shipp. It follows Lucas Frost, an honest man raised in a crime family whose only legacy is violence. Determined to forge his own path with his fiancée, Emma, Lucas is suddenly pulled back into the family business he despises when his cousin Eli commits an armed robbery at a local scrap yard—leaving an innocent life caught in the crossfire.

As with most films I watch, I went in knowing nothing about it. I vaguely remembered seeing a trailer, but I had no idea it was releasing so soon. Like many IFC films, it feels like it flies under the radar until it hits streaming. While I got an early screener of the film, I saw that my local there was playing it. The fact that no one was in the 10:30 PM opening night showing says something about its initial visibility. Nonetheless, I love IFC films. I’ve said it before: they are as original as A24 productions and give filmmakers the freedom to fully realize their vision. That creative freedom is on full display here, and the film is elevated by an incredibly talented cast.

When I saw Billy Magnussen’s name attached to this project, I was all in. Sometimes viewers might overlook a film like this, distracted by other releases—but for me, if an actor has impressed me before, I’ll follow them wherever they go next. Game Night is one of my all-time favorite films, so of course I had to see whatever Magnussen does.

The film carries a low-budget feel, which makes it all the more impressive that John-Michael Powell was able to assemble such a strong cast. In many ways, it feels like a filmmaker striving to be taken more seriously through a dramatic, gritty story. I had no idea it was going to unfold as a revenge narrative, so the early portions of the film—with their careful build-up, momentum, and character development—felt fresh and engaging. By the time the revenge element kicks in, however, it does tread familiar ground, following beats we’ve seen before.

Billy Magnussen truly disappears into his role. On a small-scale production like this, it’s often difficult to get a well-established cast fully committed—but that’s not the case here. Almost everyone delivers at 100%. Even James Badge Dale, who sometimes feels like he’s inhabiting a slightly different tone, still gives it his all. Magnussen and Alexandra Shipp share genuinely compelling chemistry, while Nick Stahl continues to be a standout scene-stealer. Overall, the casting is one of the film’s strongest achievements.

As the film begins, we’re immediately introduced to some on-screen exposition—a plot device I usually find clunky. Yet here, it works beautifully, efficiently conveying a decade of backstory. We quickly understand who this family is and how they operate, which makes the contrast with Billy Magnussen’s character all the more striking. Everything leading up to the revenge element of the story builds tension and investment, so when the narrative suddenly turns into a revenge tale, I was genuinely shocked. That said, once it does, the film begins to settle into familiar territory.

Revenge stories are about as basic as it gets, and few manage to stand out. Here, the film feels like it’s built around a simple premise: a man forced to confront and inflict violence on his own family. What elevates it is all the groundwork laid beforehand—the character development and family dynamics. Since the revenge aspect initially took me by surprise, I didn’t mind it. But the way the film handles it left me conflicted. For someone so markedly different from the rest of his family, it strains credibility to see him adapt so comfortably to violence. Rather than exploring how a family steeped in violence must eventually reckon with its legacy, the film often seems to endorse it, which feels somewhat at odds with its earlier themes and characterization.

As the film progresses, it remains entertaining to watch Billy Magnussen explore a completely different side of his acting—even if the level of violence occasionally feels excessive. Given the number of other storylines at play, the revenge angle still feels somewhat unnecessary. The film might have been just as compelling if it focused on this character doing everything he could to break free and build a better life. That approach would have provided him with a clearer moral compass and allowed for a deeper exploration of the emotional complexities of his choices.

That said, it’s easy to see why such a likable and established cast signed on. Director John-Michael Powell demonstrates not only a strong command of story and character development but also a distinct visual vision. One sequence toward the end absolutely floored me—it’s visually inventive and unlike anything I’ve seen recently. It’s the kind of moment that makes me glad I watched from home, so I could revisit and appreciate it more than once.

Overall, Violent Ends shines as an acting showcase, particularly for leading man Billy Magnussen. The film demonstrates that John-Michael Powell is a capable and confident storyteller, even if the narrative occasionally drifts into familiar territory. While the exploration of violence can feel contradictory at times and the multiple storylines require careful attention, the film remains consistently riveting and engaging from start to finish.

VERDICT: 3.5/5 – Pretty Good
“Christy” Review: A Familiar but Fierce Boxing Biopic

October 31st, 2025

Christy is a new film hitting theaters on November 7. Written by Mirrah Foulkes and David Michôd and directed by Michôd, the film stars Sydney Sweeney, Ben Foster, Merritt Wever, and Katy O’Brian. It follows Christy Martin, who never imagined life beyond her small-town roots in West Virginia—until she discovered she had a talent for throwing punches. Driven by grit, raw determination, and an unshakable will to win, Christy charges into the boxing world under the guidance of her trainer and manager–turned–husband, Jim. But while she builds a fiery persona in the ring, her toughest fights take place outside it—where she must confront family, identity, and a relationship that could turn deadly.

As much as I love boxing movies, Christy gives off heavy Oscar-bait vibes, which has honestly made me less excited about it. There was an early screening with the real Christy Martin in attendance that I didn’t get the chance to attend. Since much of the story takes place in Apopka, it makes sense that she’d be there. Still, I can’t help but feel like I missed out on a meaningful opportunity to meet her, especially considering everything she’s been through.

It’s clear that Sydney Sweeney wants to be taken seriously as an actor. I can honestly see some parallels between her work here and Dwayne Johnson’s turn in The Smashing Machine. While I wouldn’t place Sweeney’s performance in my top ten of the year—nor do I think it’s her strongest overall—what the role demands from her is no small feat. The story spans several years, and she convincingly portrays Christy’s growth and maturity throughout. Sweeney brings enough heart and nuance to make Christy a character worth caring about, especially given everything she endures over the course of the film.

It’s easy to understand why Christy’s story was adapted for the screen. There’s so much depth and detail to her life that I could easily imagine it working even better as a miniseries. That format might have allowed for more character development and smoother pacing, rather than jumping between key years. Still, despite its straightforward storytelling and familiar boxing-movie clichés, the film finds strength in its performances, Christy’s compelling real-life story, and a powerful final act that leaves a lasting impression.

I wasn’t familiar with Christy Martin’s real-life story going in, and much of the film initially feels like territory we’ve seen many times before. I’ve followed David Michôd’s previous work, but I can’t help thinking that a female director might have brought a deeper, more personal perspective to Christy’s experiences. Still, that choice may also explain why Ben Foster delivers one of the most intense performances of his career. He’s fully committed from start to finish, and by the final act, he feels like a villain straight out of a horror film.

For much of Christy, you can sense that the main character will eventually overcome her struggles—but since I didn’t know her true story, those last 30 minutes completely caught me off guard. Without giving anything away, I loved seeing Christy’s comeback and the way it proves her strength to everyone around her. Thematically, the final act hits hard, reminding us that Christy was a fighter both inside and outside the ring.

Overall, Christy hits all the right notes as an uplifting sports drama based on Christy Martin’s life. The performances are strong across the board, and the final act truly delivers. While it occasionally falls into familiar sports-movie clichés and the pacing drags at times, it’s hard not to be moved by this real-life story of resilience. Christy may not reinvent the genre, but it’s an inspiring portrayal of a woman who refused to back down from any fight—inside or outside the ring.

VERDICT: 3.5/5 – Pretty Good
“The Witcher: Season 4” Review: A Season That Will Vary Depending on Perspective

October 30th, 2025

All eight episodes of The Witcher Season 4 are now streaming on Netflix. The new season stars Liam Hemsworth, Anya Chalotra, Freya Allan, Joey Batey, Laurence Fishburne, Eamon Farren, and Anna Shaffer. After the shocking, Continent-altering events that close out season three, the new season follows Geralt, Yennefer, and Ciri who are faced with traversing the war-ravaged Continent and its many demons apart from each other. If they can embrace and lead the groups of misfits they find themselves in, they have a chance of surviving the baptism of fire and finding one another again.

Season 4 of The Witcher faced an uphill battle from the start. Though it carries the same tone and world-building fans have come to know, the biggest challenge was undoubtedly introducing a new Geralt after Henry Cavill’s departure. Cavill’s portrayal defined the series—his performance made the role iconic—so his exit felt like the end of an era. Unfortunately, it often seems like fate pulls Cavill away from the franchises where he shines most.

That left Liam Hemsworth with some enormous shoes to fill. Many fans either checked out when Cavill left or, like me, stayed curious to see how Hemsworth would approach the role—or simply because they still enjoy the world and story. I’ll admit, my expectations going in were fairly low. But to my surprise, this season turned out to be a solid and engaging chapter of television—one that ultimately exceeded what I anticipated.

Based on how the season begins, I’d strongly encourage viewers to stick with it. Hemsworth’s introduction is, admittedly, a bit clunky—tacky even—and unintentionally funny in parts. It feels out of place, almost as if the show itself isn’t quite sure how to move forward without lingering in the shadow of what Henry Cavill created. I’ll be honest: I was ready to give this season a lower score after the first episode. The opening doesn’t inspire much confidence, but it does improve as the story progresses, and it’s worth hanging in for.

The biggest question on everyone’s mind, of course, is whether Liam Hemsworth is any good in the role. He might not be the first name that comes to mind when thinking of a replacement, but he does a respectable job with what he’s given. He neither blew me away nor let me down. It’s not like Doctor Who, where a new lead can seamlessly step in and make the role their own. This is more like trying to replace Michael Scott, Tony Soprano, or Dexter Morgan—it just doesn’t feel natural.

You can see moments where Hemsworth is really trying to capture Cavill’s signature grit and presence. The hair and makeup team deserves credit for making the transition as smooth as possible, visually bridging the gap between the two actors. Still, there’s an undeniable edge to Cavill’s performance—a weight and roughness—that made his Geralt iconic in a way that’s difficult to replicate.

The side characters are truly the backbone of this season. The supporting cast returns with renewed energy, and it shows—each performance feels committed and heartfelt. Anya Chalotra and Freya Allan, in particular, continue to deliver standout performances, adding emotional weight and depth to their arcs. Much like Hemsworth, Laurence Fishburne’s introduction initially feels a bit out of place—almost goofy, even—but by the end, he completely wins you over. His character evolves in meaningful ways, and his presence ultimately becomes one of the season’s strongest elements.

While the show loses a touch of its original identity with the new lead, it still retains the sharp edge and creative spirit that defined the first three seasons. The action sequences are visually striking, with dynamic camerawork that feels like a character of its own. The story remains engaging throughout—helped, no doubt, by the audience’s connection to these long-established characters. Still, this season feels a bit less like The Witcher than ever before, leaving much of the emotional and narrative weight to be carried by the ensemble cast—and to their credit, they rise to the challenge.

Since each season has been released roughly two years apart, I’ve only watched them once, but one thing continues to stand out: the visuals—both for better and for worse. The show remains epic in scope, with impressive world-building and sweeping cinematography. However, the production design and CGI don’t always hold up. At times, the visuals border on something you’d expect from a CW show. I’m not sure if that’s due to budget constraints or creative choices, but it’s an element that consistently stands out—often in the wrong way.

Cavill’s departure felt like the end of an era, but it also left the door open for new stories to be told. Still, I can’t help but wonder whether The Witcher would have achieved the same level of success if Hemsworth had been in the lead role from the very beginning. Interestingly, the show has already been renewed for a fifth and final season, meaning Hemsworth will only have two seasons to make his mark. While he does a respectable job with what he’s given, this season doesn’t offer him enough space to truly stand out. It feels as though the show is more focused on wrapping up the story in a satisfying way than on redefining itself around a new Geralt.

Overall, the fourth season of The Witcher has its flaws, but it still manages to deliver an experience worth watching. The show undeniably struggles without Cavill, even though Hemsworth does the best he can with the material he’s given. While the series can be visually stunning, the production occasionally feels cheap or uneven. If, like me, you’re drawn to the action and storytelling, there’s enough here by the end of the season to make it a worthwhile watch.

VERDICT: 3/5 – Good
“Anniversary” Review: Bold, Daring, and Hard to Forget

October 27th, 2025

Anniversary is a new film set to hit theaters on October 29. Written by Lori Rosene-Gambino and directed by Jan Komasa, the film stars Diane Lane, Kyle Chandler, Madeline Brewer, Zoey Deutch, Phoebe Dynevor, Mckenna Grace, Daryl McCormack, and Dylan O’Brien. The story begins innocently enough: when Ellen and Paul’s son introduces his new girlfriend during their 25th wedding anniversary celebration, no one could imagine the chaos to come. The young woman, Liz, turns out to be Ellen’s former student—expelled years earlier for her radical views—and her reappearance marks the beginning of the family’s unraveling.

I was initially drawn to Anniversary purely because of its impressive cast. While I had a general sense of the plot, I managed to avoid all trailers and marketing—something I consider the ideal way to experience any film. Let me tell you: the official synopsis doesn’t come close to revealing the full scope or direction of this story.

With the review embargo lifting only a few days before release, I wouldn’t be surprised if Anniversary sparks a highly polarizing reaction from critics and audiences alike. Given Lionsgate’s recent streak of box-office disappointments, it’s clear the studio is hoping this one finds its footing. I can’t say for certain, but I have a strong feeling Monday’s mystery screening at AMC and Regal will turn out to be this film—and those early reactions might very well determine whether Anniversary becomes a sleeper success or another divisive misfire.

Mckenna Grace as Birdie and Diane Lane as Ellen in Anniversary. Photo Credit: Owen Behan

The film’s approach is epic in scale, broad in scope, and unafraid to take bold risks. It initially positions itself as a thriller, but as the story unfolds, it evolves into something entirely different. Anyone drawn in by the film’s suspenseful opening will find themselves captivated—at least at first. As the narrative deepens, viewers are likely to see parallels to real-world events, while others may interpret it as an exaggerated reflection of contemporary issues. Both perspectives are valid.

I admired the film’s willingness to take such audacious risks, especially in ways that resonate with current realities. However, I also found it difficult to fully suspend disbelief—some of the film’s developments feel too abrupt or implausible to occur so quickly. The message ultimately lands, but it demands a generous leap of faith from the audience.

With a predominantly American cast, it’s easy to see what drew everyone to the project. What intrigued me most, though, was that the film is directed by a Polish filmmaker. Viewing an American story through that lens adds an interesting layer of perspective, almost as if we’re seeing the country refracted through an outsider’s eye. It reminds me of how Darren Aronofsky approached Noah—a biblical story told from a non-religious standpoint. Just as Noah divided audiences, I wouldn’t be surprised if this film provokes a similarly polarizing response.

Kyle Chandler as Paul in Anniversary. Photo Credit: Owen Behan

In many ways, we’re fortunate to see such an impressive ensemble assembled here. It’s a rarity these days to see Diane Lane take on a true leading role, and she proves to be the perfect anchor for this story—a woman desperately trying to protect her family from what’s coming. Kyle Chandler brings his trademark steadiness, gradually building toward an explosive finale. Dylan O’Brien impresses with a subtle transformation, convincingly depicting someone slowly consumed and manipulated by the chaos around him. Phoebe Dynevor, meanwhile, delivers one of the film’s standout performances, effortlessly drawing others—and the audience—into her character’s belief system.

That said, the ensemble occasionally feels larger than what the film can fully handle. I struggled to connect with Madeline Brewer’s character; while her arc lands on an emotional note, the path to get there feels overwrought. Zoey Deutch and Daryl McCormack are effective as a married couple, but their subplot ultimately feels extraneous—removing them wouldn’t significantly change the film. As for Mckenna Grace, she continues to prove herself as a talented young actress, but some of her character’s decisions strain credibility. Her performance is strong, yet the writing makes certain choices difficult to believe.

Phoebe Dynevor as Liz and Dylan O’Brien as Josh in Anniversary. Photo Credit: Owen Behan

I have mixed feelings about the film’s conclusion. It’s clear the ending was never meant to be satisfying—the film’s purpose is to illustrate how a series of events can spiral toward a dire, inevitable outcome. You’re not supposed to leave the theater feeling happy, and that deliberate bleakness may turn some viewers off. While I understand and appreciate that intent, I still think it could have been handled with a bit more nuance. I particularly liked the way Phoebe Dynevor’s storyline was resolved; her arc feels complete and purposeful. However, the fates of the other characters come across as implausible and emotionally unfulfilling. Just a few additional minutes exploring what becomes of them could have made the ending far more resonant.

As the film transitions into its final act, I was especially struck by the shift in production design and cinematography. The visuals grow progressively bleaker and darker, mirroring the story’s descent into chaos. The film also makes several time jumps, and each one helps us better understand what has unfolded off-screen and how the world has changed during that time. While some of the exposition helps keep viewers oriented, it’s the visual storytelling that truly deepens the impact—showing us not just what has happened, but what could happen if this story ever reflected reality.

Kyle Chandler as Paul and Diane Lane as Ellen in Anniversary. Photo Credit: Owen Behan

Overall, Anniversary is a film that will give audiences plenty to talk about—whether they end up liking it or not. About half of the ensemble delivers truly compelling performances, while the other half adds more weight than the film can fully carry. Even though the story occasionally feels exaggerated, particularly in how quickly events escalate, its underlying reflection of real-world tensions remains striking.

VERDICT: 3.5/5 – Pretty Good
“Ballad of a Small Player” Review: Stunning, Sweeping, and Slightly Rushed

October 27th, 2025

Ballad of a Small Player is a new film set to release on Netflix on October 29. Before its streaming debut, it screened at this year’s Telluride Film Festival and premiered in select U.S. theaters on October 15. Written by Rowan Joffé and directed by Edward Berger, the film stars Colin Farrell, Fala Chen, Deanie Ip, Alex Jennings, and Tilda Swinton. The story follows a high-stakes gambler who retreats to Macau after his debts and past misdeeds catch up with him — only to encounter a kindred spirit who may hold the key to his salvation.

In recent years, Edward Berger has become one of the most exciting filmmakers working today, earning a reputation for precision and emotional depth. While Colin Farrell’s name alone draws plenty of attention, it’s Berger’s involvement that gives Ballad of a Small Player an extra layer of prestige. It’s always impressive when a director consistently delivers new work every year or two — and given that Berger’s previous film was a Best Picture nominee, expectations for this one are understandably high. Unfortunately, those hoping for something on par with his last effort may come away disappointed. This is a film best approached with tempered expectations.

With a brisk 102-minute runtime, the film unfolds across three distinct acts — each tonally different, yet ultimately cohesive. The first act is nothing short of phenomenal. Fueled by a roaring score and breathtaking cinematography, it pulls you straight into its dark, alluring world. It may very well stand among the strongest opening acts of any film this year.

Then comes the second act. As the story shifts locations, the visuals lose some of their earlier brilliance, and the pacing begins to drag — a noticeable issue given the film’s relatively short length. With a score this sweeping, you’d expect relentless suspense, but the tension falters here. The middle section not only slows the film’s momentum, it also builds toward a climactic twist that, unfortunately, feels telegraphed long before it arrives.

The third act initially seems poised to bring the film full circle, thematically tying everything together. However, once the twist is revealed, much of the preceding momentum dissipates. It feels as though the film wants us to empathize with a man who believes he’s won it all, yet that emotional connection never fully lands — largely because the plot point driving it feels underdeveloped. With so many morally ambiguous, even despicable characters in play, it becomes difficult to root for anyone.

That said, Colin Farrell remains exceptional. Remarkably, he released three films in 2022 — all of which earned critical acclaim — and hasn’t appeared on screen again until this year, with Ballad of a Small Player and A Big Bold Beautiful Journey. Regardless of a film’s overall quality, Farrell consistently elevates the material; this performance is no exception. He’s one of the rare actors who can shine even in a project that doesn’t quite land. In a role that relies so heavily on his presence and nuance, it’s easy to imagine Farrell and Berger collaborating again in the future — and hopefully with even greater results.

Some filmmakers seem as though they never stop to take a break. Christopher Nolan continues to deliver a major film every few years, and Luca Guadagnino appeared unstoppable for a while — though his constant output seemed to catch up with him in this year’s After the Hunt. Similarly, of the three films Edward Berger has released in as many years, Ballad of a Small Player appears to be the least well-received — and it’s not hard to see why. It’s easy to imagine the film being rushed through production. Even taking a different approach to the twist — or omitting it altogether — might have allowed the film’s themes to resonate more deeply.

As it stands, Ballad of a Small Player doesn’t leave the audience with much to hold onto. I understand what it’s trying to say, but the storytelling feels too hurried to let those ideas sink in. The result is a film that’s admirable in craft but uneven in execution — one that seems to be sprinting toward its conclusion instead of letting its story and setting breathe naturally.

Overall, Ballad of a Small Player is a visual feast, anchored by an awe-inspiring score and a captivating lead performance. Yet, despite these strengths, the film leans more toward style than substance. As a story positioned as a character study, it ultimately needed more depth and exploration. There’s a rich narrative at its core that feels rushed, leaving some of its thematic potential unrealized. For viewers familiar with the well-received novel it’s based on, it’s understandable why the film may feel underwhelming. Still, there’s reason to be optimistic: Edward Berger has demonstrated remarkable skill in the past, and it’s easy to imagine him taking lessons from this experience to deliver something exceptional in his next project.

VERDICT: 3/5 – Good
“A House of Dynamite” Review: A Relentless, Thought-Provoking Thriller

October 25th, 2025

A House of Dynamite is a new film now streaming on Netflix. Written by Noah Oppenheim and directed by Kathryn Bigelow, the film stars Idris Elba, Rebecca Ferguson, Gabriel Basso, Jared Harris, Tracy Letts, Anthony Ramos, Moses Ingram, Jonah Hauer-King, Greta Lee, and Jason Clarke. When a single, unattributed missile is launched at the United States, a desperate race begins to uncover who is responsible—and how to respond before it’s too late.

A House of Dynamite was one of my most anticipated releases of the year, largely because of director Kathryn Bigelow. It’s been eight years since Detroit, one of my favorite films of that year, and I was eager to see her return to the director’s chair.

This is a film that’s bound to divide audiences, but it’s also one that demands conversation. Bigelow once again proves she’s unafraid to tackle complex, politically charged material—and whether you love it or not, A House of Dynamite will linger with you long after the credits roll.

A HOUSE OF DYNAMITE – (Featured) Kyle Allen as Captain Jon Zimmer. Photo by Eros Hoagland. © 2025 Netflix, Inc.

Kathryn Bigelow first came into the spotlight with her Oscar-winning film The Hurt Locker—an exceptional work that established her as a director capable of immersing audiences in scenarios that feel as classified as they are gripping. The same can be said of A House of Dynamite. If I had my way, she’d already be in the conversation for a Best Director nomination at the Oscars. From her visual style to the performances she draws from her cast, Bigelow once again reaffirms her place among the finest filmmakers working today. Eight years since her last film, she hasn’t missed a beat.

The film also boasts an impressive ensemble cast. Its structure, however, is one of the reasons it may divide audiences. Without giving anything away, I found myself wondering how the experience might have changed if the story had been told entirely in the present tense, rather than revisiting the events. While that alternative could have offered a more streamlined narrative, Bigelow’s chosen approach gives each performance room to breathe. It allows the film to dig deeper into how the unfolding crisis personally affects every character, making the emotional undercurrents resonate even more strongly.

A House of Dynamite. Gabriel Basso as Deputy National Security Advisor Jake Baerington in A House of Dynamite. Cr. Eros Hoagland/Netflix © 2025.

It’s hard to single out one performance as the clear standout—each actor contributes something vital without overshadowing the others. Idris Elba delivers a quietly surprising turn, his character lingering in your thoughts long after the credits roll. While Rebecca Ferguson isn’t on screen as much as I would have liked, her presence is impactful and memorable, and it makes me eager to see her collaborate with Bigelow again in the future. Tracy Letts, Gabriel Basso, and Jared Harris also shine, with Harris delivering what may be the film’s most devastating and emotionally charged moment.

Having seen the film twice now, I still can’t get it out of my head. I’ve always appreciated ambiguous endings, and while this one might have been handled in a slightly more satisfying way, its impact remains undeniable. Thematically, the film underscores that there are no real win-win scenarios in this world—it forces those in power to confront just how little control they truly have. Every possible decision carries catastrophic consequences: one path leads to devastation, another to the brink of global war. A House of Dynamite is the kind of film that leaves you wanting to unpack every detail, and for me, that’s a rare and exciting feeling.

A House of Dynamite. (Featured L-R) Tracy Letts as General Anthony Brady and Gbenga Akinnagbe as Major General Steven Kyle in A House of Dynamite. Cr. Eros Hoagland/Netflix © 2025.

The film has so many elements working in its favor, all combining to keep the tension high and the experience deeply engaging. Beyond Bigelow’s direction and the powerhouse performances, the score stands out as one of the year’s best. It pulls you in completely, echoing the characters’ emotions in a way that feels almost surreal.

As I mentioned earlier, the film’s editing and structure will likely be one of its most divisive aspects. There are several shocking moments revealed through shifts back in time, offering new perspectives on earlier events. This approach reminded me at times of Vantage Point, which also builds toward a central truth—but that’s not the goal here. Instead, Bigelow uses this fragmented storytelling to deepen our understanding of each character. I’m sure a linear version of this story could exist somewhere, but it wouldn’t come close to delivering the same emotional weight or nuance that this structure achieves.

A House of Dynamite. Rebecca Ferguson as Captain Olivia Walker in A House of Dynamite. Cr. Eros Hoagland/Netflix © 2025.

Overall, A House of Dynamite delivers on nearly every front—direction, performances, story, themes, and score. Its unconventional structure is a bold creative choice that may not resonate with everyone, yet it’s hard to imagine the film being as effective without it. While I usually appreciate ambiguous endings, I do think the final moments could have been handled a bit differently. Still, the film leaves a lasting impression and is sure to spark conversation long after the credits roll.

VERDICT: 4/5 – Great