Tag: Film Review

“Girls & Gods” Review: A Necessary Documentary That Drives More Conversation

March 23rd, 2025

Can feminism and religion coexist? Girls & Gods is a new documentary that tries to tackle that answer spearheaded by Ukrainian FEMEN collective leader Inna Shevchenko. Instead of protests, Shevchenko travels the world to engage in dialogue with priests, imams, rabbis, theologians, and fellow activists in candid conversations. This is one of the two documentaries I got to screen in advance before their world premiere at CPH: DOX.

I am incredibly fortunate to have established a relationship with certain PR companies that give me the opportunity to screen films in advance. Similar to the one that I watched before from the same company, I love how they are focused on giving women a voice. Every single film I have seen from them has a prominent female perspective in the lead role. That is so rarely done. Films should be driving conversations, and I think this is a great film to add to the conversation.

Films like this that drive conversation is fitting since this film is geared towards driving conversation about the difference between religion and being a woman and how the two can exist in the same realm. As a male, I am not the exact perspective it speaks from. As much as I try to listen and do my part, I will never know the female perspective since I am not one. That is the truth. Even as a male, I do believe the world should be doing better to help women be more independent and not have to be forced into a situation based on the context of something else.

I am a firm believer in the difference between church and state. As much as we see that conversation being driven here in the United States, it’s an issue that arguably worse in other parts of the world. That’s where Inna Shevchenko is able to travel the world and get different perspectives of what women go through based on religion. I believe no what matter who you are nor what you believe in, the film offers a lot of great insight in the issues women face and how the issues can be fixed.

The film is certainly a necessary watch, but it’s also a tough one. Not due to the material presented on screen, but due to how people can be so fixed in their ways and how the issues presented by never be fixed. This is where I believe perspective is so vital. I think one thing the film could have done more of is having more conversations with men who think differently. It’s great to have Shevchenko give women something to think about. I would like to think more can be changed if men also listen.

I think what also makes this so tough to watch is how the dialogue can be overlapped instead of conversational at times. I could never personally get into debate, but that’s also because I am not an argumentative person. I was impressed by the way Shevchenko was able to remain calm with other people and still show love even when they disagreed on something. It does give something women to think about. People won’t just change over night. If you want to seek change, you have to drive conversation and give something for others to think about in order to seek that change.

The film is co-directed by Arash T. Riahi & Verena Soltiz, offering more insight into the importance of the documentary. For one, you can see how much energy is placed into the film. I don’t know much about how the two directors works, but I can imagine based on what I see here that they are able to inject so much energy into the editing and pacing of the film that drives home the importance of the subject, all while keeping the camera personal & intimate with whoever is on screen.

I think what was even vital about the importance of the story was how it was able to lean more into what happened with the Me Too movement through the conversations. We learned more of how it brought up necessary themes of the subject matter, but it never fully leaned into how it could have changed the world. The film tackles many perspectives from various side characters that help convey the importance of why things like the Me Too movement needed to happen.

Overall, Girls & Gods is a vital and importance piece in the documentary genre. Much like the film, I believe it will spark more conversations amongst viewers and share how we can talk without making it argumentative. I can’t wait for the whole world to experience this one.

VERDICT: 4/5 (Great)
“The Last Ambassador” Review: A Spiritual Sequel to “No Other Land”

March 22nd, 2025

The Last Ambassador is a new documentary I recently had the opportunity to screen in advance. The Afghan ambassador in Vienna, Manizha Bakhtari, has found herself in a bizarre situation since the Taliban took over. Despite financial and logistical isolation, Bakhtari is defying the Taliban to continue her fight for the rights of Afghan woman and girls as an ambassador. Through her ‘Daughters’ program, she enables secret education to Afghan schoolgirls while organizing political resistance against the Taliban as an ambassador. Under increasingly difficult conditions, she becomes one of the most important international spokespersons for the women of Afghanistan.

When this, along with another film that I will review tomorrow, came across, I knew I needed to check them out, but I had no idea what this would really be about. Even when a synopsis is brought to my attention, I try avoiding it to go in fully blind, which may have been the best way to watch this, because this was a genuine surprise. Anyone familiar with this year’s documentary Oscar winner for No Other Land will be pleasantly surprised here.

One of the biggest challenges documentaries continue to face is having to be a fly on the wall. Sometimes the illusion will fade when the subject material will knowingly acknowledge the camera. Sure, they will do so during the interviews, but when it focuses on everything else, you’d have no idea the people know they are being filmed. It’s like the film has the opportunity to give us something raw & unfiltered. Besides the subject material, this is something quite similar to No Other Land.

I try not to compare films to others just for the sake of hyping one up, but when it comes to documentaries, it’s not always necessary. This one just feels like an avalanche of what No Other Land started. We get more information on a subject area than ever before, just when I thought I knew it all. This one feels like it will be even more difficult to find an American distributor due to how much it reveals about America. It’s disheartening, maddening, and extremely complex, yet the film is incredibly transparent with its information.

While the film reveals a lot about America’s impact on the situation, I couldn’t help but feel like there was a strong parallel between the two countries. Some may see it as ironic due to the two countries histories. Politics aside, the film is completely thorough with its research to have viewers on both sides of the aisle understand the situation more and be even more sympathetic to the cause. It’s going to be difficult for those who are fighting back to ever return. I’m just glad to see the people are remaining optimistic and that there are allies they can turn to.

The more viewers become familiar with the name Manizha Bakhtari, the more I can see here becoming a worldwide hero. It’s incredible to see her stand up to the Taliban when they outnumber her. She is headstrong in her beliefs, making her the perfect person to follow this story. Her optimism will go on to inspire others. I genuinely hope she wins in the end.

At 80 minutes, some viewers may want more. The film provides a lot of information, but the editing is so well paced that it also reminded me a lot of No Other Land. Both films are shot like a thriller. This one focuses a lot on the dialogue from the interviews to the debates between politicians, offering not only some great viewpoints, but allowing us to completely witness what’s going on.

Due to how complex the situation is, a longer runtime could have fleshed more of the details out. The film has to consistently focus the direction on new plot points that I often found myself having to remember context from another situation. This is just an overly uneasy situation that the film does a great job at capturing. Personally, I think a longer runtime to flesh out more of these different points would suffice.

Overall, I was completely amazed by the quality of The Last Ambassador. It provides so much more context into a situation that happened not that long ago. Its thrilling & informative nature will entice viewers and Manizha Bakhtari will go on to motivate the world. This is a documentary that demands to be seen as soon as you can.

VERDICT: 4.5/5 (Amazing)
“Ash” Review: A New Sci-Fi That is as Original as it is Challenging

March 19th, 2025

Ash is a new film from director Flying Lotus premiering this weekend in theaters and on Shudder on a later date. The film was once supposed to star Tessa Thompson & Joseph Gordon-Levitt, only to be replaced by Eiza González & Aaron Paul. It also stars Iko Uwais, Beulah Koale, Kate Elliott, and Lotus. When Riya (González) wakes up on a mysterious planet to discover her crewmates have been killed, a mysterious man named Brion (Paul) arrives to rescue her, setting off psychological & physical terror.

Due to its cast & visuals, I have been heavily intrigued by this. I didn’t know anything about Flying Lotus’ style as a director, but the film still seemed original enough worth watching. It’s clear Lotus is clearly inspired by the Alien franchise, and I even thought a few times that he could be a solid choice to direct an entry in the franchise. His inspiration translates into something that’s rather mentally stimulating with its slow burn pace in the first half and a knockout second half with engaging visuals throughout.

I honestly can’t recognize a film where Eiza González was the leading lady of a film. I am glad the stars aligned in order to make it happen, because when she’s paired up with anyone on screen, Aaron Paul, included, she truly shines. I’m glad to see a film like this give her a big role over her small role in Hobbs & Shaw. Even when she becomes the final girl, she is consistently in command whenever she is on screen.

Aaron Paul, however, does feel miscast. For the life of me, I can’t seem to understand why he continues to be in project after project of this caliber. With his breakthrough performance from Breaking Bad, it seems like he keeps getting work, but not the right work to properly showcase his talents. He does what he can with the film. Unfortunately, it doesn’t give him the capability to shine in the role.

The structure in the first half is either going to lose its viewers or keep viewers patient enough. I can honestly see viewers checking out in the first half and not caring what happens in the second half. To me, the visuals in the first half keep the film visually stimulating that allows Eiza González trying to figure out the mystery with minimal dialogue. With a short 95-minute runtime, the film could have benefitted from adding a prologue that gives more characterization to the side characters. After the set-up, it can then skip the mystery, allowing us to be more emotionally invested in the characters and their story.

The first half is tricky to understand. By the time the second half hits, I understood better as to what was going on and was fully on board with the concept. I found the mysteries to be resolved in a satisfying way. It delivers on the action and the horror with some big payoffs. Eiza González also gets to shine in this portion that I hope gives her more leading roles. As a fan of The Raid films, there is even a small moment that reminded me of those films that left me satisfied.

While I really enjoyed the visuals, I did find it distracting against the human characters. It doesn’t always look great and it can be noticable that there is a green screen. The cinematic look can even feel resonant to a music video, which I suppose is fitting since the director comes from music. To be fair, I haven’t listened to his music, but I do like what he did here. With what I suppose is a small budget, I think the film did a good job with what they had and I hope it gives Flying Lotus more opportunities to go bigger and better.

On first watch, I was ready to give it a 4/5. After I slept on it, I am going down a little bit in my score that you will see towards the bottom. I did enjoy the film for its originality, but there is something missing in its structure to make it more appealing in its structure and its visuals. It’s going to be a challenging watch for viewers that I hope will get more appreciation over time.

Overall, I found Ash to be engaging in its visuals, structure in its lead performance. Any criticisms from others are completely valid as the first half can be confusing and slow, and the side characters don’t get enough screentime. If you have the opportunity to see this, I can easily see this being an interesting one to talk about with other viewers. Whatever Flying Lotus does next, I am in.

VERDICT: 3.5/5 (Pretty Good)
“Snow White” Review: Not as Bad as You Would Think

March 19th, 2025

Disney’s Snow White is a 2025 live-action remake of the 1937 animated film Snow White and the Seven Dwarfs. The film stars Rachel Zegler in the title role with Andrew Burnap & Gal Gadot in supporting roles. When her evil stepmother, the Evil Queen (Gadot) becomes jealous of Snow White (Zegler), she takes refuge in the forest in the house of seven dwarfs.

I feel like I need to preface that I did not go into this thinking it was going to be the worst thing I have ever seen. I want all movies to succeed, but I have seen much worse. Since seeing 2016’s The Jungle Book, I have tried time and time again to support Disney’s live-action remakes. In recent years, it’s been tough to support them. While the latest live-action remake isn’t as bad as you may think, I desperately want Disney to stop making live-action remakes, and not for the reason you may think.

Rachel Zegler as Snow White in DISNEY’s live-action SNOW WHITE. Photo courtesy of Disney. © 2024 Disney Enterprises, Inc. All Rights Reserved.

The latest version of Snow White has been surrounded with what feels like tons of controversies for the last few years. Even when I saw the horrendous CGI, I held out faith. Yet, the film has still seen controversies surrounding its two leading ladies and story changes. Now that I have seen it, I can understand those feelings and they are valid. The CGI is still quite disappointing, one of the leading actresses carry the film, and there are enough story changes to make it stand out.

One of the leading actresses that carry the film is Rachel Zegler herself. What she has said and her racial background has never once bothered me. Regardless, she is what makes the film. She completely disappears as Snow White. You wouldn’t believe she is having to also act so much with CGI. She is completely compelling in the lead role. There are fans who will adore her performance.

Gal Gadot as the Evil Queen in Disney’s live-action SNOW WHITE. Photo courtesy of Disney. © 2024 Disney Enterprises Inc. All Rights Reserved.

The other leading actress, Gal Gadot, is horribly miscast. Aside from my opinion on her beliefs, I think this is one of the most confusing performances of the decade. I don’t like saying worst as we try to stay positive here. Due to a lack of character development this character goes through, Gadot never knows how to properly channel the right performance. She is so over the top at times to make up for it. I couldn’t care less. It’s not even that campy kind of bad. If the film wanted to truly do something different, giving her a backstory would have helped make more compelling and help Gadot channel the right performance.

Some other positive aspects that come to mind is the chemistry between Zegler & Burnap, the themes, and the classic Disney tone. You can sense a real likability between the romantic interests. Burnap’s performance stands out, even if the singing could have gone through some improvement. Families will particularly enjoy the overall themes of being a good person. Personally, I found moments of a real Disney charm that seemed to capture the magic of the original film through its tone.

(L-R) Jonathan (Andrew Burnap) and Snow White (Rachel Zegler) in Disney’s live-action SNOW WHITE. Photo by Giles Keyte. © 2024 Disney Enterprises, Inc. All Rights Reserved.

The film’s sore point is certainly the CGI. I am so beyond burnt out on CGI. It is overstimulating and completely takes you out of any real human connection. Sure, it makes sense for the animals to be CGI. I can’t imagine a way around that. The dwarfs, however, had no business being CGI. Every time I saw them on screen, I felt like The Polar Express deserved some apologies. This is the main reason I want these live-action remakes to stop. Instead of creating something modern, it is more laser-focused on CGI to get around creating connections. On top of that, so much of the location relies on the CGI that makes all the sets look fake.

The film plays it safe the most with the camera. The camera feels so stationary, barely moving and giving you a better idea of what this world looks like. It’s like Disney is meeting a quota and playing it safe to get to where they need to be. This can also be translated into the plot that is never quite sure what it wants to truly be about in its 109-minute runtime. So much occurs that consistently changes the direction with one of the most anti-climatic endings I have ever seen.

Rachel Zegler as Snow White in Disney’s live-action SNOW WHITE. Photo courtesy of Disney. © 2024 Disney Enterprises Inc. All Rights Reserved.

Overall, Snow White is a mixed bag that is going to certainly divide viewers. It has a lot to offer, but also a lot to be desired. To be honest, I was leaning a little lower on my score after I saw it, but after talking to some friends who enjoyed it, I can see the appeal with its Disney charm and themes. Rachel Zegler proves she can lead a film even if this may not be the best one due to other aspects out of her control.

VERDICT: 2.5/5 (Okay)
“Borderline” Review: Ray Nicholson May Be the Next Big Thing

March 16th, 2025

Borderline is a new comedy thriller that premiered on VOD and in select theaters this past weekend. In his directorial debut, the film is written & directed by Jimmy Warden, and stars Samara Weaving, Ray Nicholson, Jammie Fails, Alba Baptista, and Eric Dane. Set in 1990s Los Angeles, pop star, Sofia (Weaving), has her home broken into by obsessive fan, Duerson (Nicholson) who delusively believes they are to get married and manipulates their surroundings to create a wedding atmosphere.

I’ll pretty much watch anything Samara Weaving is in. She has proven to be talented time and time again. Even with a bizarre release rollout, I was still interested. To my surprise, I didn’t know Ray Nicholson was in it until a few days prior. Since seeing him in Smile 2, his small role left an everlasting impression. He also had another film come out this weekend titled Novocaine. You can tell where he is somewhat playing the same character in all three films, but he is so good at doing it.

If there is one thing the film does well, it’s how original it is. The structure and the way it plays out keeps things engaging. Writer & director Jimmy Warden is actually married to Samara Weaving. You’d think that would be a good way to get his foot in the door, but you can tell where he truly worked hard to get this film made. Depending on where you look, the synopsis is different. I am avoiding the other synopsis, because I looked at the other one. When the first act concludes, I was completely confused as to what was going on. Needless to say, it is very original.

Ray Nicholson is the son of legendary film actor Jack Nicholson. You can tell where Ray is picking up on mannerisms from his father that is helping him standout. He is stellar at being unhinged. He makes it look so effortless and is so locked in every time he is on screen. He is as terrifying as he is as humorous. He makes the film work from start to finish, for better or worse.

Samara Weaving is good in the lead role, but her lack of characterization leaves much to be desired. She understands what the film is going for. Unfortunately, the film doesn’t give her character enough time to shine or care about. Her chemistry with Jimmie Fails, another talented actor, is non-existent. I’m not really sure if Jimmy Warden felt uncomfortable with displaying a real relationship since his real-life wife is in the film. More time dedicated to their characters before where the movie starts would really help develop their characters.

Eric Dane, who many might be familiar with from Euphoria, is different and quite good in the role of Sofia’s bodyguard. I appreciate him playing a softer side than what we know. His character perhaps takes the most unique direction out of all of the characters, but it can get repetitive and a bit predictable. Still, I enjoyed how the film focuses more on than just what the plot is about through characters such as the one Eric Dane plays.

The film’s structure is very playful. This is the type of original film that viewers are asking for. There is a specific one-take shot that really stood out to me that is hilarious and fun. The concepts Warden also plays with also help the film stand out from the rest with creating an unpredictable world where anything could happen.

The film can also faulter at the wayside. There are missed opportunities at exploring the themes of mental health and trying to have people get the help they need. Warden is mostly focused in the concept that everything else doesn’t quite hold up. The pacing can be sort of hit-or-miss especially with the third act that could have been improved through the editing.

Overall, Borderline is fun, hilarious, and unpredictable anchored by an unhinged performance from Ray Nicholson. That guy is going place. The film tends to fall by the wayside through its editing, lack of character development, and not exploring its themes enough. If you are looking for a good time where you can enjoy yourself, I recommend checking this one out.

VERDICT: 3/5 (Good)
“Black Bag” Review

March 15th, 2025

Black Bag is the 2nd film to come out this year from director Steven Soderbergh & writer David Koepp after this year’s Presence. The new film stars Cate Blanchett, Michael Fassbender, Marisa Abela, Tom Burke, Naomie Harris, Regé-Jean Page, Pierce Brosnan. When his wife, Kathryn (Blanchett) is suspected of betraying the nation, intelligence agent George Woodhouse (Fassbender) faces the ultimate test of loyalty to his marriage or to his country.

I have been affiliated with the Steven Soderbergh name for as long as I can remember. I still remember when I broke both of my wrists in kindergarten and was bedridden. Don’t ask me why, but I remember wanting to watch Ocean’s 11, which would be the first of many Soderbergh’s films that I would see. Similar to Hitchcock, it feels like he pumps out a new film almost every year. As of late, his films have been geared towards streaming. Luckily, we have been able to witness his films again in theater. So far, this might be the his big comeback since he returned to filmmaking after his semi-retirement. The guy is refreshed and energized, making him the perfect fit to direct this film.

Witnessing original, smaller films feels like a treat nowadays. The newest film has a $50 million budget. It seems modest, but it’s also surprising if the film seeks to get a massive return. In a weekend with competition against 3 other wide-released films, this one would need to make at least $100 million to actually make a good return. So far, it only made $2.8 million in the United States this weekend, which is not great. Unless the film does well overseas, this could be a bomb. I need everyone to go see this, because if this does indeed bomb, we aren’t going to get good original movies like this in the theater again.

I’m not sure how Soderbergh manages to pump out a good movie the way he does. The name recognition surely helps him get in the door no matter what he chooses to pick. I’d say I would prefer Presence over this due to its unique concept and ending, but this comes in a close second place that makes me enjoy the more and more I think about it. When I say we don’t get films like this anymore, we don’t get mature, dialogue-heavy thrillers influenced by the French New Wave like this one is. With as much detail he puts into this, it’s impressive how fast he works.

The film is riveting from start to finish thanks to David Koepp’s competent script. The screenwriter has been writing films for decades. It seems like he went through a lackluster patch in his career, but he has been making quite the comeback lately, showing that he just may be at his best when collaborating with Soderbergh. The film focuses a lot more on the dialogue than I could have ever imagined. The promos make it seem more action heavy, but I don’t mind be subverted like the way I do here. With a healthy 97% on Rotten Tomatoes, the film is clearly already getting a lot of critical acclaim that I hope translates to higher viewership. This may be one of the most important, mature, high-budget movies of the year.

When the film opens up, we get one of the cleanest one-track shots I have ever seen. Soderbergh uses the same camera work used in Presence to help establish the perspective. As we track Fassbender’s character from behind, it’s established that we are also spying in on what is meant to be spy story. It’s a unique concept that’s only elevated more through the film’s lighting style. As you can see from the image below, the film really helps keep the characters in the shadows, showing no one can be trusted.

After 2019’s X-Men: Dark Phoenix, Fassbender took a break from acting until 2023’s The Killer & Next Goal Wins. That may be surprising since it doesn’t seem that long, but I think our interpretation on time after the pandemic has definitely changed. Fassbender continues to perform like he never left. He is so cunning & precise with his character’s mannerisms here. He is intelligent, but he also cares shown through the love for his wife. There is a specific scene involving him having a panic attack that looked so realistic. Cate Blanchett is the top-billed and she is great, but it’s really Fassbender who takes the lead here with a terrific supporting cast around the two actors.

I really enjoyed the script here. I am a big fan of whenever a script relies on the characters having to talk like they are in action. Soderbergh knows exactly how to bring this script to life. Unfortunately, it can be so fast that the sound design doesn’t quite catch every word. When every word is important, it is vital to understand what’s going on. Also, I think the film could have benefitted from giving Fassbender more characterization to help understand he is and his motives. I don’t mind the lack of characterization for the other characters since we have to be kept in the dark. Since we mostly follow Fassbender, more characterization could have helped connecting with the story more.

Overall, Black Bag is a competent thriller thanks to David Koepp’s dynamic script & Steven Soderbergh’s sharp direction. The cast truly helps bring the film to life through their unique characters. It’s fast paced like a thriller unlike any other modern spy movie. While it can be a little confusing at times, it will keep you stimulated enough that will keep you guessing. I personally can’t wait to watch this again to get new details. They don’t make movies like this before. Due to its low box-office numbers, I am worried it will fail. If that does happen, I hope studios will start to recognize what a proper budget should be.

VERDICT: 4/5 (Great)
“O’Dessa” Review

March 15th, 2025

O’Dessa is a new post-apocalyptic musical drama film due to release on Hulu from Searchlight Pictures on March 20th. The film stars Sadie Sink, Kelvin Harrison Jr., Murray Bartlett, and Regina Hall. Set in a post-apocalyptic future, O’Dessa (Sink) goes on a journey to retrieve a family heirloom and rescue her one true love.

It’s a pretty simple premise if I am being completely honest. When the poster released what felt like a month or two ago, I can’t say it looked promising. What intrigued the most though was seeing Sadie Sink in the lead role. I genuinely thought she would show promise in the lead role. While she does show promise in a film full of ambition, I can’t help but still feel underwhelmed by the final product.

Now that we have officially left 2024, this film made me forget the countless musicals we got in that year. Way too much if you’re asking me. I try to be open minded with any film, but musicals can be so hit or miss for me. The music here actually works. I could either see myself enjoying the soundtrack or I could even the film becoming a cult classic due to its music. It has this punk rick operatic tone that feels fitting for the film’s style & plot. With an original story and original music, I can’t be too upset this film got made.

The film also has a distinct style to it. What I found most impressive in its opening logos was how the colors used for the film matched the Searchlight Pictures logo. It establishes originality and gives the film an identity of its own that I believe will make anyone excited for something new. Writer & director Geremy Jasper establishes a vision that is wholly unique to his style. I went in expecting the best, but by the second half, I was tired out and overwhelmed.

I typically can be forgiving when a film opens up on text that is meant to explain this world to you, even if it’s not my favorite plot device. The truth is that it’s not needed. The film tries to spoon-feed everything to you to have it all make sense. The problem is that there is way too much ground to cover to have it make sense. I think it would have been better without it. Better yet, the film could have quickly gone over the events that lead to where our characters are now. It had way too much more potential to go deeper into this world and its lore.

The film undoubtedly has a unique visual style. Unfortunately, it can become too much of a good thing, leading into some haphazard editing that makes it difficult to fully understand what’s going on. I love when films use colors to help establish an identity. The first half does a great job at that, but when the second half comes, I felt like the film was beginning to rush by relying too much on CGI that really took me out of the film.

The first half has a lot of great components, but the second half is also rushed in other areas as well. One of the biggest problems the film goes through is how the character dynamics and chemistry is non-existent. We are meant to believe that Sadie Sink and Kelvin Harrison Jr. instantly fall in love even when they barely spend time together. I found Sink & Harrison’s character’s very compelling, but when you mix the two together, I barely believed the chemistry. The film has a lot of great and unique characters. For a film that is meant to deepen the themes through said chemistry, it’s hard to get attached when the chemistry isn’t even there.

The film’s style & tone reminds me a lot of The Fifth Element if it was an operatic rock musical. The idea isn’t bad. I am just burnt out on movies relying too much on CGI and non-existent chemistry. Geremy Jasper knows how to create something unique, but I also feel like he could have given the talent more time to spend with one another. You also have Murray Bartlett & Regina Hall in the film. They are both great in their own right. Without giving Bartlett enough character motive and disguising Hall in too much wakeup underutilizes their talents.

Overall, I expect O’Dessa to be a big hit for the streamer. Sadie Sink proves she can lead a film on her own and Geremy Jasper shows promise as a filmmaker. I personally found the problems with the film undermines its true potential to have a deeper impact.

VERDICT: 2/5 (Bad)
“Opus” Review

March 15th, 2025

Opus is a new psychological thriller from A24 written and directed by Mark Anthony Green in his feature directorial debut. The film stars Ayo Edebiri, John Malkovich, Juliette Lewis, Murray Bartlett, Amber Midthunder, and Toy Hale. When Ariel (Edebiri) is introduced to a remote compound of legendary popstar, Alfred Moretti (Malkovich), who mysteriously disappeared 30 years ago. Surrounded by his cult, Ariel find herself in the middle of his twisted plan.

The film had all the ingredients of what I wanted out of a film. Ayo Edebiri is one of my favorite working actresses today. There is no denying she can lead a film. Malkovich is hit or miss for me, but the rest of the cast also intrigued me. Lastly, I will watch whatever A24 has to offer as I tend to find their films thematically rich. Unfortunately, aside from the lead performances, I didn’t find this film having much to offer.

If you go into this expecting a similar structure to Get Out or The Menu or Blink Twice, you’d be right. No, it’s not exactly the same, but when the film blatantly makes it obvious that it’s something we have seen before, it creates a monotonous chore to get through. With half a million feature length films, it’s going to be hard to get every single one original enough without borrowing some influence. The problem this film faces is that it borrows too much without creating something with its own identity.

The main character, Ariel, gets invited to a remote area on purpose. Sounds like Ex Machina. She visits a place where people are doing odd things. Sounds like Get Out. Everyone has to give up their phones. Sounds like Blink Twice. Everyone except for one character believes everything is normal. Sounds like The Menu. When a film is relying too much on those inspirations, I couldn’t help but be bored and turned off from what I was watching, especially when you are just waiting for a big reveal in the third act.

By the time the third act hits, it’s fine. It’s more entertaining and the visuals are impressive, but it also feels like I saw it coming a mile away. The motive behind what’s going on is beyond ridiculous and makes little to no sense. The film has multiple conclusions with even more reveals in the final conclusion. I do like the themes, but when they have to explain it to you in some of the most nonsensical dialogue, it takes away all of the intrigue of what came before.

Instead of just relying on aspects of other great films and making the film weird, I think the film could have done more with film’s themes in the second act. Why not show the influence music can have on a cult of followers instead of just showing odd things? There was so much more potential the film had that could have helped it differentiate itself from others. I honestly don’t mind movies like this. I was looking forward to it. I personally believe the film was going to do more to show how music can influence people in a negative way.

While I really didn’t like the film, I will admit that Ayo Edebiri & John Malkovich are completely innocent in all of it. Edebiri continues to show promise that she can lead a film. She even manages to help elevated the tired & cliche dialogue from the script. John Malkovich feels perfectly casted in the film for how weird the actor can get. Only he could embrace the weirdness the story requires out of this character.

As for the side characters, the film also had more potential for them. Juliette Lewis feels like she’s barely there. Murray Bartlett is the most interesting out of the supporting characters, but his motives are tiresome. Amber Midthunder is okay, but lacks characterization (good for her though for having two movies come out this weekend). Lastly, Tony Hale has one of the most pointless roles in a film in recent memory. And I thought Topher Grace was pointless in Heretic.

Overall, this is one of the most disappointing movies to come out of A24. I love films that thematically challenge you on a subject matter. This one just completely misses the mark by never tackling the negative repercussion of what music can do on cults of followers. Ayo Edebiri and John Malkovich are fine in their respective roles. I can’t help but see the true potential this film had.

VERDICT: 1.5/5 (Very Bad)
“The World Will Tremble” Review

March 13th, 2025

The World Will Tremble tells the never-before-told true story of a group of World War II Polish Jewish prisons attempting to escape from a Nazi death camp in order to be the world’s first eyewitness account of the Holocaust. Written & directed by Lior Geller, the film stars Oliver Jackson-Cohen, Jeremy Neumark Jones, Anton Lesser, David Kross, Charlie Macgehan, Michael Fox, Michael Epp, and Danny Scheinmann. The film releases in select theaters on March 14th.

When the film was first presented to me, I was surprised that I never heard of this true story before. If it wasn’t for these men, we wouldn’t know about the Holocaust, so why was this never taught to us? Maybe growing up in America, it’s easy to not know this since America was not directly involved. The concept alone heavily intrigued me as it seemed to promise telling a perspective I have never seen before of the war. That may interest others. Like myself, I believe others will also witness something profoundly important.

My strongest recommendation going into this is to temper expectations that the premise will start right away. I was very interested in the premise, but the first act is entirely geared towards the setup and motive. The pacing can be a bit slow at times, especially since you already know what’s to come. I would have personally liked to have gone in knowing that there were men trying to escape, but having to go through hoops in order to do so. That never diminishes the fact that the first act is still heartbreaking to get through.

The first act dedicates its time to never rushing the story. There is a purpose and a drive to why these characters do what they end up doing. Every single one of the men have a driving purpose, but they also know how dangerous an escape is. They don’t just want to escape to freedom. They want the world to know what’s going on. Seeing these men go through the impossible to get there allows the film to stay authentic and realistic.

Just as the film fully embraces what it is really about is the film at its most satisfying. The musical score and sound design sweeps through every single scene that makes you feel like you are with these characters. The first act does serve a purpose with making you connect with the characters more. Since you see what these men go through in the first act, the unthinkable could happen at any minute, making the mission nail-biting. It left me on the edge of my seat, leading into a heartbreaking and emotionally satisfying ending.

The film’s structure is separated in what feels like three poignant acts. The first goes through the Hell the men went through. The second act doubles down on the premise. The third act has such incredible dialogue that heightens Oliver Jackson-Cohen’s performance. I have always enjoyed Jackson-Cohen’s work, but his performance stands tall amongst his prior work. Up until now, it seemed like there was a little bit of a typecast for the actor as an abusive romantic partner. Here, he is able to showcase his abilities to say so much through his expressions, leading into a finale where he has to give some of the best dialogue of the film. It’s truly his best performance to date.

I also found myself easily connecting with the side characters. There are some substantial characters that help motivate the escape. There is a particular character who truly goes through some stuff. Without giving much away, there is a reveal with the character in the first act that is shocking. By the end of the film, I was floored by how detailed the particular scene actually was. It’s clear how important it is for writer & director Lior Geller to tell something as authentic and as realistic as possible.

Writer & director Lior Geller creates a realistic atmosphere that has so much attention to the detail. I was amazed by how much more I learned about the subject matter. I learned a lot in school about the war, but the war has so many more perspectives to it that gives you a better idea as to what happen. This is why I try to watch anything and everything, especially foreign films and smaller indies. The true story will give you a deeper appreciation for a new film like this being told on big screen.

Overall, The World Will Tremble is an incredible first-hand account on a perspective never seen before. It is hard to stomach at times, but it’s an important watch that effectively stays true to the story and its characters. Oliver Jackson-Cohen delivers one of his best roles to date in a cast full of outstanding performances. What occurs in the film will stay with you long after watching it. I suppose that’s a testament to the film telling a part of history.

VERDICT: 4.5/5 (Amazing)
“The Electric State” Review

March 10th, 2025

The Electric State is an upcoming American science fiction adventure due to release on Netflix on March 14th. Directed by Anthony & Joe Russo, the film stars Millie Bobby Brown, Chris Pratt, Key Huy Quan, Jason Alexander, Woody Harrelson, Anthony Mackie, Brian Cox, Jenny Slate, Giancarlo Esposito, and Stanley Tucci. Based on the novel of the same name,
Simon Stålenhag, the film is set in a retro-futuristic past, orphaned teenager Michelle (Brown) travels the American West with an eccentric drifter, Keats (Pratt), and a sweet, but mysterious robot, Mr. Peanut, (Harrelson), in search of her younger brother.

I was not particularly excited for this. Much like my opinion of Marvel, I have also remained optimistic of the Russo brothers post-Endgame. The idea of the Russo brothers branching out into different projects has always been exciting to me, but it may be time for Marvel and the brothers reunite again. They need it. After spending an egregious $320 million for this film, I am of course as frustrated as others as that money could have been used elsewhere. For a film that’s not even going to get a box-office return, it’s sort of beyond me. After seeing the final product, I am very mixed with the reception here.

The Electric State. (L to R) Cosmo (voiced by Alan Tudyk) and Michelle (Millie Bobby Brown) in The Electric State. ™/© 2024 Netflix. Used with permission.

After watching the film, I immediately agreed with one of my friends who also it early saying that it wasn’t as the reviews have said. After spending some time with it, I began to like it less and less, but I have found sort of a middle ground with the film. For one, the film embraces a tone that made me love film to begin with. The film certainly replicates other films that did it much better. That’s also where the film succeeds. The adventure style reminds me of when I used to watch The Pagemaster as a kid. That film has a 19% on Rotten Tomatoes where this film completely sports a 22% on the site. Needless to say, not everything has to be perfect. I just can’t see this being for everyone.

I’m calling it now. Viewers are either going to see “this is the worst thing I have ever seen” or “it wasn’t that bad. I had a good time and it could have been much worse.” I get both perspectives. The script is rough right from the jump. I was immediately taken back by how poor the dialogue was for how much the film cost. It just never gives the talent to showcase their actual talents. With such a bloated cast with way more than the film can juggle, it’s clear this film serves more like a trailer for Netflix more than anything else.

The Electric State. Chris Pratt as Keats in The Electric State. Cr. Paul Abell/Netflix ©2025

Netflix doesn’t have many franchises. If anything, I’d argue the Knives Out films are their biggest property, but the first film didn’t even start there. Netflix wants every big property to get their own franchise. Spending more money is not going to cut it. For context, the first Iron Man had a budget of $140 million, but they were able to find success through the box office to spawn a franchise. With the negative reception, I can’t imagine this being a huge success. Netflix made $49 billion in revenue and $8.7 billion in net income in 2024, so I am sure that $320 million price tag won’t hurt them, but why do that when the money could be used for better movies and TV shows?

With the huge price tag also comes with CGI galore. As of lately, I have been so much more in tune with CGI that I can’t really deal with it anymore. It takes you out of the magic of the characters, the setting, and the story. The film has a lot of it. While I found the action to be somewhat entertaining and the style to be adventurous, the desaturated color looks unappealing and the sets are clearly fake. I just found myself being taken out of the film with how fake an expensive movie looked, when it should have been the complete opposite.

The Electric State. Stanley Tucci as Ethan Skate in The Electric State. Photo Credit: Paul Abell/Netflix ©2024.

The film boasts a large cast ensemble that’s certainly going to be the film’s biggest draw more than anything else. The problem is that the film doesn’t always know what to do with them. Millie Bobby Brown’s dialogue doesn’t properly showcase her talents. Chris Pratt has some of the strangest character development as the time goes on. Stanley Tucci’s dialogue seriously made me question what I was watching at times. Brian Cox also has might have been miscast with his bubbly personality. I will say I was surprised by some of the cameos that won me over even if I wanted more from them. It’s a shame Ke Huy Quan & Anthony Mackie can’t catch a break so far this year. Those guys need something better and soon.

With a 2 hour and 8 minute runtime that also includes about 15 minutes of credits, you’d think that would give the film plenty of time to flesh everything out. The problem is that the film boasts way too many characters that are more focused on drawing story power over characterization. The pacing can be exciting, especially in the action, but I also found myself struggling to connect with a story that’s been done too many times before. The film had more potential to be something unique like Fallout, but in the 90’s. Instead, I found myself underwhelmed with the lack of urgency the film needed.

The Electric State. (L to R) Michelle (Millie Bobby Brown), Cosmo (voiced by Alan Tudyk), Herman (Voiced by Anthony Mackie) Keats (Chris Pratt) and Mr. Peanut (voiced by Woody Harrelson) in The Electric State. Cr. /© 2025 Netflix. Used with permission.

Overall, The Electric State is completely fine for what it is. I can understand where viewers are going to sway negatively towards it. It’s bloated with the amount of star power that doesn’t give everyone enough time to shine. Personally, I felt like I was watching something nostalgic based on what I grew up on. I am having a hard time with recommending this one since I can see people leaning more negative. This is a perfect example to reiterate what I always try to convey: if there is a movie you want to watch, watch it for yourself and be in on the conversation with those who have seen it.

VERDICT: 2.5/5 (Okay)