Tag: Film Review

“The Threesome” Review: A New Romantic Comedy for the New Generation

September 1st, 2025

Written by Ethan Ogilby & directed by Chad Hartigan, the film stars Zoey Deutch, Jonah Hauer-King, Ruby Cruz, Jaboukie Young White, Josh Segarra, Robert Longstreet, Arden Myrin, Kristin Slaysman, Allan McLeod, and Julia Sweeney. The stars appear to align for Connor (Hauer-King) when his impulsive longtime crush Olivia (Deutch) draws him into a wild, seductive threesome with the alluring Jenny (Cruz). But what starts as a spontaneous thrill soon spirals into something far more complicated, forcing both women to confront the fallout and pulling all three into the raw, beautifully messy chaos of adulthood.

Whenever I see Zoey Deutch in a new movie, it feels like something worth watching. She’s always picking out some of the most unique roles out there. I remember Jonah Hauer-King from the new I Know What You Did Last Summer, which is not a good impression to go off of. I’m not as familiar with Ruby Cruz. When you put these three leads together, you get something that you need to see, even if it does run a bit too long.

Much like the review before this one, Twinless, I am seeing easy comparisons between the two films. They each feel like they are geared towards the current young-adult generation. They both also have plots that manage to subvert your expectations. Before watching this, I felt like I might get second-hand embarrassment while discussing the film’s subject matter. Instead, we get a thematically rich film that I believe will resonate with many of its viewers.

The film’s set up to get to where it needs to go can be quite messy. Everything conveniently happens to push the story forward. At the same time, the film has plenty of characterization that helps breathe into each character. Each character has the best of intentions, but are also incredibly imperfect. Jonah Hauer-King & Ruby Cruz are the standouts here. Hauer-King easily makes up for I Know What You Did Last Summer, while Cruz puts on an acting showcase of emotion that should catapult her into more & bigger roles.

Since I got a digital screener, I got to see how long the film was and see how much of the film was left. The film has a lot going for it between the story and the characters, even to a fault. It’s honestly far too long as it adds more and more to the story with a pace that drags. It just felt like the halfway point, or the second act, could have trimmed up the runtime to help create a more cohesive runtime. The film has a lot of great messages that makes me unsure if a slow burn of a pace was required.

By the time the film reaches its third act, it sort of brings all of the themes together to a realistic scenario. Given everything that occurs beforehand, the twists and turns revealed in the third act feel like a gut- punch and I don’t think it would have been possible without Zoey Deutch’s emotional performance.

When the film reaches its conclusion, it does go for this happy Hollywood-type ending that I don’t think worked with everything that happened. It can make it more satisfying, but it’s simply not realistic enough. I can easily see viewers interpreting the conclusion as forgiveness. Personally, I didn’t totally buy it.

Considering the film is being labeled as a romantic comedy, director Chad Hartigan & writer Ethan Ogilby do a great job at making the film as realistic as possible. For me, I was expecting something goofier, while the actual film itself is meant to take itself more seriously. There are some solid laughs here and there, but it can also be quite dark at times. It may be too big for its own ambition, but Hartigan & Ogilby still do a great job with leaving you with something meaningful by the end.

Overall, I found The Threesome to be quite surprising due to the performances, themes, and the writing. The film can certainly overstay its welcome and could have cut a bit of its runtime. In the end, this will leave you with something profound about accountability & forgiveness.

VERDICT: 3.5/5 (Pretty Good)
“Twinless” Review: Believe the Hype. This is a Good One.

September 1st, 2025

Twinless is a new film that initially premiered at this year’s Sundance Film Festival before it premieres wide this upcoming weekend on September 5. Written and directed by James Sweeney, the film stars Dylan O’Brien, Sweeney, Aisling Franciosi, Lauren Graham, Tasha Smith, Chris Perfetti, François Arnaud, Susan Park, and Cree Cicchino. Two young men meet in a twin support group and form an unlikely friendship. Roman (O’Brien) and Dennis (Sweeney) both search for solace and an identity without their other halves and soon become inseparable outside the group. But when Roman meets Dennis’ ebullient co-worker, Marcie (Franciosi), all is revealed to be not what it seems, as each man harbors secrets that could unravel everything.

Hard to believe the film was only released back in January in the U.S. Dramatic Competition of the 2025 Sundance Film Festival. It feels like it was only yesterday. It quickly went viral for some crazy reasons, leading the Sundance Film Festival taking it away from its online portion of the festival. Fast forward to today, I got the fortunate luck to see this nearly a month early, but only posting my review now due to some embargo restrictions. I truthfully can’t wait for more people to see this. This has classic written all over it.

Within the film’s first twenty minutes, it gives you exactly what you’d expect out of its given synopsis. It wastes no times whatsoever throwing you into the story. It’s after those twenty minutes that it actually reveals what it’s really about, and it never derails the film, even if I do believe the reveal could have been saved for the third act. The film still manages a consistent tone throughout, but when that reveal drops, it becomes more of a psychological drama that makes these characters incredibly complex and interesting.

When you have a well-known name like Dylan O’Brien, it will immediately draw fans and viewers familiar with him to seek out the film. O’Brien truly does something different that showcases his talents as an actor and helps show why he should be taken more seriously as an actor. However, this wouldn’t be possible without James Sweeney’s efforts as a co-star, writer, and director. Sweeney not only shows how detailed of a writer he is – he shows real promise an up-and-coming director who can help pull the right performances out of people, himself included.

The way the film flows is similar to trailer, and I mean that as a compliment. Sweeney intentionally places characters and items in specific images that are placed in another scene, allowing this film to flow properly. This wouldn’t be possible without Greg Cotten’s involvement as cinematographer. At 100 minutes, Sweeney adds so much story to the film without the film ever feeling like it’s dragging. Films that are shot like this are rarely made anymore. If Sweeney can continue making films that look like this, I think this particular approach will solidify him as a director with their own distinct voice.

While the cinematography will get plenty of acclaim, I also think this wouldn’t be possible without the editing. There’s a particular scene involvement a split screen that is unlike anything I have ever seen before, even with the way it concludes. The closest I have seen is with Highest 2 Lowest, but it’s handled so much better here. There’s so much more that I want to speak about with this scene. Again, it’s best going in knowing little to nothing.

This is a film that has certainly stayed with me for a long time, and I even think it has the power to get better over time. At this given moment, however, I do think the complexities of these characters will certainly challenge viewers. The way these characters are presented are as real as they are uncomfortable. There is a particular sequence in the third act that did challenge me with its complexity and maybe could have been handled a bit differently.

Speaking of the third act, I think it’s possible the reveal could have been placed here. It would have made for an incredible twist that we often don’t get anymore in the third act. At the same time, I think all that momentum that we got when it’s revealed earlier in the film could have been completely diminished. Knowing what the real twist is now, it will certainly have me see the film in a different perspective that might appreciate it more.

Overall, Twinless is one of the best movies of the year and has real promise of getting better over time. It’s a film where nearly everything works due to the performances, writing, direction, cinematography, and editing. However, some of the characters and the reveal could have been handled differently. Still, this is one one film that you cannot miss.

VERDICT: 4/5 (Great)
“Caught Stealing” Review: Darren Aronofsky Brings His Talents to Something More Commercial

August 30th, 2025

Caught Stealing is a new film from Darren Aronofsky now playing in theaters. Charlie Huston wrote the screenplay based on his own book of the same name. The film stars Austin Butler, Regina King, Zoë Kravitz, Matt Smith, Liev Schreiber, Vincent D’Onofrio, Benito A Martínez Ocasio, Griffin Dunne, and Carol Kane. Burned-out ex-baseball player Hank Thompson unexpectedly finds himself embroiled in a dangerous struggle for survival amidst the criminal underbelly of 1990s New York City, forced to navigate a treacherous underworld he never imagined.

I’ve been familiar with Darren Aronofsky’s career as long as I have loved film. I can’t even recall what the sole movie was that grabbed my attention. Even through his high’s and low’s, I have been a fan. I have been one of the few people that loved mother!. Based on the marketing material, I found this film to be very interesting after making The Whale. Everything about it didn’t scream Aronofsky, and I wasn’t sure if making something more commercial like this could work. To my surprise, it really works.

Even with some truly extraordinary performances through Elvis and Dune: Part Two, I didn’t know if I was truly sold yet on Butler. Sometimes, you can have someone be fortunate enough to skyrocket to fame, but sometimes, you still need just a few performances to make sure they’re not a fluke. Butler is certainly not one. His performance here is unlike anything he’s done before. He brings a lot of humanity and emotion to a character I couldn’t see anyone else playing. With this performance included, I have noticed one through line when it comes to Butler: he commands the screen.

Opposite of him is a large ensemble of talented cast members with Zoë Kravitz being the sole highlight amongst them. The reason she works so well is due to her chemistry with Butler. You totally believe every bit of their relationship. Kravitz even has a surprising part to play in this story. With that being said, she certainly opens herself up in a role that feels heavily impactful to Butler’s character.

While the rest of the cast give great performances, something still seemed off. It wasn’t until my drive home when I realized that the other supporting characters don’t stand out as much due to their limited screentime, thus resulting in limited chemistry with Butler. Like I said, this is a film that works due to how Butler commands the screen. There is a surprising amount of humor that works due to how committed everyone is, but I still would have liked to have seen more chemistry between Butler and the other supporting characters outside of Kravitz.

This is, without a doubt, Aronofsky’s most commercial film to date. What’s ironic is that Aronofsky is taking a big swing when he’s known for less commercial films. He still brings his darker edge to the film where you’re still squirming in your seat. The film could have had a more consistent tone that’s more in line with Aronofsky’s earlier films. Instead, the film can sometimes screech to a complete halt before it picks back up again. Surprisingly, every single moment, even the more disgusting ones, actually all matters. I am not familiar with the book. Considering the author of that book also wrote the script shows how carefully detailed everything truly was.

In one of my more positive attributes to Spike Lee’s Highest 2 Lowest, I mentioned that he shot it like a love letter to New York. While I still feel that way, this one is a better love letter to New York based on the way everything is captured through the cinematography. I have seen a lot of films, and this one still does something unlike anything I have ever seen before with the way the city is captured. On top of that, I found the score to be electrifying. When you have both the camera and music working in tandem, it’s easy to get hooked from start to finish outside of Butler’s amazing performance.

Thematically, Butler’s character has a lot to offer that may help viewers feel like they can identify with him. Butler has a good heart, but still gets put in a terrible place. While everything that’s happening to him is bad, it feel like the film is capturing him crawling out of this mental Hell that he’s put himself in. When you factor in Butler’s performance, it’s easy to feel fully engrossed.

Overall, Caught Stealing is a surprise that has a lot of great things going for it between Butler’s performance, the script, and the way the city is captured. While the pacing can sometimes slow down too much, the intensity Butler goes through makes the film an electrifying and entertaining watch. You’ll feel like you went through what his character went through, both physically and mentally.

VERDICT: 4/5 (Great)
“The Roses” Review: A Comedic Mid-Life Crisis at Marriage

August 27th, 2025

The Roses is a new film from Searchlight Pictures releasing in theaters this weekend. Written by Tony McNamara & directed by Jay Roach, the film stars Benedict Cumberbatch, Olivia Colman, Andy Samberg, Alison Janney, Sunita Mani, Ncuti Gatwa, Jamie Demetriou, Zoë Chao, and Kate McKinnon. Life seems easy for picture-perfect couple Ivy and Theo: successful careers, a loving marriage, great kids. But beneath the façade of their supposed ideal life, a storm is brewing – as Theo’s career nosedives while Ivy’s own ambitions take off, a tinderbox of fierce competition and hidden resentment ignites.

This film had a lot of interesting things going for it. It was very surprising to see such an ensemble of a cast out together. It didn’t seem like it could work in theory, but it also seemed like it could work. Since it’s from the director of Meet the Parents, it seemed like a classic throwback to long gone comedies. In the end, this film works until it doesn’t… Much like how marriage sometimes goes.

Jay Roach & Tony McNamara brilliantly place you into the film as though you are seeing something comedic that you don’t see anymore. The jokes do feel a bit forced in the beginning, but as it turns out, it manages to hook you right into something far different than what you would typically see from this genre.

I loved the first act. It was hilarious, charming, and clever. Benedict Cumberbatch & Olivia Colman establish impeccable chemistry with each other immediately until the very end. Much like how their marriage goes for others, the film dips in quality and you can see through the cracks, which can often bring out the worst in others. If that’s the film’s approach to tell its themes, then I applaud the filmmakers; although, it shouldn’t be at the disservice of the viewers.

The second act begins to not only feel stale, but rushed. The writing doesn’t always click with some bizarre story choices that really left me puzzled as to why that particular thing needed to happen. By the time you reach the third act, it does everything I hate about modern day trailers and how they spoil everything. Sometimes, it’s impossible to miss them all. In my case, it felt like I had seen most of the movie through the trailers. While the ending itself does leave something to be talked about afterwards, it also feels like it deserves to be a different movie and left me questioning the fate of some of the side characters.

It’s been a while since I have seen Cumberbatch & Colman this good, especially in comedic roles. Give them more roles like this, please! Cumberbatch has said that he took on his role, because it scared him. He’s definitely doing something different here and that’s what makes me appreciate him even more as an actor.

The film does boast an insane ensemble of a cast and nearly about half of them work. The other half, I could have done without. For one, I don’t know if the kids were necessary. The fact that they didn’t even have British accents certainly pulled me out of the movie quite a bit. Andy Samberg was a nice surprise here, but I didn’t buy into Kate McKinnon being his wife at all. Her comedic timing just wasn’t there either. Lastly, not really sure why Alison Janney needed to be top-billed for this for her glorified two minute cameo. It actually would have been better as an actual surprise cameo.

To my surprise, the film uses a lot of visual effects. It looked excusable at best at first, but the film clearly uses more of it, pulling me more and more out of the movie. I am exhausted of choppy visual effects that make a practical movie like this look even more unreal. After the first act, the film certainly could have at least not used as much or find ways to improve on it.

I think the last point I need to bring up here is how I saw this in Dolby. Such a bizarre choice for a film, especially when I heard kids in the film screaming in Dolby surround sound. I’m pretty sure the film isn’t actually going to have any Dolby screenings during its theatrical run. It feels like a choice to do this to help elevate the film’s quality by showing it in Dolby. I can’t complain too much. It feels like it’s been forever since I have sat in those nice & relaxing recliners. Still, a bizarre choice.

Overall, The Roses works best in the first act and with Cumberbatch & Colman’s chemistry. Much like how marriages go, the film does dip in quality a bit only to conclude on a perplexing ending that I think will certainly have viewers talking about its themes. I’m definitely intrigued by seeing Cumberbatch & Colman doing more comedies.

VERDICT: 3/5 (Good)
“The Thursday Murder Club” Review: Chris Columbus Delivers a Feel-Good, and Safe, Detective Mystery

August 24th, 2025

The Thursday Murder Club is a new film set to release on Netflix August 28th. Based on the 2020 novel by Richard Osman, Chris Columbus directs from a script from Katy Brand & Suzanne Heathcote. The film stars Helen Mirren, Pierce Brosnan, Ben Kingsley, Celia Imrie, David Tennant, Jonathan Pryce, Naomi Ackie, Daniel Mays, Henry Lloyd-Hughes, Richard E. Grant, Tom Ellis, Geoff Bell, Paul Freeman, Sarah Niles, and Ingrid Oliver. Four septuagenarian friends living in a retirement community form the Thursday Murder Club to solve cold cases for fun. But when a shady property developer is found dead, the four find themselves in the middle of their first live case.

I first heard about this film earlier this year through one of my mutuals on Instagram. Having such a large ensemble of a cast attached to this sounded promising, but to have Chris Columbus – the guy who brought us Home Alone and the first two Harry Potter movies – I was sold. It’s safe to say that this feels like Columbus embracing the classic and feel-good tone that he’s known for a film that is ultimately quite safe with its execution, but still a lot of fun.

It’s quite interesting to see Mirren & Brosnan here after their work as husband and wife on the show, MobLand. It’s abundantly clear they work well together and I’m glad to see that shine through here as they, along with the rest of the cast, perfectly understand what’s asked of them. I truly don’t think that would be possible without Columbus’ direction.

Columbus’ career hasn’t always hit the highs of his more iconic films. No matter what film you watch, he’s a pro at directing ensembles and setting a fun tone. Mirren, Brosnan, Kingsley, and Imrie are perfect in their respective roles as the co-leads, but I was particularly surprised by Tennant & Ackie. Tennant gets to lean his villainous antics, while Ackie steals the show any time she’s on screen. She has been on a role lately.

I’m not familiar with the book. Based on what I can gather, this does seem like a faithful adaptation based on the characterization and the plot. The story isn’t going to break new grounds on what a mystery movie can be, but it will certainly continue to keep the genre alive, especially with such a talented cast. This does feel like a bygone movie we rarely get anymore. Makes me wish Chris Columbus would do more.

While Columbus does a great job at directing the cast and setting the tone, the film can also be quite awkward at clunky at times with the way characters introduce themselves to other characters. Any time a new scene starts with this ensemble cast, the camera awkwardly captures everyone’s interaction in the scene. The film doesn’t always transition properly due to this and could have used better ways to place characters in a scene.

It’s incredibly common nowadays to use CGI more than ever. My biggest issue with CGI now is that it has been used to get away with the smaller things, even if it makes the scene stand out in the worst of ways. For a practical movie, it could have used more practical effects, especially in location settings.

Overall, The Thursday Murder Club may not break new ground for the genre, but it embraces what made it so good to begin with to keep the genre alive. The ensemble cast is terrific, Chris Columbus’ direction rarely skips a beat, and the plot is consistently fun and engaging, even if it can play it a bit safe.

RATING: 3.5/5
“Honey Don’t!” Review: Another Ethan Coen Dud

August 23rd, 2025

Honey Don’t! initially premiered at this year’s Cannes Film Festival before it released wide in the U.S. and Canada this weekend. Co-written by Ethan Coen and his wife, Tricia Cooke, and directed by Coen, the film stars Margaret Qualley, Aubrey Plaza, Charlie Day, and Chris Evans. The film follows Honey O’Donahue, a small-town private investigator, who delves into a series of strange deaths tied to a mysterious church.

I can’t truthfully say that I was optimistic about this one, but at the same time, I had low expectations after last year’s Drive-Away Dolls. Honey Don’t! is the second in a “lesbian B-movie trilogy” following Coen & Cooke’s Drive-Away Dolls. While the Coen brothers have been going independent lately, I still want to remain positive that they can deliver, considering the hits we have had between No Country for Old Men & Fargo. I didn’t like Drive-Away Dolls, and I honestly like this one even less. This film is all style over substance. It’s clear Ethan brought the wit, while Joel channeled that in the right way to create something unique & dark. I didn’t think it would be possible, but this is one of the worst movies I have seen so far this year.

One of the film’s biggest selling points is having Margaret Qualley in the lead role. Considering she was also in Drive-Away Dolls, I would like to think she also tried to remain positive in Ethan Coen’s direction. If you question what Qualley is able to do as a lead, I strongly consider you checking out Maid. Qualley is, without a doubt, the strongest aspect of this film. She’s confident, likable, and steals the show. Opposite of her, I would even say Aubrey Plaza is doing something different with her mannerisms unlike anything else I have seen.

The film has moments of creative genius throughout from the way these characters act to the way the camera just stays on certain characters through dialogue. The problem is that the script essentially gives the film a disservice of what it could be. The film is somehow pretentious & incompetent at the same time. It’s admirable to still try to apply film aspects of the 50’s and 60’s to modern day filmmaking, but the way it’s presented here creates a clunky film with so many things going on that serve no purpose.

I got the feeling after Drive-Away Dolls that a male director was the wrong choice to tell these stories that follow a lesbian character. No matter the gender, Coen tries to over-sexualize nearly everyone. It feels like some characters are only shown for their physical attributes rather than what they can bring as an actor. Chris Evans should also be embarrassed for what he does here. It’s baffling to believe that he was cool with what he does here. It seriously makes me question his choices post-MCU.

The film goes in multiple different directions, which might sound promising when speaking for films like Parasite, or even No Country for Old Men. For this film, it’s lazy, confusing, and boring. Just as the film gets going with one direction, the film cuts to something else that ends up hijacking the plot, to only keep doing that until the very end of the film. Why Evans’ character was needed to tell this story is beyond me. Why most of the talent signed up for this film is beyond me. I would like to believe the talent only signed up for the director without reading the script.

Typically, when it comes to any Coen film, there are standout characters that either deliver memorable lines of dialogue or deliver something comedic. There were a few people laughing in my theater in the beginning, but it certainly fizzled out by the end. The characters in the film act so bizarre in a way that really took me out of the immersion, and I think that’s due to how poor the character development is. If the film put in the time to create meaning for why these characters act the way they do, then the film could have something going for it. For a film less than 90 minutes, it has way too much going on and too many characters in it without any of the proper development. I wouldn’t even be surprised if Charlie Day committed to the film on his off days from shooting It’s Always Sunny in Philadelphia.

Overall, Honey Don’t! is a film that didn’t work for me at all. It’s clear Ethan needs to reunite with his brother, Joel, more now than ever. The script is a mess and the direction is rushed. The script could have been better serviced had it gone through more revisions and the direction would have been a lot better from a female perspective. I can’t believe I am saying this, but I might genuinely be done with watching another Ethan Coen movie unless he reunites with his brother.

RATING: 1/5
“Descendent” Review: One of the Most Visually Engaging Films of the Year

August 18th, 2025

Descendent is a new film that initially premiered at this year’s South by Southwest Film Festival before it premiered in limited theaters on August 8th and on streaming August 15th. Written & directed by Peter Cilella, the film stars Ross Marquand and Sarah Bolger. After a traumatic brain injury triggers terrifying visions of extraterrestrials and a newfound talent for drawing, a father-to-be begins to question his reality and becomes obsessed with the need to protect his family from an unseen threat.

I meant to catch this much sooner than expected, but it fell by the wayside, and it even further by the wayside after getting sick. This is the first time I have skipped out on posting something over on my Instagram page since posting every single day for about a year. I needed the break though to recover from being sick. Needless to say, this is my first post since taking a small break, and I’m glad that I got to check this out. This feels like one of those movies you’d watch during the pandemic that rarely get the recognition they deserve.

Ross Marquand in Peter Cilella’s DESCENDENT.

To elaborate, I am not comparing this to a pandemic movie as an insult at all. In fact, I feel like the pandemic brought out a lot of unique & original movies since all of the bigger budget movies were no longer coming out. Like Zach Cregger’s Weapons, writer & director Peter Cilella channels his inner trauma to bring out something on a grand scale that’s both visually appealing & thematically rich.

Ross Marquand is the perfect fit for the lead role. The guy has been underrated ever since his days on The Walking Dead. While the film won’t particularly expand him out to more people who may be unfamiliar with the actor, at least the film will showcase what the guy is capable of doing as a lead actor. He fully engages himself in the role opposite Sarah Bolger who he has immaculate chemistry with.

Sarah Bolger in Peter Cilella’s DESCENDENT.

The film may require a lot of patience out of its viewers. It’s a slow burn that will leave you talking about it with other viewers, for better or worse. You can tell the film is going somewhere with its nightmarish aspect, but it also may leave viewers wanting more out of it. The film is really more of a platform that Peter Cilella uses to get something out of his mind. That’s awesome that someone got the chance to bring that vision to life. While his thoughts may be a bit on the nose at times, at least he is still able to mix personal & relatable trauma with different cinematic aspects.

Viewers wanting more horror out of the film also may be wanting more out of it, but the film manages to capture the horror tone quite well from the cinematography to the production & sound design. The visuals never look cheap and the design is calculated. The cinematography even keeps the film consistently engaging & interesting. Sometimes, films lately can rely way too much on visual effects these days. In this instance, it looks like the film understands how to utilize its budget properly to make it look & sound as terrifying as possible.

Ross Marquand in Peter Cilella’s DESCENDENT.

With all that being said, the way the film plays out is familiar, and sometimes, repetitive as we see a main character descend further into darkness as he doesn’t understand what real & what’s a dream. It’s clear where the film is going at times. Just as the film picks up speed, it begins to slow down. The film’s scope certainly makes it seem like it may have been better suited as a short film where the film isn’t having to stretch itself out.

As the film concludes, things begin to make more sense, but it still holds itself back from explaining everything. I personally enjoy that when a film relies on what viewers got out of it. However, when the film focuses so much on mystery, it would have been nice to get some more answers.

Ross Marquand in Peter Cilellas DESCENDENT.

Overall, Descendant is one of the most creative & visually engaging films of the year lead by a masterful performance from Ross Marquand. The film can get a bit repetitive and slow at times, but it still manages you fully engaged without having to explain all the answers. Just like what the film is trying to say, that is life. We don’t always get the answers we seek, but we can at least try.

VERDICT: 3.5/5 (Pretty Good)
“Night Always Comes” Review: Vanessa Kirby Gives Another Remarkable Performance

August 15th, 2025

Night Always Comes is a new film now streaming on Netflix. Written by Sarah Conradt and directed by Benjamin Caron, the film stars Vanessa Kirby, Jennifer Jason Leigh, Zack Gottsagen, Stephen James, Randall Park, Julia Fox, Michael Kelly, and Eli Roth. Facing eviction in a city her family can no longer afford, a woman plunges into a desperate and increasingly dangerous all-night search to raise $25,000.

Any time I see Vanessa Kirby attached to anything, it feels like a movie that needs to be seen. People like to joke how actors like Pedro Pascal are in everything, but Kirby has been in quite a bit too between this, The Fantastic Four: First Steps, and Eden. Kirby has collected an interesting catalogue of roles so far between action and drama. Anytime she’s in an action movie, she brings a specific force to the role. Anytime she’s in a dramatic movie, she’s proving why she’s one of the best working actresses working today, and this movie further proves that.

Night Always Comes. Vanessa Kirby as Lynette in Night Always Comes. Cr. Allyson Riggs/Netflix © 2025

While I did get early access to the film, my busy schedule prevented me from talking about it even sooner. In my Letterboxd review, I pointed out how this was going to be a divisive film that will get people talking and that proves to be correct so far. There is something deep & relatable in the film, even if it be reaching at times. This is also not a film that’s meant to make you feel good. It will leave you wanting more, and with that, that is life, but it can also be quite underwhelming for those looking for something more conclusive.

I got a lot of Uncut Gems while watching the film. It’s sort of the antithesis of the film, and ironically, both star Julia Fox. This time, Kirby’s character is doing everything in her power with the tools at his disposal in order to collect the money she needs. With Uncut Gems, it’s about greed. Here, it’s about desperation & reality. I can easily see viewers connecting with that aspect of the film, especially when inflation continues to be an ongoing issues.

Night Always Comes. (L-R) Zack Gottsagen as Kenny and Jennifer Jason Leigh as Doreen in Night Always Comes. Cr. Allyson Riggs/Netflix © 2025

Director Benjamin Caron brings Sarah Conradt’s vision to life with urgency. It’s transparent how he wants this to drive dialogue for its viewers, even if you have to suspend some disbelief with certain events that occur. Considering the cast that Caron assembles, you can see where the talent trusts the filmmaker. The irony with bringing something important like this to life is that mostly everyone will go back to their much more comfortable lives. While the film wants to show has bad it can be nowadays, it also doesn’t show what we can take from it.

Kirby truly does give a commendable performance that seriously elevates the quality of the film. I even felt like I was about to give a stronger score than what the film probably deserves. As I sat with it longer and longer, I still couldn’t get past some of the creative decisions where things become far worse than what they need to be. The actions Kirby’s character makes hardly has any consequences. While I do believe the ending has the best of intentions, and you can even see it coming a mile away, it is a bit disappointing that she leaves behind a specific key character.

Night Always Comes. Stephan James as Cody in Night Always Comes. Cr. Allyson Riggs/Netflix © 2025

I said before that the cast trusts the director. While I still stand by that, the film leans way too much in cameos, even some that are misplaced. Sometimes, these characters are so minimal that it makes me question why a less-known actor wasn’t cast in the role instead. At least that would give those actors the ability to showcase their talents. Stephan James actually gives one of the more important performances. Randall Park & Michael Kelly are miscast. Julia Fox doesn’t seem necessary. Eli Roth being there is eye-rolling. Jennifer Jason Leigh isn’t bad. It is great to see Zack Gottsagen again though.

The film’s overall concept will either win people over or leave them behind from the get go. I personally love the concept as it works just as well as Kirby’s performance. The way the film plays out really makes the film exciting. The cinematography helps get its themes across with how dark the film is, and for that, the film is shot incredibly well.

Night Always Comes. Vanessa Kirby as Lynette in Night Always Comes. Cr. Allyson Riggs/Netflix © 2025

Overall, Night Always Comes needs to be seen. It offers a remarkable performance from lead actress Vanessa Kirby. The concept, direction, and cinematography are all fully realized, and manages to make the film better when it sometimes focuses on cliches and cameos.

VERDICT: 3.5/5 (Pretty Good)
“Highest 2 Lowest” Review: Spike Lee’s Reimagining of a Timeless Classic

August 14th, 2025

Highest 2 Lowest is a new film from director Spike Lee set to release in theaters this weekend before it streams on Apple TV+ on September 5th. The film is a remake of the 1963 film, High and Low, from filmmaker Akira Kurosawa. The film stars Denzel Washington, Jeffrey Wright, Ilfenesh Hadera, and A$AP Rocky. When a titan music mogul, widely known as having the “best ears in the business”, is targeted with a ransom plot, he is jammed up in a life-or-death moral dilemma.

I genuinely don’t remember if I first watched the 1963 film before or after it was announced. I think I heard that the remake was happening before I watched it. The sole reason why I did watch it was to get through the IMDb top 250. The original is a timeless & flawless classic that holds up on my latest rewatch before watching this remake. Spike Lee really needed to prove himself after remaking Oldboy. This new remake certainly has Lee’s stamp all over it for better or worse.

I jokingly said in my Letterboxd review that this should have been called Lowest 2 Highest, because the film manages to go from its lowest point in the beginning to its highest point in the end. The film is certainly a better remake than Oldboy and Lee infuses his love of New York City in the film, but the direction Lee takes with the film results in some truly baffling creative decisions up until its third act where I felt like that was the movie I wanted.

The first act starts off quite strong before it leads into some questionable performances. Denzel Washington is terrific from start to finish. He is always a force and his working relationship with Lee allows both the actor and the director to stand out. It’s just the other performances that I didn’t fully buy into. I didn’t feel like the other characters were truly feeling the emotional impact of what was going on around them. It’s clear Lee put more of his focus into Washington more than anyone else. It says something when Wright is also not on his A-game. It feels like everyone is trying to replicate the classic – that is until the third act where that act alone doesn’t try to replicate the same third act as the original.

Then, there is the second act. I was truly baffled by every decision. I even audibly said “what” out loud while watching it, which I feel like says a lot. Every decision made feels like a parody of the original film. I even overheard other viewers after the movie saying the same thing. The way the criminals get the money literally makes no sense. Even the way someone manages to capture how it happens makes no sense. There’s even a scene where a cop handles a gun like a thug, showing he has no idea how to even be a cop. The whole sequence is ridiculous.

It’s incredibly rare where I feel like the third act of a film can ultimately save it. With everything that came before, I wasn’t only checking out, I was ready for the film to wrap up. The third act gave me everything I wanted out of the film. There’s originality to it. It’s not solely relying on the original. It does something different that helps get its themes across. Washington’s character gets more to do. A$AP Rocky even gives a standout performance. It’s truly one of the best third acts of a film this year, and I’d rather not give much more away.

Since this is a remake under a new title, I was expecting something more energetic in the first two acts. Instead, the first two acts feel confused & boring. Even when things were slower in the original, it was still exciting. The new remake has this consistent piano score through most of the film, even during some important dialogue scenes, that feel more fitting for a different movie. The score gives the film an impression that it’s supposed to be inspirational. Why not take that music out during the important scenes? It’s distracting. At least they took it out during one important dialogue scene towards the end.

While I do believe the third act gets everything right, it does have a few flaws, but not as bad as compared to the first two acts. The way Washington’s character finds out who the thief is is very coincidental. The ending does something new and has its purpose, but it can also be too much on the nose and is a byproduct of having one too many endings. The one consistent thing outside of Washington’s performance in the film is Lee’s admiration for New York City. That’s seen throughout and does help make up for the film’s flaws.

Overall, Highest 2 Lowest is a worthy and admirable remake for a classic thanks to Washington’s performance & its incredible third act. The rest of the film can be quite messy & a borderline parody. Since Lee does something different within the third act, it’s worth checking out, especially if you are a fan of Spike Lee’s work, but I still wouldn’t say it comes close to the perfection of Akira Kurosawa’s original.

VERDICT:3/5 (Good)
“Freakier Friday” Review: A Legacy Sequel That Respects the Past While Embracing the Present

August 9th, 2025

Freakier Friday is a new film released in theaters this weekend, and is the sequel to 2003’s film, Freaky Friday. Directed by Nisha Ganatra & written by Jordan Weiss, the film stars Jamie Lee Curtis, Lindsay Lohan, Julia Butters, Sophia Hammons, Manny Jacinto, Mark Harmon, and Chad Michael Murray. Years after Tess and Anna endured an identity crisis, Anna now has a daughter of her own and a soon-to-be stepdaughter. As they navigate the myriad challenges that come when two families merge, Tess and Anna discover lightning might indeed strike twice.

I remember watching the 2003 version all the time as a kid. I can’t say I was particularly a fan, but it felt like a favorite in my household. I have to note that it came out in 2003 as there have been different versions of this with the 2003 version being the most popular version to date. It makes sense for there to be a sequel to it, and there has been demand for one. So much so that Jamie Lee Curtis is credited as a producer on the sequel due to how much she tried bringing this to life. She understands how much of a fanbase the 2003 movie has. I can’t say I have been eager for a sequel, but to my surprise, this one manages to fully embrace how to make a legacy sequel work.

Lindsay Lohan as Anna Coleman in Disney’s FREAKIER FRIDAY. Photo by Glen Wilson. © 2025 Disney Enterprises, Inc. All Rights Reserved.

Jamie Lee Curtis & Lindsay Lohan return to their respective roles like they never left. They not only understand the love of these characters, but know how to fully embody them even after 22 years. I managed to skip all of the promotional material in the film, so seeing where the story goes compared to the first was a nice surprise. While it’s not something I would have expected from a sequel, I think it manages to go in the right direction by respecting the past and embracing the present.

Under new direction, the film has a somewhat of a different tone that I think will gain new fans, much like there were fans of the first. Director Nisha Ganatra honors what came before while placing her own stamp that I guarantee will cement her future projects going forward, especially if you can make a legacy sequel like this good. She even brings out some incredible performances from everyone involved. Making legacy sequels can be challenging. Either you embrace too much of what came before, proving that it was just a money-maker, or you go off the deep end with no justification of what came before. The film is neither those things. By doing something different with the story, the film once again invokes new themes that will connect with viewers.

Sophia Hammons as Lily Davies and Jamie Lee Curtis as Tess Coleman in Disney’s FREAKIER FRIDAY. Photo by Glen Wilson. © 2025 Disney Enterprises, Inc. All Rights Reserved.

With a runtime longer than the first, you can certainly feel that runtime. The runtime is almost justified due to how much bigger the story is. At the same time, the pacing can certainly drag, making the film longer than it needs to be. The film has a unique set up. It’s cliche, but it’s also different in a way. It can also run way too long. It takes about 30 minutes for the actual story to get going. Even then, it still feels like it can take a while for the film to find its footing after the inciting incident occurs.

The film does offer plenty of laughs that isn’t recycling what came before. Due to how long it is though and how overdramatic it can be at times, the film isn’t as funny as the first. Before watching the sequel, I did revisit the first one. The first one really brings out the laughs. There is a reason why the first is iconic. I think this one will stand out more due to how effective the new story is, how it makes sense, and what new lessons viewers can take out of it.

(L-R) Manny Jacinto as Eric Davies and Lindsay Lohan as Anna Coleman in Disney’s FREAKIER FRIDAY. Photo by Glen Wilson. © 2025 Disney Enterprises, Inc. All Rights Reserved.

I did like how the film continues to embrace the relationship with Curtis & Lohan. It makes sense for where they are now and how they are still close. Adding Manny Jacinto to the film was also perfect casting as he & Lohan have impeccable chemistry. Seriously, the guy is on a role lately. There are just some aspects of the plot that make no sense. While I liked how Lohan’s character is a single mom, I still didn’t understand why she was. They never explained that. At first, I thought the dad might be Chad Michael Murray. That would make the most sense. It just feels like they lost out on a good opportunity to really bring back Murray. The way he comes back doesn’t make much sense and is only there for fan-service.

There is a sense of nostalgia that comes from seeing the Disney logo appear before a live-action movie. It makes sense why we haven’t seen them lately as Disney has been investing more into their money-makers like Marvel & Star Wars. Even then, I think Disney is seeing where those are slowing down, so why not go back to basics? I sincerely hope this is a new dawn for Disney live-action movies that we don’t get anymore.

(L-R) Jamie Lee Curtis as Tess Coleman and Lindsay Lohan as Anna Coleman in Disney’s live-action FREAKIER FRIDAY. Photo by Glen Wilson © 2024 Disney Enterprises, Inc. All Rights Reserved.

Overall, Freakier Friday a crowd-pleasing follow-up that proves why it needs to exist. It gives something to satisfying to fans of the first, while gaining new fans with the sequel. The story doesn’t always work and the pacing could have been improved. In the end, I am surprised by how of this worked. I don’t think we need another sequel to this, but I do hope this gives Disney the confidence to make more live-action movies based solely on their brand rather than their own investments.

VERDICT: 3/5 (Good)