Tag: movie-review

“Militantropos” Review: THE Documentary of the Year

May 21st, 2025

Directed by Yelizaveta Smith, Alina Gorlova & Simon Mozgovyi, the documentary to come out of this year’s Cannes Film Festival has no main actor or character. The documentary captures the human condition through the fractured realities of the Russian invasion of Ukraine. The film pieces together everyday lives transformed by war — those who flee, those who lose everything, and those who stay to resist and fight — tracing both the instinct to survive and the need for closeness. Amid devastation and atrocity, the human is absorbed into war — and war, in turn, becomes part of the human.

When I first heard this title, I had no idea what to expect. I had a hunch that it would be about the military, but I had no idea it was going to follow the war in Ukraine. What’s ironic is that earlier in the day before I even watched this, I had the thought that I still hadn’t seen a perfect documentary this year yet nor have I felt where a documentary has been that popular. That all changed after watching this movie.

20 Days in Mariupol was my favorite documentary of 2023, and this could very well be my favorite of 2025. What’s going on over there shouldn’t be happening. To be honest, war shouldn’t be happening period. The repercussions of what happens to those involved is awful. That’s what makes this film great. By immersing you into the climate, you better get the sense of what the feeling is like.

As of lately, some of my favorite films have been Perfect Days and Warfare. They are both polar opposites in terms of tone & style, but immersing you into the feeling is an incredible feat in filmmaking. This film immerses you into the situation with its camera work, sound design, and pacing. I wish I could have seen this in the theater to better immerse myself into the film.

What this film captures is unreal. The cinematic look and the way it captures the violence & trauma doesn’t even look real. It looks like something you only see in fictional movies. There’s something about how real the film looks that makes you feel the trauma these people endure.

The sound design never faults. It captures every little detail in every scene to help us better understand what every single scene feels like for those involved. It even captures some of the dialogue. Even though it never follows a particular character, we still get to see what these people are thinking.

For a film that’s close to 2 hours, I was initially worried with how it would work with its style. I never once felt like it was too long. It feels evenly paced to help immerse you better into the film. I personally wouldn’t have minded it going on longer, but the film still manages to get its point across.

Even though we have had different documentaries throughout the years, this one still manages to stand out on its own. By just capturing moments of this war, there is still a through line that helps explore its themes of how people live in the middle of a war. Even though it becomes a part of their personality, they still want to be good and be there for one another.

Overall, through its approach, Militantropos manages to be not only one of the best documentaries of the year, but one of the best movies of the year. Through its immersion, you better understand and feel what these people are feeling. It’s not an easy watch, but it is a vital one to watch and understand.

VERDICT: 5/5 (Perfect)
“Lilo & Stitch” Review: That’s How You Do It, Disney!

May 20th, 2025

Lilo & Stitch is a live-action remake of the classic 2002 animated film. Directed by Dean Fleischer Camp, the film stars Sydney Elizebeth Agudong, Billy Magnussen, Hannah Waddingham, Chris Sanders, Courtney B. Vance, Zach Galifianakis, and Maia Kealoha. The film is the wildly funny and touching story of a lonely Hawaiian girl and the fugitive alien who helps to mend her broken family.

Going into this, I did not revisit the original nor did I watch any of the trailers. There are moments that I remember from the original, but I really wanted to go into this fresh to see what the experience was like. While the original classic is still perfect, this one holds up on its own. I not only felt like a kid again. All of my worries were washed away. I was locked in from start to finish.

The film wastes no time throwing you into Stitch’s story. While it may come off as exciting, it’s one of the film’s greatest flaws. Stitch has become an iconic character for the last few decades. You’d think the film would build you up to get excited to see the character. Instead, the film just casually shows him. Instead of doing something different and giving him more backstory, the film quickly covers it in exposition. It does quickly get exciting though with some impressive action visuals and Stitch’s offbeat humor.

When Stitch’s story is set up, the film takes the time to develop Lilo and her sister, Nani. It’s nowhere near as exciting as what we see happen to Stich, but it’s still incredibly profound. The film takes its time to develop these characters, which helps finally explain why something like this deserves to be made in live-action. By making it live-action, the film finds a way to make it connect more with its audience and fully flesh out its themes.

It’s insanely impressive how good Maia Kealoha is as Lilo. She brings out so much heart and emotion to this story. Her performance is going to be talked about a lot. The casting did a perfect job with the remaining supporting characters. Sydney Elizebeth Agudong is another standout. I’m glad they got Chris Sanders back as Stitch. It just doesn’t work without him. Billy Magnussen & Zach Galifianakis also have a great dynamic that pushes their morals against each other that delivers more on both comedy and drama.

By bringing back Chris Sanders as Stitch, the film knows it can’t work without embracing what worked from the past. It’s been YEARS since I have seen the original, and yet, I can still remember the comedy. Watching this, I felt like I was that kid again embracing the kind of comedy I enjoy. The comedy can be a little kiddish at times, but when it works, it works.

Having director Dean Fleischer Camp helm the film makes sense. With his work on Marcel the Shell with Shoes On, he brings that same energy to this film that makes it feel emotionally resonant. There are close up scenes between Lilo & Stitch that makes it feel like a privilege that we get to see these two interact. I did question how some others didn’t freak out about Stitch. That could have proved more thematic messages about acceptance. I’ll still take what we got with the emotional beats.

Twenty years after the original, seeing this as a millennial hits differently. I don’t have kids, but I do have pets. While watching it, I just felt so appreciative of the pets that I have had and currently have. Having pets changes you for the better.

Overall, Lilo & Stitch works best when it embraces what works with its past while giving the live-action treatment purpose. There are aspects of the writing that I think could have been better. With so much going for it between the performances, direction, humor, and visuals, this feels like a big win for Disney. When this does make a billion dollars, it’s going to be warranted. If Disney continues the live-action remakes, I hope they learn the right lessons here. I’d like to even see them incorporate more of the animation style with live-action with original stories.

VERDICT: 4/5 (Great)
“Mission: Impossible – Dead Reckoning” Review: An Entry That Continues to Raise the Stakes

May 20th, 2025

Mission: Impossible – The Final Reckoning is the seventh entry in the Mission: Impossible franchise. With director Christopher McQuarrie returning once again, the film stars Tom Cruise, Hayley Atwell, Ving Rhames, Simon Pegg, Rebecca Ferguson, Vanessa Kirby, Easi Morales, Pom Klementieff, Mariela Garriga, and Henry Czerny. Ethan Hunt and IMF team embark on their most dangerous mission yet: To track down a terrifying new weapon that threatens all of humanity before it falls into the wrong hands. With control of the future and the world’s fate at stake and dark forces from Ethan’s past closing in, a deadly race around the globe beings. Confronted by a mysterious, all-powerful enemy, Ethan must consider that nothing can matter more than his mission – not even the lives of those he cares about most.

I’ve revised the film before on the page, but it has been quite some time since I reviewed it, plus I’m revisiting the entire franchise. After Fallout, I genuinely believed there was no way another entry could top that one. While this new entry continues to raise the stakes between the plot and the action, McQuarrie & Cruise have the right idea that if they want to keep going, they have to sort of go back to basics and deliver aspects of the earlier films. It’s something the Fast & Furious franchise desperately wants to do, but ultimately won’t be able to do at this point. Mission: Impossible got it right.

Something that I have seen that others don’t like that I personally like out of the franchise is the dialogue. To be fair, I can understand why others wouldn’t like it as it seems like the films succeed when it leans more into the action. This one clearly wears the influences of the first entry on its sleeve between the dialogue and the cinematography. This is something I really liked about the first one that I’m glad the franchise took the time to go back to.

Starting off with the longest intro before the credits roll in, the film knows how to page itself quite well. By the time the real first action set piece kicks in at the airport, it still feels like the beginning of the film. Once the scene finishes, the film is at the 1 hour mark, but it only feels like 30 minutes. It’s easy to recognize this being the longest out of the franchise, but I never once felt it.

With the addition of Hayley Atwell, the film continues to expand its core group with an extremely likable character. I did have a theory that she might be Hunt’s daughter due to the new information we learn about Hunt’s beginning. Based on what I’m hearing, I don’t think that’s the case. Though, that would have been really cool to see Hunt’s legacy live in after him with such a likable character.

Once again, the action set pieces deliver. The film doesn’t solely rely on the score. There are still moments where you just hear the sound of the environment, helping immerse you further into the action. The film continues to rely on practicality with moments of CGI to enhance the scene. That’s how CGI should be done. To help enhance the scene. Don’t just fully rely on it.

As a part one, the film still feels conclusive. Again, take notes Fast & Furious. It has a great story that deepens the lore and character of Ethan Hunt. Even though I still have questions, I’m satisfied with what we got here as long as The Final Reckoning delivers on that. Even with the addition of bringing back Henry Czerny, the film understands perfectly that in order to move forward, they have to go back.

The writing doesn’t always deliver though. I completely respect Rebecca Ferguson’s decision to leave the franchise. She is a talented actress and deserves to do more things. I just don’t personally agree with how they choose to end her story. I don’t believe her character would go out like that when her character had plenty of opportunities to leave for good. Even with killing her twice, I don’t know why that was needed unless they really wanted to surprise you, but it’s just a gut punch to the fans. Lastly, I’m surprised by how no one else has brought up the fact that when Grace disguises as The White Widow, no one notices that her eye color is different. How would no one notice, even her own brother?

Overall, Mission: Impossible – Dead Reckoning is another solid entry that proves why it exists. Aside from a few story flaws, the film delivers by raising the stakes both in terms of plot and with action. It’s a standout in the franchise that manages to keep the momentum going after Fallout.

VERDICT: 4.5/5 (Amazing)
“Meteors” Review: A Relatable, Funny, and Sincere Story Coming Out of Cannes

May 19th, 2025

Meteors is the fifth Cannes screening that I have seen ahead of this year’s 2025 Cannes Film Festival. Directed by Hubert Charuel & co-written by Charuel and Claude Le Pape, the film stars Paul Kircher, Idir Azougli, and Salif Cissé. France’s rural wasteland. Mika and Dan have big dreams but little luck. Cornered after another blunder by Dan, they end up working for Tony, their best friend, who’s now the king of construction. Mika and Dan need to find a way out of her, a way out of trouble – simply a way out.

There’s not much to say in terms of what I was expecting before I saw Meteors. I love how the synopsis for each film I have seen has been vague enough to the point where I can still be surprised with the film. With different twists and directions this film had led by an incredible performance from Paul Kircher, this may be my favorite of the screenings so far.

One of the biggest reasons why this is my favorite entry so far from the screenings comes down to how much I could relate to it. No, I haven’t gone through exactly what these guys go through, but the connection is still there. I know what it feels like to be stuck in a hometown where only a small group of people understand you as you try to leave the place for good. Every time you try to do the right thing feels like two steps back. Being young, you can take advantage of it until you realize in order to move on, you have to grow up.

Enter Mika and Dan, two close friends who appear more like brothers. The love these two guys have could be seen as sentimental, but when they only have each other, it’s easier to see them as two brothers who want nothing but the best for each other. At one point, I realized Dan is four years older than Mika, meaning that Mika very much looks up to Dan as a brother. Nothing is really said about these character’s families, and I think you can read between the lines with what is not said about them. Through their connection is where the film succeeds.

Starting off with a humorous situation, I am glad the film eases you into the drama rather than just throwing you into it. I had to hold myself back from laughing too hard in order to better pay attention. I love how the two guys take advantage of their youth. Then, comes a moment when they realize they really have to turn things around if they want to keep living.

In order to get their lives together, the two guys find work with a good friend of theirs. This where the film often finds creative ways to subverted my expectations. As much as I would have liked to have seen the film leaned more into those different directions, the film makes it clear how much damage their partying and drinking has done to them as they try to get their lives together. Seeing how the story unfolds often creates something emotionally impacting. You want these two guys to get better. Based on where the film ends up, the film accomplishes its themes on how connection can help get through the most dire moments in our lives.

One of my favorite aspects on watching indie foreign films like this one is how it gives me a good glimpse into seeing the next big actor. While the main three actors are quite good, it’s Paul Kircher who is the lead actor in this. Without him, the film doesn’t work as his emotions and dialogue have to carry the film. There were so many moments where I felt so bad for him. Even when his character needs to keep his mouth shut, he continues to stand up for what he believes in. Bringing that kind of emotion out of young talent is no easy feat, which makes Hubert Charuel’s work as a director even more commendable.

Lastly, the way the film utilizes its cinematography helps capture the emotions of these men. From light blue to dark red colors, it helps capture the sense of tone the film is going for. While the film has some light humor in the beginning, the use of color throughout shows the darkness these guys go through, as well as properly utilizing the space they are located in.

Overall, Meteors offers a lot of emotional depth through its storytelling and direction. Paul Kircher gives a phenomenal performance that carries the film. This one has stuck out to me the most. While I have enjoyed every Cannes screening so far, this one is my personal favorite so far due to how much I could personally relate to it.

VERDICT: 4/5 (Great)
“Mission: Impossible – Rogue Nation” Review: Now We’re Talking!

May 18th, 2025

Mission: Impossible – Rogue Nation is the fifth entry in the Mission: Impossible franchise that premiered in 2015. Directed by Christopher McQuarrie, the film stars Tom Cruise, Jeremy Renner, Simon Pegg, Rebecca Ferguson, Ving Rhames, Sean Harris, and Alec Baldwin. Ethan and team take on their most impossible mission yet – eradicating ‘The Syndicate’, an International and highly-skilled rogue organization committed to destroying the IMF.

When I think of where Mission: Impossible is finding its groove, this is the one I think of most. It is consistent on every front, and for some reason, while retaining a high Rotten Tomatoes score it feels like this is the most forgotten one. I even remember it felt like it wasn’t that big of a deal back when it was released. Aside from a few creative decisions that can hinder the pacing, this is a near-perfect entry.

Bringing Christopher McQuarrie on as a full-time director going forward starting with this one was such a smart move. The guy knows how to craft together action set pieces. From what I understand, the filmmakers have the action set pieces already thought out and build the story around it. It shows, because the action is incredible, while the story may not seem as important. There is one standout within the story and that involves Rebecca Ferguson’s character as Ilsa Faust.

Ferguson is a knockout in this role. Her performance in this made her character iconic, which helped make Ferguson an even bigger star. The dynamic she has with the cast is great, but her story is even better. Mission: Impossible clearly understands the importance of writing good female characters in the later entries and it shows with this one. I just love how integral she is to the story and how her overall design & motives fit into this world.

As per usual at this point, Cruise is working harder and harder with the stunts. As someone who appreciates practicality, I appreciate Cruise going the extra mile with the stunts. From hanging on the side of the airplane to the car chases, Cruise knows how to immerse the audience into the action. The only thing I can think of that has clear CGI was when the car jumped over the water and made those multiple flips. Now, that’s more understandable.

The side characters continue to stand out. With the addition of Alec Baldwin, the story presents a conflict of interest that gives Hunt more problems to deal with other than the main one he is pursuing. While I understand why he didn’t come back after this one, I think Renner is great here, especially with his dynamic with Luther. Benji offers perfect comedic relief while remaining as real as possible.

The antagonist, Lane, played by Sean Harris, is a huge improvement over the prior movie’s antagonist. He feels more threatening as someone that could push Hunt to his limits. I’m glad that he was able to come back in the next entry.

My only real qualm with the film is that I don’t find the third act to be perfect. While it is entertaining, it does feel like too much is happening, resulting in me not fully paying attention to everything that’s going on. It tries a little too hard at being smart and with so many action sequences that came before it, I can feel the pacing drag at times. Other than that, I do love how the film ends with Renner & Baldwin’s character as it offers something different than the prior entries.

Overall, Tom Cruise & Christopher McQuarrie’s collaboration in the Mission: Impossible movies work perfectly starting with Rogue Nation. The action set pieces add conflict on top of conflict. Rebecca Ferguson is a real stand out here as well. A near-perfect masterpiece.

VERDICT: 4.5/5 (Amazing)
“I Only Rest in the Storm” Review: A Long, but Rewarding Film

May 17th, 2025

I Only Rest in the Storm is the next screening I received that premiered at this year’s Cannes Film Festival. Co-written & directed by Pedro Pinho, the film stars Sérgio Coragem, Cleo Diára and Jonathan Guilherme. Sergio travels to a metropolis in West Africa to work for an NGO as an environmental engineer on a road project between the desert and the forest. He becomes entangled in complex relationships with two locals, Diara and Gui, and investigates the disappearance of his predecessor, all while navigating the dynamics of the expatriate community and the underlying contradictions of the territory.

As I was looking ahead at the screenings I had, I knew I had a busy week ahead of me, but I saw that this one was 3 and a half hours long, I was overwhelmed and intimidated, especially knowing I had two other reviews due out on the same day. While I certainly felt exhausted by the end of this, I did enjoy it and think it’s something that others should watch even with the runtime.

Under Pedro Pinho’s direction, the film is completely authentic from the performances to the location. Given what is required from the talent, it speaks volumes with the authenticity Pinho requires. What is required from the talent and this story requires even more from the audience as we have to be rewarded. While the film could have used some trimming to its runtime, I can applaud Pinho for creating something incredibly ambitious.

For such a long film, Sérgio Coragem turns in a standout performance. He shows so much restraint in his character who has to hide a part of who he is. My personal favorite performance though goes to Cleo Diára. Again, to have this talent leading such a long & ambitious film is one thing, but to have Diára bring out so much emotion with her performance shows her strength as an actress and gives her a powerful character to tap into.

While it may seem like not much happens, the film gives you something visually stimulating to ponder on. With themes of climate change & identity, the film captures how these characters live in these certain circumstances. It’s something that feels easy to connect with. Based on where this film ends, it shows how these stories and these issues will continue on. It’s just a matter of how we decide to live in this world of ongoing issues.

With such a long runtime, there are certainly aspect of the film that I think could have been cut out to help improve the pacing. Long runtimes struggle in theaters as it is, and I am very curious what the future of this film holds. It almost makes me think it could have possibly been a miniseries to market better to streaming distributor. Then again, it’s rare we get movies this ambitious and honest. I just hope this film finds it earned success. While the amount of runtime did overwhelm me, it easily stuck with me the more I thought about it.

Overall, I Only Rest in the Storm offers something new that’s worth seeking out. The performances phenomenal and stay committed even with what’s asked of them. It’s clear director Pedro Pinho has a bright future ahead of them as a filmmaker. The runtime is a big ask, but it is ultimately a rewarding experience.

VERDICT: 3.5/5 (Pretty Good)
“Jane Austen Wrecked My Life” Review: A Intriguing New Romantic Comedy

May 11th, 2025

Jane Austen Wrecked My Life initially premiered at the Toronto International Film Festival in 2024, but is finally releasing in the United States starting this upcoming weekend and rolling out to more theaters every weekend for the remainder of the month. Written & directed by Laura Piani, the film stars Camille Rutherford, Pablo Pauly, Charlie Anson, Annabelle Lengronne, Liz Crowther, Alan Fairbairn, and Lola Peploe. An aspiring author looking to get more out of life takes up a writing residency and finds herself in the sort of romantic entanglements that could come from the pages of a Jane Austen novel.

This is another film I didn’t know too much about. I think I barely saw a trailer of it once at the theater. I saw the poster, and find it interesting enough to check out. After receiving a screener for the film, I decided to check it out ASAP and review it as it seems like the film will have interesting rollout as it expands to more theaters over the next several weeks. It’s an interesting time to release a foreign romantic comedy in May as there is more severe competition, but I hope audiences will still seek out this film for how unique it truly is.

To my surprise, I had no idea the film was a French production. The film starts off with the lead actress singing in English to an English song as she dances around a book store. What I found interesting during this time is how the title credits that came up during this indicated it was a foreign production. It’s always a nice surprise going into a foreign film not knowing it. Some may be turned away as they have to keep up with the subtitles. For me, I love exploring another part of the world and learning new things through a different language. The film does cut back to English from time to time, so I think viewers will find it easy to connect with.

Lead actress Camille Rutherford commands the screen, delivering one of the most earnest & best performances of the year. She is 100% committed to any emotion that she needs to convey. There’s something about the way she presents herself visually and through the dialogue that reminds me a lot of Rachel Weisz. Maybe others will see the same thing and campaign for her to be in more stuff going forward. Regardless of the comparison, her performance here is more than enough for me to want to see more from her going forward.

While the film is being labeled as a romantic film, I never got the impression that’s what I was going to get here. Camille Rutherford plays as Agathe who finds herself in this delusional world where she can get what she has read out of Jane Austen’s novel. I get that. I’ve experienced that through film where entertainment can make us fall in love in things that are out of out of control. While Rutherford tries to put on a poker face to avoid hurt, she is secretly wanting genuine, pure love. I understood her pain with that, and as you learn more about her past, you come to realize just how human and realistic that character really is.

The film may take a while to get to where it needs to go, but once it gets there, the film succeeds at delivering comedy. Director & writer Laura Piani masters both the characterization and giving more outrageous things for the main character to go through. The setup’s pack a punch that offer shock value, and sometimes, disgust. Even when Agathe has to reiterate what has happened, her delivery is even funnier.

There’s a lot to enjoy with the film, and then there’s issues with the film that could have been explored further. There is a side romance between Agathe and another individual that I couldn’t truly understand. It was bizarre and the motives for this relationship could have been better explored. I understand that it helps this character want to find true love, but the dynamics of this relationship appeared the most unrealistic. On top of that, she also has another side fling that could have been further explored. Given what we learn about this other guy, I think the film could have leaned a lot more into that to help flesh out that story.

The film does a great job at giving character’s backstory and delivering on the comedy, but I still found the switch in tones jarring at times. At 94 minutes, the film had more opportunity to explore its story without having the tone feel as jarring as it does. The film ends on the right tone; however, I still left with more questions. Maybe that’s the point to leave you with something to think about. If that’s the case, I think the film could have been more ambiguous in certain areas.

Overall, I enjoyed Jane Austen Wrecked My Life for what it had to offer. Between Camille Rutherford’s excellent performance and Laura Piani’s sharp writing & direction, those are two names that I am now going to be closely paying attention to see what they do next. Even with the smaller of grievances that I have with the film, I also think it may be intentional to show how life isn’t perfect as much as that is what the film is conveying. Still, this is certainly one you should seek out if it’s in a theater near you.

VERDICT: 3.5/5 (Pretty Good)
“Juliet & Romeo” Review: A New Version That Means Well, but Falls Flat

May 8th, 2025

Juliet & Romeo is a new film set to release in theaters this upcoming weekend. The film stars Clara Rugaard, Jamie Ward, Jason Isaacs, Dan Fogler, Rebel Wilson, and Derek Jacobi. Set in 1301 at the end of Medieval times, this most beloved of tales, is leaving the poetry of Iambic Pentameter in the past, for the original pop music that rockets these ever-present themes right to the heart of our characters in the most surprising, and perhaps most powerful way that has ever been seen, or heard, before.

Truth by told, this is not a film I had no interest in seeing. I feel safe with saying that I probably can speak on the behalf of many other people. As it stands, my local AMC only has one screening Thursday night and there’s not a single ticket booked. I only wanted to check it out, because I knew I would watch it eventually. Why not try to get it out of the way ASAP? There are countless adaptations on Romeo & Juliet, but if the switching of the title says anything, this is certainly something new. While I didn’t quite like it, I am also not mad about it as it did offer something new.

I believe much like Baz Luhrmann’s Romeo + Juliet challenged viewers, this one will do the same. I have warmed up to musicals, and making this a musical certainly helps this one give reason for its existence. The music is surprisingly catchy. You can clearly understand why making this a film was a no-brainer.

There are also several twists that help differ from anything I’ve seen before from all the adaptations. It’s not just a complete copy and paste reiteration, but with music. The lighting also gives the film that moonlight effect that helps the colors pop, while the production design is detailed that helps immerse you into the film. There is also a creative decision in the third act that surprised me, and I believe it will surprise many others.

With all the good being said, this film needed a lot more improvements to make it work. The film relies too much on the music to bypass its faults. The performances are fine as the talent is clearly having fun, but they also lack chemistry, especially the two leads. They are fine and clearly have fun, but I didn’t fully buy into their relationship.

The film’s biggest sin, though, is how it chooses to play its music as the talent attempts to lip-sync. It’s been a long time since I’ve seen the talents mouths off from what was being sung. The film chooses to hit play on the music as the talent tries to stay caught up with it. With its moonlight color grading, it feels like one big music video that might have just worked better over a film.

While I enjoyed the lighting and the way the film looks, the camera work couldn’t have been less uninspired as it chooses to play it safe throughout. For a film that’s meant to be grand, it could have gone even bigger by immersing you into the film’s overall location. There’s also just not enough camera shots that the editing team can cut between without the shots going on for far too without a single cut. At least that could have been improved on to help hide the fact the talent was lip-syncing.

As I’ve mentioned before with the story, there are changes that surprised me and I think will win over some viewers. Unfortunately, it’s still mainly a plot we have seen plenty of times before. It’s cool that it’s turned into a musical, but when the film sort of repeats the same plot beats as before, it doesn’t fully take the opportunity of being something entirely new. Then again, the third act does have me curious. If you’ve seen it, you know what I mean.

Overall, Juliet & Romeo could have been a lot worse, but it still falls flat. I think everyone involved has the best of intentions here. It just needed more work to help pull off immersing you into this reimagining of a tale we have seen done plenty of times before.

VERDICT: 2/5 (Bad)
“Star Wars: Episode IV – A New Hope” Review: My All-Time Favorite “Star Wars” Movie

May 4th, 2025

Originally titled Star Wars, Star Wars: Episode IV – A New Hope is the very first Star Wars released in 1977 and the fourth entry in chronological order. Written & directed by George Lucas, the film stars Mark Hamill, Harrison Ford, Carrie Fisher, Peter Cushing, and Alec Guinness. Princess Leia is captured and held hostage by the evil Imperial forces in their effort to take over the galactic Empire. Venturesome Luke Skywalker and dashing captain Han Solo team together with the loveable robot duo R2-D2 and C-3PO to rescue the beautiful princess and restore peace and justice in the Empire.

Star Wars has been a beloved franchise for me since I first saw The Phantom Menace as a kid. To be fair, watching the prequels as a kid lead me to the original trilogy, so I hope the new generation of viewers who saw the sequel trilogy will do the same thing. Over the last several years, I have pondered what my true favorite of the franchise is as I wasn’t sure if the one that started it all was a fair answer. After plenty of viewings of the entire franchise, I think it’s safe to settle the fact that the one that started it all is my all-time favorite of the franchise.

There’s a part of me that wishes I could teleport back to 1977 to see this in theaters, knowing that this was a true original and knowing that the prequels were not a thing at its time. I am aware of the different versions, and I am sure I have seen them as I recall seeing the original trilogy on VHS. Watching it today, it can be strange to see modern-day CGI in certain scenes. Personally, I would prefer the practical effects as this is one of my favorite aspects of the film. From the original story to the practical effects, there’s so much to love here.

While I don’t mind CGI today, there is an over-reliance on it in modern films. That’s why so many have been burnt by the MCU machine, but are feeling otherwise with the recent Thunderbolts* due to how grounded it is. For a sci-fi film, the film certainly show its age, but there is no denying the fact that it had a ton of talented individuals working on it to make it as authentic as possible. As I get older, the practical effects feel more alive than I think CGI ever could. After all, CGI should be used to enhance the film, not totally rely it. Here, the practical effects are simply amazing and highly commendable.

Mark Hamill has solely been defined as Luke Skywalker. Even when he has been in other projects with his voice as Joker giving him a defining role, he gave life to this character better than I think anyone else ever could. His boyish charm and wanting to do bigger things makes him a likable & relatable presence. Without Hamill, I don’t believe Star Wars would be what it is today.

Alongside him, Harrison Ford is highly confident as Han Solo who is also likable. What’s great about his character is that he’s not exactly relatable, but someone others have aspired to be. His hard edge clouds just how much of a decent person he truly is. Rounding out the main trio is Princess Leia played by Carrie Fisher who also brings this character to life with perfection. Honestly, without this trio, you also don’t have what the film is today. They make the film work as they offer different characteristics that can help reach a broader audience.

As for the smaller characters, I love how they have so many layers to them. Then again, it helps seeing what happens to them in the prequels. Alec Guinness is phenomenal as a character that I related to as a kid. You can see where his character has not lost his best traits even when the character has lost so much. He brings so much humanity & humor to the film. As for Darth Vader, I love how menacing his character is with the amount of time that is given to him. He is a terrifying force that has helped this franchise become what would be known as the Skywalker saga.

While there is plenty of action and other exciting moments throughout, I can’t get over how detailed the plot is. The plot may seem simple, but there are so many moving pieces that helps keep the plot going. The film takes the time to explain the lore and what’s going on without the exposition feeling forced. They set great examples as to how other films can explain things through natural dialogue and not through forced setup.

Overall, Star Wars: Episode IV – A New Hope is a flawless masterpiece that continues to set the tone for what was to come. Between its dialogue, action, characters, and effects, it doesn’t get much better than this in the genre. Nearly 50 years later, it still holds up.

VERDICT: 5/5 (Perfect)
“Thunderbolts*” Review: Being Bad Never Felt This Good

April 29th, 2025

Thunderbolts* is the 36 film in the Marvel Cinematic Universe set to debut in theaters this upcoming weekend. From director Jake Schreier & writers Eric Pearson & Joanna Calo, the film stars Florence Pugh, Sebastian Stan, Wyatt Russell, Olga Kurylenko, Lewis Pullman, Geraldine Viswanathan, David Harbour, Hannah John-Kamen, and Julia Louis-Dreyfus. After finding themselves ensnared in a death trap, seven disillusioned castoffs must embark on a dangerous mission that will force them to confront the darkest corners of their pasts.

Thunderbolts* took me completely by surprise. If you have talked to me or have seen my prior reviews, I still enjoy the MCU with entries beyond Endgame still being amongst my favorites. There have certainly been misses, but the MCU has never been flawless. What I do agree with is that the new saga has lost a sense of direction due to different variables. What that one-minute A24-like trailer dropped, I was all in. I’m thrilled to report that this will certainly be in my top 10 favorite movies of the MCU.

Yelena Belova (Florence Pugh) in Marvel Studios’ THUNDERBOLTS*. Photo by Chuck Zlotnick. © 2025 MARVEL.

If you want to do your homework, there’s quite a bit to catch up on between watching Black Widow, Ant-Man and the Wasp, and pretty much anything Sebastian Stan is in. If you are not familiar with any of that, I feel like it’s safe to go into this as blind as possible. What works in the film’s favor is how it approaches the main characters. It recognizes that these characters were once villains. By giving them something to prove their worth, these superheroes feel as real as they can possibly get. Through their share grief, trauma, and wrongdoings, they are able to come together and support one another, giving them the opportunity to be better in general.

I am a big advocate for community and mental health. This film makes those themes clear, which heavily struck a chord with me. Through this newfound bond these characters have found, there is a sense of purpose that helps them avoid the darkest places of their mind. Lead by a powerfully emotional performance from Florence Pugh, she commands the screen that helps evoke the emotion mental health can have one person. There were plenty of profound moments from a modern-day MCU film that certainly had the right emotion coming out of it.

Bucky Barnes (Sebastian Stan) in Marvel Studios’ THUNDERBOLTS*. Photo by Chuck Zlotnick. © 2025 MARVEL.

Instead of making these characters a running gag like prior MCU may have done, there is a purpose behind it. There is genuine humor here that made me laugh-out-loud, mostly coming from David Harbour’s performance who has perfectly captured what is needed from this character. Sebastian Stan takes a little bit of a back seat, but is placed when needed. Lewis Pullman is both terrifying and compelling. Hannah John-Kamen has plenty of stand out scenes. Then, there is Julia Louis-Dreyfus who balances comedy with drama to be the antithesis version of Nick Fury.

The film has one of the better scripts I have seen come out of the franchise in quite some time. The film opens on a scene that captures the mood, but quickly takes a step back to help us better understand who these characters are and where they are going next with a few that we learn more about as time goes on. The first two acts have amazing action choreography that’s best scene in IMAX where you get to see even more on screen. I was even shocked by how much the film kept subverting my expectations that only made me feel more engaged.

Alexei Shostakov/Red Guardian (David Harbour) in Marvel Studios’ THUNDERBOLTS*. Photo by Chuck Zlotnick. © 2025 MARVEL.

The third act, however, may just be a game-changer for the franchise. It’s something I have been wanting more out of the franchise as it leans more into a nightmarish-horror third act where the creative teams gets to showcase what they did on prior A24 films. The cinematography is done by Andrew Droz Palermo, who shot one of my all-time favorite movies, The Green Knight. Without giving much away, the third act reminded me a lot of that film. What the third act does help set the film apart from anything else the MCU has done.

I can go on and on about the technical components. The film is scored by Son Lux, who also scored Everything Everywhere All at Once, who delivers one of the best score in the MCU. Angela Catanzaro & Harry Yoon somehow edit so much of this into a solid 2-hour movie where everything is packed without overstaying its welcome. Director Jake Schreier knows how to direct the action and emotional scenes with intensity. It’s a masterful work of a movie where a lot of creative people came together to deliver something meaningful.

(L-R) John Walker (Wyatt Russell), Yelena Belova (Florence Pugh), Bucky Barnes (Sebastian Stan), Alexei Shostakov / Red Guardian (David Harbour), and Ghost (Hannah John-Kamen) in Marvel Studios’ THUNDERBOLTS*. Photo by Chuck Zlotnick. © 2025 MARVEL.

Overall, I can’t believe I am saying this, but Thunderbolts* is undeniably one of the best movies of the year and one of the best entries in the MCU. It’s exciting, unpredictable, and darker than anything else in the franchise so far. The performances are emotionally effective, the action choreography is exciting, and the themes are incredibly important. If the MCU can keep making movies that stand on its own like that with a creative team that cares, I believe this will only help the franchise move forward.

VERDICT: 5/5 (Perfect)